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Hey everyone, The Geeky Seamstress here. A question we frequently get in regards to senshi fukus is where we get our materials. We’re fortunate to live close to a great fabric district in Dallas that meets most of our needs, but not everyone has that kind of resource!

Today, we’re going to talk about where you can get materials for your fukus both online (or in-person if you happen to make it to Texas)!

Spandex Fabrics

When choosing a base fabric for your leotard, look for thick, opaque spandex fabrics that aren’t too shiny. Nylon fabrics are our top pick since synthetic materials are designed to wick moisture away from your body.

Here are a few great options:

  • SpandexWorld (online): white moleskin. This is an expensive option, but it’s what I use for many of my commissions!
  • Yaya Han’s fabric line at Jo-Ann (in-person and online): jumbo spandex. Again, this is a fairly expensive option priced at $34/yd in our area without a coupon. That said, if you have access to a Jo-Ann’s, you can probably find this fabric. Make sure to use a coupon using the Jo-Ann app or website!
  • CosplayFabrics International (online): We haven’t personally ordered from them, but they sell Yaya’s fabric line and we know many cosplayers outside the USA use this resource often! 
    • USA customers can access the same site here.
  • Golden D’Or (in-person): dritex. This is a great Dallas-based shop off of Harry Hines in the fabric district. This material is normally $13/yd and in the Spandex Room. We’ve had a few times where the material has factory defects right in the center of the fabric, so make sure to check your yardage before the employees cut it! They also have quarterly store-wide sales with 20% off your entire purchase coupons, so make sure to sign up for their mailing list!
    • 2021 update: Sadly, Golden D’or is now permanently closed.
  • We Love Colors: You might recognize this company based on our glove recommendations! They also offer a dull tricot in 1.5 yd cuts. We’re using this for our 2018 outer senshi build. If you’re on the smaller side, you can get away with a 1.5 yd cut with some clever pattern placement. Otherwise, you’ll likely need to order 2 cuts.
  • Fabric Wholesale Direct (online): matte milliskin tricot. This company sells tons of fabrics at some very great prices, and their swatches and products generally arrive quickly. Their customer service has been great any time we’ve needed help, too!
    • 2021 update: We have had several issues with Fabric Wholesale Direct recently, most notably that their customer service has degraded in quality, so they are now a last resort only. Please use caution if you order from them! We will update here if their services improve.



Bridal satins are a wonderful material for flowy fuku skirts and beautiful bows! A heavy bridal satin will wash well, iron beautifully, and look great in photos.

When shopping for satin online, look for matte bridal satin. Peau de soie is also a great option, as well as Duchess or L’Amour satin. If you have enough time, make sure to order swatches! They’re normally $2 or less and help ensure that you’re ordering the best material possible for your project.

Finally, a word of caution: please stay away from anything advertised as “shiny” or “costume” satin – this type of fabric is of terrible quality and is not recommended by us for fukus. 

