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The moment Anthea came out of the Festival Hall's cloakroom, she spotted Flora Stevic. The fashion critic for the Daily Eye was impeccably dressed, of course, in a grey satin evening suit, and she held a small leather-bound notebook and a silver pen. She was avidly watching the arriving guests as they queued for their entrances to the Swan Ballroom and taking notes. Just then, Anthea realized that the woman preceding her was one of her clients, and Mrs. Stevic's eyes widened with what seemed to be amazement and pleasure as she thoroughly examined the woman's gown.

Style Spy

Flora Stevic

Silver Swan Gala, Avonford - You'll have to look elsewhere in the Eye to find out who've been crowned this year's leading actresses and actors and so on. As far as I'm concerned, the brightest rising star at last night's soiree was the young designer Anthea Tesdinic. The lucky attendees in Avonford last night were able to view three of her latest evening designs.

Composer Honora Kazila-Mowtry was the very vision of a spring morning in a beaded and embroidered ivory bodice and overskirt atop a slim column of palest green. The overskirt had a daring raveled hem that echoed the shapes of the floral motifs of the sleeveless bodice. The gown was complemented by gloves and slippers in a soft leaf green that toned with the embroidery. Simple gold earrings completed the ensemble.

Singer and actress Rissa Redfield, one of last year's winners for her work in the musical "To the Top," was demure in deep blue lace accented by silver-blue paillettes over lavender-grey satin, with a gauzy petticoat of pale lavender peeping out at the hem. The simple tailoring and deep v-neck of this gown highlighted her flawless skin and avoiding overemphasizing her generous bosom. She carried an antique gold sequined purse and wore sapphire earrings on loan from Ludwich jeweller Esther Shushan.

Last but not least notable was Tesdinic herself, in a bold design featuring sunset colors and echoing the uniform of the Royal Lancers. The structured wine-red satin bodice, with a box-pleated peplum, was strikingly accented with gold buttons and braid to give the appearance of a double-breasted cavalry coat. The sheer three-quarter length white silk sleeves, sprinkled with diamanté, ended in deep cuffs of the same satin as the bodice. The skirt, accordion-pleated from the knee down, was hand-dyed in ombre bands of burnt orange, scarlet, crimson, and wine. The outfit was finished with tasseled burgundy satin ankle boots and a matching envelope clutch.

Tesdinic's range is striking, and we expect great things from this young person in the years to come.


"Anthea?" Robert was looking at her anxiously. "Is something wrong?"

She realized that she had stopped dead. "No, just dreaming! Let's go, Rob."

They strolled through the doors of the big ballroom. Flashbulbs popped, and there was a murmur of interest and appreciation. "Mrs. Anthea Tesdinic Brown and Mr. Robert Brown!" boomed the announcer. Robert squeezed her arm, encouragingly, and they swept into the room.

Pictures of three evening gowns designed by Anthea Tesdinic, as described in the text of the story

Fashion tracing templates from "The Purple Carpet" and "Tracing Real Body Models." Designs inspired by a number of gowns from the 1940-1950s.