Sparkle of doom! This is so like a big torchlight solo, oh hey given the music was written by B’Way peeps this may be part of the rationale behind her Diva gown? I think of it as her Broadway Diva gown because really  Frozen follows the beats of a musical so very well.

Clear view of the pointy train on the gown!

Even in very yellow light her cape and skirt are vastly different. And there is a box pleat right at the CB seam (also seen above.) It’s short but it is there. Might give that little wiggle room for hips?

Umm hello waist seam? Yes, yes that is a waist seam clearly showing the rectangular sequins are a separate layer to the under gown. It’s a full on gown with floating ice crystals as a bodice overlay.

So I am very glad I bought cotton tulle as I will be able to tint it for the cape and also use it help make this sheer sequinned overlayer. I know this may be an artifact of the whole CGI process but in other scenes you can clearly see the bodice move in sync and out of sync with the skirt.

Makeup! Okay so it’s more obvious on the big screen but this is easily achieved with red interference on a cool purple. The mixing of warm and cool tones will help muddy the tone a little. I still need some interference red to try this but I have noticed with my other interference pigments this does happen.

Oh look, Elsa has a tie at the end of her braid. Yes. There is a snowflake on it (which is technically the underside.)

Okay there is definitely shaping to the hem. It’s a bit hard to tell but the hem is far from a smooth line. Not sure how much is from having shaped panels- easier to show in some paper or interfacing so I will be doing some tests.

A nice clear shot of the snowflakes.

Is it wrong I see the Imperial Cog in the largest of her snowflakes? Can’t unsee it! But look at that wide opaque border of the hem.

Another look at the tones!!! And a reference for the length of the train.

Check out the notches on the hem! Very clear deep points that follow the large snowflakes but also within each motif.

Another pointy train reference, and again the very strong difference between skirt and cape colour, her bodice overlay sort of merges the two.

Clear view of the very high back- it even scoops up. Also nice clear line marking the top of the cape- like a row of bugles, or three rows of bugles. But it doesn’t appear at the front.

A reasonable shot showing how high the bust cups go.  Also sweetly goofy expression caught.

A clear view of the shape of the cape- remember how the art book says her cape defies gravity? Well here it doesn’t so she is clearly too distracted and hurting to focus. Ditto with her braid falling straight back. But you can also see how very shaped the train is to puddle like that.

The following sort of show how the bodice acts like a thin overlayer. Not how it collapses under the bust:

And then here is very smooth and sort of pulls up with her standing straighter. Also here you can see some of the tonal shading in the bodice- the bust is cooler and paler than towards the waist.

Here the waist looks like a regular pointed waist but you can see how it acts like a second overlay but how the lower edge of the bodice is incredibly thin, like it’s just the ice jewels.

And finally a snarly Elsa with lots of lovely tone on tone details on the bodice. You can clearly see the dimension of the clear/silver ice jewels are different to the flat rectangles. Also you can see how textured the ice flurry on her cape is. There are at least three layers to the cape: net/ground, opaque patterns, and finally clear textured ice particles. The ice particles are denser at the top and the opaque patterns are the same all over.

I need to check my caps for a really good clear view of the seams of the skirt because there are several seams. Like 7 panels I think.