  • Casa Collection at Jo-Ann(online and in-person): Matte Satin. This used to be the standard for sailor fukus, but unfortunately, many of the senshi colors are now discontinued. You can still occasionally find some fabrics that will work, like blues for Moon and Uranus and some good yellows. If you use this line, make sure to grab the regular matte satin – it looks great with fukus!
    • 2021 update: Jo-Ann now offers a fabric called “satin twill”. This fabric is gorgeous, but it is expensive and a little on the heavy side. It may be worth a look if you’re having trouble finding the right color, though!
    • 2021 update 2: Jo-Ann has also appears to have extended their shipping to Canada!
  • OnlineFabricStore (online): Peau de Soie. OFS has a HUGE range of matte satins available for fukus, even some in the stranger/harder to find colors like orange and teal. Plus, their peau de soie is normally about $5.50/yd. The only drawback to OFS is they can be hit or miss in terms of shipping, so make sure you order well in advance of your deadline!
    • 2021 update: OFS has still not improved their shipping, so we no longer order from them or recommend them.
  • Mood Fabrics (online and in-person): Polyester Satin. The selection here isn’t quite as large as OFS, but they have lots of beautiful materials! Mood’s polyester satins normally run about $8/yd and shipping is a bit on the higher end. I adore their Kelly Green for Jupiter. Keep in mind that they are also constantly adding colors, so keep checking back!
  • (online): They have TONS of great satin options here. The Duchess satin is very nice, but the color selection is somewhat limited. The Telio satins are WONDERFUL – I’m using navy Telio satin for my Sailor Uranus fuku, and it’s a dream.
  • Fabrictopia (in-person): Polyester Satin. This shop is on Perth Street in Dallas about a quarter of a mile away from Golden D’Or. If Golden D’or doesn’t have a good satin for a senshi, I check them out. They have a wide assortment of polyester satin for under $6/yd by the cutting table in the main room! Plus, they’re super generous with cuts.
  • eBay (online): Some of the fuku colors are really difficult to find in-person, so we’ve had to turn to eBay in the past to locate fabric. When searching, make sure to check return and sample policies. Look for: matte bridal satin, peau de soie, duchess satin, or l’amour satins. Some shops will send you samples or swatches if you ask! Quality can be hit or miss, so also make sure to check reviews of sellers.
  • Fabric Empire Store (online): We’ve ordered a few swatches from them, and they have TONS of colors in L’amour satin! They also have foam by the yard.
  • Michael’s(online): When Hancock Fabrics went out of business a few years ago, Michael’s acquired their fabric. We were so excited to discover that one of the fabrics they carry is peau de soie! Just do a search for peau de soie in Michael’s online shop to find a huge variety of colors.
    • 2021 update: Michael’s appears to have been scaling back on their fabric offerings, and sadly, the peau de soie is no longer available. They now only offer “costume satin”, which is not fuku quality. We are also no longer sure if the glitter satin is peau de soie or costume satin, so only order that with caution.
  • Fabric Wholesale Direct (online): We mentioned them earlier, but we’re mentioning them again because they seriously have a HUGE variety of fabrics, including competitively-priced peau de soie!
    • 2021 update: As mentioned in the spandex section, Fabric Wholesale Direct has fallen to the bottom of our recommendation list due to their degraded customer service.


We get LOTS of questions on where we get our foam. We used to get ours at Golden D’or, but since they closed in 2020, we mostly use the resources on this list.

Our advice for finding foam is to look for 1/2″ upholstery foam in WHITE. Green and yellow foam will show through the white of the fuku unless you use several layers of spandex. Additionally, sometimes the foam can oxidize and turn yellow. If that happens, add another layer of spandex over your foam pieces to prevent it from showing through.

Here are a few places you can order similar material (please note that we have not tested all of these sources):

  • Jo-Ann (online and in-person): Foamology Project Foam or Airtex. This is a great resource in a pinch. For my latest fuku commission, I was just barely shy of enough material to make the chest armor sleeves, so I tried this out. It works pretty well! It’s not quite as dense as the stuff I normally use from Golden D’Or, but it’s a pretty good substitute.
    • Since Golden D’Or is now closed, Jo-Ann is essentially the only brick and mortar option left in our area.
  • DIY Upholstery Supply (online): 1/2″ Foam
  • Michael’s (online): White Dacron Upholstery Foam
  • Fabric Empire Store (online): Foam padding by the yard

Other Notions

The vast majority of the other notions we use for fukus can be found at major craft stores like Jo-Ann’s, Hobby Lobby, or if your local Wal-Mart has a sewing section. That said, some of them can be a little tricky to find. So here are a few links for harder to find materials:

We hope this helps! Do you have a go-to resource for your fukus? Please share it with us in the comments below!



Tutorial on our fuku process available here.

