I Wouldn't Say They Are All Over The Place, To Be Honest. Maria Bjrnson Was Really Careful With The Historical

I wouldn't say they are all over the place, to be honest. Maria Björnson was really careful with the historical details. Most civilian dresses (in the design) are based on the silhouette of years 1874-6 including the background dresses that are referenced from Harper's bazaar fashion plates.

The Elissa costumes used to look more historical and in line with the 1876 bustle silhouette, but they've been amped up over the years to bell shaped skirts with backdrape. They're opera costumes after all. They don't have to follow the current fashion as long as they stay theatrical.

The reason why the bustle silhouettes seem to all over the place is because the choices made by different productions. Some production goes for a more pronounced bustle, some with something almost natural form but they never mix the silhouette up together (unless they start inheriting costumes from different warehouse and workshop)

TLDR: The concrete style and aesthetic of the late 1870s is there but the bustle size and shape is for the productions and workshops to interpret. Even though I don't agree with 'The costumes in the show are all over the place' but great research, op!

How come the wedding dress for Christine in the musical is somehow based of the bustle era? Which was in late 1880's. But then Wikipedia says its based of 1860s for the musical but now I don't know which to trust?

Always a good question. For this and more I give you the following tag:

THE TIMELINE ISSUE

Long story short, there's many different takes on when the story is set, both in the prologue and the main story. For example, the original cast album said 1861, but the West End stage show said 1881. Meanwhile Hamburg listed 1871, and the Japanese productions "mid 19th century". Today I think they all list "Late 19th century". And that's just the replica versions!

Meanwhile the prologue has been pushed from 1905 to 1911. But then "Love Never Dies" came along and claimed its main story was 1907.

So in short, nothing makes sense.

My OC, Soraya in the costumes of Christine Daaé: Act 1

I need to thank @operafantomet thousands times for providing all the amazing references and sources for costumes and background. I haven't got enough time to design my own variations of each costumes. So as of now, they are Frankensteined together like German Slavegirl bodice (with bra-like collar) and epic red Elissa skirt, 2000s west end mint/pink rooftop with Rococo flair German decorations.

Act 2 is coming soon, I haven't finished Aminta yet so 🙇

Wishing dress from POTO Hungary (Az Operaház Fantomja), designed by Nelly Vágó.

My OC, Soraya in the costumes of Christine Daaé: Act 1

I need to thank @operafantomet thousands times for providing all the amazing references and sources for costumes and background. I haven't got enough time to design my own variations of each costumes. So as of now, they are Frankensteined together like German Slavegirl bodice (with bra-like collar) and epic red Elissa skirt, 2000s west end mint/pink rooftop with Rococo flair German decorations.

Act 2 is coming soon, I haven't finished Aminta yet so 🙇

The Maestro, the angel, the man and the monster

Someone get him to play the replica please 🥺

Raphael Wong (u/s) Phantom of the current Australian Tour of Cameron Mackintosh’s production. I was ‘meh’ on the new choreography, staging and overall direction of this production (and I’m never one to compare anything to the original…).

 However, I found the singing absolutely, flawlessly 10/10 for all 3 of the (u/s) leads.