Work in Progress Photos


Photographer credits:

Hello everyone, Victoria Bane here! Today I’ll be sharing with you the details of how I created my Dessert Witch Charlotte costume! I actually started this cosplay prior to my actually joining Cosmic Coterie. I’d heard they were planning a big Madoka build and wanted to create something I could take pics with them in. A few weeks later I was invited to join and here we are now!

I’d like to first apologize as I am t e r r i b l e at taking progress photos, but I’ll attempt to be as thorough in my explanation as possible So let’s get started!


  • Simplicity 3542 (modified)
  • Simplicity 5794 (modified)
  • Self-made bloomers pattern


I started out using view D from the Simplicity 3542 pattern. I laid the pieces out, overlapping the side front to the front so that it created a single panel instead of two. Then, I laid tracing paper over the pattern pieces and traced around the areas of the pattern I wanted to keep, and then extending the front to create a ‘crossover’ front panel.  The back I left as is due to the fact that I needed each side to be a different color. I took the sleeves from view D as well and elongated them to replicate Charlotte’s floppy arms. I made a quick mock-up using my altered pieces and made adjustments to the fit and marked down button placements.


Once I was satisfied with that I cut the right side out of brushed twill in tan, the left from black twill and the sleeves from brushed twill in nutmeg, along with their respective linings. Then everything was sewn together with buttons and some small snaps for closures.  

Jacket assembled!



The bloomers I made using a simple bloomers pattern I made after watching MeLikesTea’s video on how to make lolita bloomers a couple of years back (  I drew the front down on tracing paper, then I drew out the waist to 2x my waist measurement and then drew on the back.  Then I lengthened the leg measurement to accommodate a 2 inch ruffle with a ¼ inch double folded hem.  After that, I made some bias tape out of the remaining fabric to use as elastic channels for the legs.  I cut out the bloomers on a double layer of fineline twill in dusty each and sewed the front and backs together.  


I folded over the waistband allowance and sewed all along the top leaving a small gap where I could insert the ½ inch elastic, then closed it off after I was finished. I then stitched the bias tape channels to the inside of the legs, again leaving a small opening to feed through the ⅜ inch elastic.  

Bloomers handled!



I started with view B on 5794 over which I laid my trusty tracing paper. I shortened the length and curved the front as well as the back hem to achieve the look of Charlotte’s cape. I also cut out front ties to sew in between the cape and the lining to keep it closed. The cape was then cut out of red twill and a black lining. (The black lining on the cape was small detail that I only noticed after having watched the Mami/Charlotte fight scene about 20 times to make sure I got everything down lol)  


Charlotte has her final versions face on the back of her cape as well. I sketched this out on some paper, and then, using a light table, traced it onto some white poplin. I then applied heat and bond to the back of the poplin and cut out the ‘cloudy’ face shape. I then mixed some acrylic paints with textile medium and began to add color to the face. Once everything was dry, I laid a press cloth over the top and hit it with a warm (not hot) iron to help heat set the paints. The face was then heat and bonded to a circle of black twill, and appliquéd onto the back of the cape. After that, the lining and ties were attached and the cape was ready to go!


These were the most challenging parts of this costume to make as Charlotte’s hat seems to morph into a scarf at some unseen point, so I had to sort of wing it!  

I started off by taking a measurement from the crown to around the back of my head. I made a band out of my polka dot cotton that was 3 inches wide by my head measurement + 1 inch for seam allowance. After that, I cut out a circle of the polka dot fabric with about a 26-inch diameter. This would be the ‘crown’ of my hat.  I added Pellon 808 interfacing to both the band and the circle then sewed the back seam together on the band and folded it in half. I then gathered up the edge of the circle to match the circumference of the band, and sewed the edges together, then serged them to keep things tidy.  

In hindsight, I should have added a lining to the crown, but I figured no one would see it but me so I let it slide lol.  I added a comb to the inside of the band to keep it secure and then she was all done!  

The scarf was one long rectangle of fabric (I cannot for the life of me remember how long) that I added mid-weight interfacing to.  Then, I folded it in half, right sides together and stitched a ½ inch seam allowance to make a long tube, then I stitched the seam allowance closed, making a channel to insert ⅜ inch elastic into. Once the elastic was secured, I turned everything right side out and hand sewed the back seam together.


My wig started her life as an Arda wigs Lulu, and two long curly clips in Princess Pink. I wanted to use shorter clips, but the only ones that came in the corresponding color were the long ones. I chopped off a good bit of length and straightened out the curls with my blow dryer.  Then I fluffed them with some backcombing and hairspray, smoothing down the outer layer.  I trimmed the bangs on the Lulu and combed and sprayed them to come to a point in the front, and then added the clips.  Super simple but very effective!

Extra bits:

My contact lenses were EOS Fairy Green and my facepaint was Ben Nye’s Color Cake in white. (I had some trouble with this but I figured out what I was doing wrong for next time!) The tights were a pair I got off of Amazon years ago that had just been sitting in my prop drawer haha!

The booties I’ve had for at least 5 years and have only worn twice, but I knew they’d be perfect for Charlotte.


And that’s pretty much everything!! I hope this was clear enough to follow, but feel free to ask any questions you might have!  

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Photographer Credits:

Ash Snap’Em


Helpful Tutorials:

Work in Progress Photos: 

Additional photos on Instagram.

Photographer Credits: 

Completed: July 2017

Hours Spent: 200+

Patterns Used: 

  • Simplicity 8162
  • Simplicity 4092
  • McCall’s 3609

Super Helpful Tutorials: 

Construction Process: 

This build was an intense project! We started working on the mock-ups and underpinnings in late January 2017. I (The Geeky Seamstress) took helm on making the corset and chemise. When Victoria Bane joined the group in February, she dove right into assist mode and tackled the hoop skirt and the tulle petticoat.



For the corset, we followed the pattern mostly as is, adjusting for Storietellers‘s height. She also wanted a secure and historically accurate-ish set of underpinnings, so I referred to the American Duchess 18th Century Stays tutorial on adding extra boning placement. Since I added A LOT of boning to the pattern, we opted to use a combination of spiral steel, flat steel, and cable ties for the boning, with the last one being used in the majority of the body to fill the smaller lines. Steel boning is a wonderful option, but it can get pretty pricey, and we didn’t want to have to tip all those bones ourselves! Historical costumers often use cable ties as a cheap substitute for whale boning, and it suited our needs quite well.




Victoria Bane likewise followed the pattern as-is for the hoop skirt. The major challenge with it was adding lots of extra height! Storietellers is 5’8″, and wore crazy platforms under “Walpy” to get a larger-than-life witch vibe. We used steel hoop boning for the channels, and Vickie finished off the bottom of the skirt with a lovely lace trim.


We started with the top portion of the dress, using Simplicity’s Pirates of the Carribean pattern 4092 as a guideline. There were definitely a few fit issues, covered fairly comprehensively here. To make this pattern more accurate to Walpy’s design, I lengthened the sleeves and added a bell shape to the ends.

This dress pulls inspiration from 18th century robe a l’anglaise designs, so we nixed the lacing in the concept notes and added Watteau pleats. We also added Walpy’s topskirt to the bottom of the bodice to reduce overall bulk at the waist and reduce the number of pieces Storietellers has to wear.

We also decided that we wanted to make the stomacher a separate piece, so we took cues again from 18th century designs and added an under-stomacher closure. The under stomacher portion closes with grommets and lace, allowing for some flexibility in sizing. In hindsight, I should have added some boning to this section, since the stretch taffeta we used likes to collapse on itself over time. Thankfully, the stomacher helps combat that situation. The stomacher attaches via heavy duty snaps instead of traditional pins and stitching, since we didn’t want to have to sew Storietellers in every time she wore it.


The stomacher was a collaborative effort between myself and Storietellers! I ironed and interfaced some satin brocade, and Storietellers did the beading by hand. Once she was finished with that, I added a strength and lining layer to the stomacher and added lace trim around the top and bottom edges. I used quite a bit of boning to help support the weight of all those beads, including some flat steel boning I had on hand.


Trying it all on!

The skirts were fairly straightforward, but gave us a bit of grief since we were on a time crunch when constructing them. Koholint and Victoria Bane stepped in to help expedite construction! The base skirt is a giant rectangle with a brocade center that gathers with a drawstring, and the skirt that goes over it is essentially an open front skirt that operates the same way. We didn’t have a lot of time for patterning, so this approach worked, but created a lot of bulk at the waist. If we get a chance to go back and tweak it, I’d switch to more of a trapezoid shape for both skirts that decreases in size at the top to minimize waist bulk.

For the headdress, Storietellers started by getting her head cast by MASK Props. From there, she created a chicken wire frame around the plaster mold, covered it in plastic wrap, and sketched out the design and boundary lines with a Sharpie. After that, she used 3 layers of newspaper paper mache to create a base, making sure to leave room for the eye holes. She repeated the paper mache process until it was about 1/4″ thick all around. To conceal the crown of the headpiece, she used e6000 to attach flat pearls and mosaic stones.

Final Notes: 

Like many projects, it’s always easy to see what you should have done differently after it’s complete. While we were mostly  happy with how this piece turned out, there’s definitely some improvements we’d make if we were to do this over.

Still, Storietellers was an impressively awesome witch and Ash Snap ‘Em did a fantastic job photographing this monster of a costume!

Check out photos from this set at the top of this post and in our Madoka gallery!

GeekySeamstress here again! Almost as soon as  Cosmic Coterie  officially decided to tackle Madoka Magica for our big build this year, Koholint and I started brainstorming Madoka. We split the labor so that Koho took the upper half of Madoka and I took the lower half. I’ve followed several Madoka cosplayers over the years, and I was absurdly excited about making that ridiculous donut skirt.

The Petticoat


My first step in tackling my portion of Madoka was the petticoat. That giant donut skirt needed a support structure for the floof, so I turned to Jessie Pridemore‘s Madoka petticoat tutorial as a starting point. There are 10+ fabric layers total in the petticoat: 5 layers of chiffon circle skirts with serger-gathered satin ribbon ruffles, a layer of cotton crinoline, and 5 layers of gathered double-circle skirts made from tulle. There are also 120 yards of satin ribbon attached to the hem which also add to the overall fluffiness.



As Dani and I started leveling the hems, I realized I wasn’t getting the volume I wanted out of the petticoat, and I was worried the donut skirt would ultimately weigh the petticoat down. Koholint pointed me in the direction of some tutu research she’d done. Tutus layer shorter layers on top of longer layers to create a fuller silhouette, which was perfect for our needs. Plus, it was kind of a cool nod to the ballet inspiration behind Madoka!

Bulk at the waist was a major concern, especially since Dani has a fairly short torso and we needed the bodice to be snug, so I attached all the skirt layers to a short yoke with an elastic waistband (and some pink satin ribbon I had on hand just because).

The Donut Skirt


Fun fact: the original had so much bulk that I had to use pliers to pull my needle through.


Round 1

The donut skirt was way more of a challenge than I initially anticipated. I went back and forth on a couple of approaches, but ultimately wound up using The Dangerous Ladies guide to Madoka’s skirt as a starting point. I originally set out constructing it as a super long gathered rectangle on both the top and lining layers. I quickly realized this would create far too much bulk under the bodice. To counter this issue, I opted to just gather the fashion layer (underlined with tulle) and create a circle skirt lining. Both layers were attached via a waistband which went under the bodice. The gathered portions sat just beneath the bottom of the bodice. The skirt closes with a lapped zipper.


Getting there…

Figuring out an appropriate length for the fashion layer took some trial and error. Ultimately the fashion layer was about 3-4″ longer than the lining, which gave me room to stuff the skirt with extra tulle for that ridiculous puff.


Still trying to get that shape!

The ruffles on the skirt are made from 5″ bias cut peachskin. Since the magical girls in Madoka Magica don’t really have a uniform design, we decided to make sure we all had peachskin ruffles with rolled hems in our accent colors to bring a little uniformity to the designs. Koholint took care of the rolled hems, and I gathered them on my serger. The ruffles are sandwiched between the lining and fashion layers.


You can see me stuffing the crap out of that donut skirt in the top left! Bows and bodice by the crazy talented Koholint.

The Top Skirt



The pink top skirt was mostly handled by Victoria Bane. I drafted out the pink skirt based on the circle skirt we used for the petticoat and lining of the donut skirt. We had to remove a petal to get it to lay right on the donut skirt, so in hindsight, I would have drafted it as a 3/4 circle skirt instead.



Vickie airbrushed the white gradient onto the petals using Creatix paint and sewed up the skirt (side note: I’m still dying over how smooth that gradient is. Vickie rocks). The gems were scrapbooking stickers we found at Jo-Ann’s and glued on.


Other Pieces

Since the skirts are so ridiculously short, I made a quick set of bloomers using Colette’s free Madeline pattern. I kind of wish I’d added a higher waistband for these since they ride pretty low, but they do the job.

Dani’s stockings were generously donated by We Love Colors. To create the ruffles at the top of the stockings, I stitched some reject peachskin ruffles from Dani’s skirt onto elastic bands. We tried using 2″ ruffles for the skirt initially, but they were waaaaayyyy too short to show up properly. We added a little extra flair to the stocking ruffles by adding some leftover trim from Koholint’s fabric stash.

Final Thoughts

Despite the crazy amount of work that went into these skirts, I’m quite pleased with the final result. There are a few things that I’d go back and fix if I were doing it again (side-eyes spots with uneven gathers), but the silhouette is pretty damn nice.

Onto the next build!

Photos by Ash Snap Em Photography

Who’s your favorite character from Madoka? 

Hey everyone! Space Cadet here!
I’m pretty pumped to share with all of you what I did to make my Homura costume! Hopefully, it inspires others to make this costume as well.

Materials I used:
Kaufman Stretch Vera Sateen Wide in Lilac, Black, and White
JoAnn Peachskin Solid in white
Polyester Spandex in black and purple
Polyester Satin (matte) in purple
1/2″ double fold bias tape in black and white
1/4″ double fold bias tape in black
SF101 Shape-Flex interfacing by Pellon
Invisible zippers in black, white, and lilac
Black iron on vinyl
Wonder Tape
Wonder-Under Pellon 805R
1″ elastic
Fray Check
Matching thread

Soul gem by UniqueCosplayProps
Wig is a Venus Silky in Thistle by Arda Wigs and dyed gray using iDye Poly (dyed and cut by Victoria Bane)
Time Shield 3D print file by Subzerofusion, printed by Shapeways

The skirt is a basic box pleated skirt with 2″ pleats. I didn’t use a pattern or a tutorial for the skirt but there are a bunch out there on the internet to reference if needed.

Skirt Ruffles:
I used the peachskin here and did a rolled hem with a lilac thread to tie in with the other characters in our group. All of us used the same white peachskin fabric and a rolled hem in our respective character colors to have something to bring the costumes together in a simple way. I created the ruffles by first making continuous bias tape using this method. I then serged one end with the rolled hem with lilac thread. After that I made my life difficult and pleated the ruffles with 1″ box pleats.

In retrospect the pleated ruffles added a bunch of bulk in the skirt hem so I should have done regular gathering with the serger like the other girls did. LESSON LEARNED!


(unpressed skirt with ruffles)

Black Shirt:
For this shirt I used McCall’s 6124 and made alterations such as making a swayback alteration, nixing the buttons for an invisible zipper, drafting a different collar stand to attach the black collar to, and altering the sleeves. The black collar that I attached was a pattern I traced from Kiya’s old Homura costume collar (THANK YOU!!!).

The mitered corners on the bias binding and the diamond on the back of the collar was the learning curve for me and I used this tutorial for the inset mitered corners on the white shirt sleeves and reversed the technique for the regular mitered corners. I interfaced the top of the black collar and then added the diamond


(black shirt with practice collar and unpressed skirt)


(black collar)

White Shirt:
This shirt was created by using and altering the Simplicity 1779 pattern. I added a swayback alteration, altered the neckline, altered the sleeves, and removed the button closing in the front. I was going to add an invisible zipper in the front of this shirt but it was giving me a hard time with puckering and I was running out of time. I ended up stitching the front closed. I highly recommend using a zipper though since it is much easier to get on and off with one!

The bias binding on this shirt was the most difficult part with all of the mitered corners. The link to the tutorial I used for mitered corners is linked above in the black shirt section. On each sleeve, I added the diamond above the sleeve V by folding the edges of the diamond under, securing to the sleeve with Wonder Tape, and topstitched them down.


(white shirt sleeve bias binding detail)

Lilac Collar:
For the lilac collar, I drafted a pattern and cut two pieces from the lilac fabric. I interfaced one of the pieces and stitched the stripes to the right side of that piece. I used Wonder Tape to hold down the bias tape stripes while I stitched. I then sewed the right sides together of the two lilac collar pieces leaving a large opening in the neck, graded the corners, and turned it right-side out. Then it was attached to the collar of the white shirt. The approach was very similar to the black collar, minus the bias binding and no collar stand.


(top piece of lilac collar)

Leggings (aka “poots”/pant boots):
For the leggings, I used Kwik Sew’s K3636 pattern with a single seam on the inside of the legs. I extended the pattern down to my ankles and drafted a shoe cover pattern by wrapping the spandex around my base heel and getting it to where I had a single seam on the inside of the ankle and on the bottom of the shoe. I connected the shoe and legging patterns at the ankle and traced the mockup for a final pattern. I also marked the mockup where I wanted the diamonds to lay on the outside of the legs and transferred this in chalk to the leggings. Once each leg was cut out, I cut out diamonds in the same fabric as the leggings but in purple to place on the outside of each leg. I made sure to Fray Check the edges of each diamond. I used Wonder-Under to hold the diamonds down as I stitched using a stretch stitch and used stabilizer so my machine wouldn’t birds nest from the stretch fabric.

Once the diamonds were stitched down, I removed the stabilizer from the back, sewed the two legs together, and The Geeky Seamstress added the elastic waistband for me (THANK YOU!!!) while I worked on the bows.


(poots mockup with scrap spandex)


(stitching down the diamonds)


(stabilizer underneath the diamonds)


(poots leggie)

The last piece was the neck bow and back bow. I made the neck bow by making a 1″ tube and interfacing it with a 1″ strip in the bow loops. The tails were not interfaced so that they would move more freely. The neck bow tails were made by making a 1″ tube, sewing one end shut, and turning it right-side out. The back bow used 2″ bow loops that were also interfaced. The back bow tails were 2″ wide with a point at the end. I did not create a tube for the back bow tails but instead cut out 4 tail pieces, sewed right sides together, trimmed seam allowance, graded corners, and turned them inside out. The black designs on the back bow tails were added using iron-on vinyl once the tails were turned right-side out. I attached the tails to the bow loops by hand-stitching them to the back of the loops.

The bows were attached to the costume using a pin backing.



Photographer Credits:


Costume Notes:

Work in Progress:

Additional photos on Instagram under #coteriemakesmadoka


Prop and Accessory Credits:

Wig Credits: