Skip to content

Font size: AAA

Tennessee Arts Commission
  • About Us
    • About Us Overview
    • Board & Staff
    • Strategic Plan
    • Brand Toolkit
    • Arts & Economic Prosperity 6
    • Location
  • Grants
    • Grants Overview
    • Grant Opportunities
    • Apply
    • Review
    • Manage
    • TN Arts Initiatives
    • Grant Webinars Archive
  • Programs
    • Programs Overview
    • Arts Access
    • Arts Education
    • Community Arts Development
    • Folklife
    • Literary Arts
    • Performing Arts
    • Visual Arts/Media/Craft/Design
  • Resources
    • Permanent Collection
    • Exhibits
    • Governor’s Arts Awards
    • Arts Conferences
    • Artist Roster
    • Creative Aging Teaching Roster
    • Creative Placemaking Roster
    • Emergency Response & Preparedness
    • Teaching Artist Roster
    • Tennessee Makerspaces
    • TN County Demographics
    • TN Stages
    • Resources Overview
  • Connect With Us
    • tw
    • fb
    • yt
    • Sign up for the newsletter
    • News
    • Creative Opportunities
    • Media
    • Contact Us

Home > Exhibits > Savannah and Summer Cole: Journey Through the Eye of the Needle

  • This was a costume made for our neighbor to go to the TN Renaissance Festival. This outfit was totally designed on the fly and made from a curtain from Goodwill.
  • Before sewing patterns were a physical item, patterns were often printed in magazines. Summer found one such pattern in an online archive of Harper's Bazar Magazine from 1895. The measurements for the original were for a boy of 12-13 years of age. She only had enough fabric for a small child, so she scaled the pattern down to a size 5-6. The 'Duck' in the title refers to a type of cloth.
  • The two girl dresses were made for two of our sewing students to attend Dickens of a Christmas in Franklin, TN. They were both inspired by museum pieces found online. Made using period methods but sewn with a machine. Bonnets, muffs, and hairpieces were also made.
  • This suit was inspired by the NBC Television series Hannibal. The Hannibal character in this show wears many wonderful suits and by the end of the series the sisters decided they both had to have one. They bought a used tailoring textbook and taught themselves how to make a three piece suit. While the suit pictured is inspired by the show, it is not an exact cosplay. The suit also doubles as practical garment for the real world. Materials: wool, lurex, polyester lining, horn buttons.
  • This dress was made using a vintage pattern from 1922. Since Savannah was using an actual period pattern, she made this dress on a 1910 treadle machine and used only period accurate methods to finish the seams. The dress was made from a cotton seersucker fabric that she hand dyed. She also made the matching swimsuit using the bodice part of this pattern and drafted the rest. The dress is a pullover style, and the suit a step-in romper that fastens at the shoulders with buttons.
  • Savannah made a matching swimsuit using the bodice part of the Sailor Dress pattern and drafted the rest. The suit a step-in romper that fastens at the shoulders with buttons.
  • These outfits were inspired by the fashion of PBS's Downton Abbey. An exhibition of the costumes came to the Cheekwood Estate and Gardens, so the sisters made these costumes to wear to the event. The blue and cream dress is from 1912. It is in a slim style called a hobble skirt. Under the blouse, a vintage guimpe was worn. The light green dress is based on a 1920's silhouette.
  • The sisters visited Biltmore Estate for their birthdays. In preparation, they made two 1920's dresses in theme with the time period of the great house. These dresses were made from an antique pattern from the 1920's as a base, and altered to get one of fuller silhouettes from the time. They used thrifted fabrics to save money. The material for both dresses cost us less than $10.00.
  • This ball gown was made for a young lady attending the 1861 Girls' School in Columbia, TN. At this camp girls spend a week as if they are in the 1860's. They are required to bring appropriate attire, one dress being a ball gown for the dance at the end of the camp. Savannah made this dress from a pattern that was taken from an extant garment from Janet Arnold's Patterns of Fashion 2. Materials: silk taffeta, a polished cotton lining, silk thread, and paper flower accessories. It was entirely hand sewn.
  • This client wanted a custom western wear shirt and skirt. She wanted to incorporate plants, bunnies, and Dolly Parton's signature which made for a tricky cohesive design. Materials: hand embroidery on cotton, machine embroidery on ribbon, glass rhinestones.
  • This client wanted a custom western wear shirt and skirt. She wanted to incorporate plants, bunnies, and Dolly Parton's signature which made for a tricky cohesive design. Materials: hand embroidery on cotton, machine embroidery on ribbon, glass rhinestones.
  • This client wanted a custom western wear shirt and skirt. She wanted to incorporate plants, bunnies, and Dolly Parton's signature which made for a tricky cohesive design. Materials: hand embroidery on cotton, machine embroidery on ribbon, glass rhinestones.
  • This was a graduation gift from grandparents to grandson. The grandson gave us a list of elements to work with, the most important being Tennessee, Texas, those state's flowers, and the Wyoming Bronco. Materials: hand embroidery on Tropical Wool, glass rhinestones.
  • This was a graduation gift from grandparents to grandson. The grandson gave us a list of elements to work with, the most important being Tennessee, Texas, those state's flowers, and the Wyoming Bronco. Materials: hand embroidery on Tropical Wool, glass rhinestones.
  • We created nine giant feet costumes for a High School production of 'The 25th Annual Putnam County Spelling Bee'. Each foot has a letter on its back. When the feet all line up correctly, they spell out 'Magic Foot'. It was our first time making this style of costume. We used car headliner foam and glued sequin sparkle fabric over the main foot pieces. The toenails and letters were shaped from glitter craft foam.
  • We created the phases 1-3 of the Audrey II puppets for a High School Production. Phase 1 is operated through a hole under the pot, she was rigged to wilt on cue. Phase 2 was designed for being handheld and mobile. Phase 3 was a PVC and foam construction to be worn around the actor, the mouth opened and closed by a second operator hidden from view. This costume also included a headpiece, leaf cowl, and gloves. We also made eight flower hoods for the ensemble dancers. Photo: Rachel Sparks
  • In the spring of 2023, the sisters were approached by the town Square Decorating Committee to see if they could help decorate for the Christmas season. They accepted with one demand; they got to decorate for Halloween. The sisters spent a couple of months designing, constructing, and painting this Paper Moon photo booth for the community to use during the fall season. Paper moon photo booths became popular in the early 1900s through the 1950s. They often traveled with carnivals or fairs with a photographer so patrons could get their photos made. They always wanted to do a big installation like this, and hope to do more.
  • In the spring of 2023, the sisters were approached by the town Square Decorating Committee to see if they could help decorate for the Christmas season. They accepted with one demand; they got to decorate for Halloween. The sisters spent a couple of months designing, constructing, and painting this Paper Moon photo booth for the community to use during the fall season. Paper moon photo booths became popular in the early 1900s through the 1950s. They often traveled with carnivals or fairs with a photographer so patrons could get their photos made. They always wanted to do a big installation like this, and hope to do more.
  • In the 1930's lounge pajamas become among the first trouser style garments for western women. These pajamas could range from both casual to formal wear. The lounge pajamas shown were inspired by an extant garment found on Pinterest through a public auction. Using a similarly structured pattern as a size guide, Summer drafted the pattern herself. The Paper Moon Booth is 8 x 8 feet.
  • This version of Alice in Wonderland is set in a 1940s World War II bunker. The costumes needed to make sense for a bunker situation, as well as be somewhat historically accurate. We created the bulk of the King and Queen of hearts costumes, as well as the four suit cards, and Alice herself.
  • This version of Alice in Wonderland is set in a 1940's World War II bunker. The costumes needed to make sense for a bunker situation, as well as be somewhat historically accurate. We created the bulk of the King and Queen of hearts costumes, as well as the four suit cards, and Alice herself.
  • This version of Alice in Wonderland is set in a 1940's World War II bunker. The costumes needed to make sense for a bunker situation, as well as be somewhat historically accurate. We created the bulk of the King and Queen of hearts costumes, as well as the four suit cards, and Alice herself.
  • This theater version of Alice in Wonderland is set in a 1940's World War II bunker. The costumes needed to make sense for a bunker situation, as well as be somewhat historically accurate. We created the bulk of the King and Queen of hearts costumes, as well as the four suit cards, and Alice herself.
  • This was the sisters first wedding dress design. The client ordered a dress online, but it got lost in the mail. She reached out and wanted a simple, strapless, lace dress with a high low hemline. After a fitting, we picked out the fabric together. The straps are removable. The hemline was the hardest part to do because the lace's embroidery design was straight on the fabric, but it had to fit around a curvy hem. Savannah had to cut around the embroidery, mold it to the shape of the hem, and then invisibly hand sew it in place. Summer made an under corset for this dress as well. Her other wedding dress was delivered right before the wedding but she preferred this dress and wore it to the wedding.
  • This dress was a custom commission from a client who found their Etsy shop. She found one of the bonnet ads where Summer was wearing the gold version of this dress. She wanted a historically accurate dress for her wedding and was so excited to find our shop. Since this commission was online, we decided to make a mock-up and send it to her. She sent us photos back, along with any problems that she found with the mock-up. We used historical methods to make this dress, but used a sewing machine to meet the deadline. The accessories were attained by the client. Materials: silk taffeta, polished cotton lining, freshwater pearl accents. Hand smocking on the front panel and sleeves. Photo: Shasta Bell Photographie
  • This dress was a custom commission from a client who found their Etsy shop. She found one of the bonnet ads where Summer was wearing the gold version of this dress. She wanted a historically accurate dress for her wedding and was so excited to find our shop. Since this commission was online, we decided to make a mock-up and send it to her. She sent us photos back, along with any problems that she found with the mock-up. We used historical methods to make this dress, but used a sewing machine to meet the deadline. The accessories were attained by the client. Materials: silk taffeta, polished cotton lining, freshwater pearl accents. Hand smocking on the front panel and sleeves. Photo: Shasta Bell Photographie
  • Megan showed us photos of a simple wedding dress she liked, we picked out the fabrics together and we ordered the corset coutil offline. The corset is a combination of a modern bra with a 1910 style long line corset.
  • The coats are probably the favorite thing in the sisters wardrobe. The princess seams and full skirt are flattering, and they can make you look dressed up even when wearing a simple shirt and leggings. This coat is made from a wool/acrylic blend using a commercial pattern.
  • The coats are probably the favorite thing in the sisters wardrobe. The princess seams and full skirt are flattering, and they can make you look dressed up even when wearing a simple shirt and leggings. Both coats are made from a wool/acrylic blend. They were made from a commercial pattern, but Savannah's (Purple/pink coat) was altered to mimic several aspects of late 1890s fashion.
  • This costume was made directly from a vintage pattern from the 1950's. At the time the sisters were just getting into costuming as a possible business. This ensemble was made from polar fleece, a hand crocheted trim, and pom-poms made out of acrylic yarn.
  • The sisters based the entire design on one piece of fabric which we had been holding onto for something special like this. The brocade chenille fabric was made into the vest, and the leftovers were cut up to make the applique trim around the over robe. Machine applique on rayon velvet, chenille brocade vest. Photo: Brian Vanden Akker
  • The sisters based the entire design on one piece of fabric which we had been holding onto for something special like this. The brocade chenille fabric was made into the vest, and the leftovers were cut up to make the applique trim around the over robe. Machine applique on rayon velvet, chenille brocade vest. Photo: Brian Vanden Akker
  • This ensemble was inspired by the music video of 'Your Power' by Billie Eilish. We bought tickets to her concert as a birthday present to ourselves and thought "what would happen if someone tried to walk into the concert with a snake wrapped around them?" The base garments were cut in the style of 1940's bomber jacket and trousers. The fabric was a lightweight, printed cotton canvas thrifted from Goodwill, and the jacket lining was reused from an unfinished project. Materials: hand embroidery on cotton canvas. The anaconda is 17ft long, and the embroidery is 6.15 square feet.
  • This ensemble was inspired by the music video of 'Your Power' by Billie Eilish. We bought tickets to her concert as a birthday present to ourselves and thought "what would happen if someone tried to walk into the concert with a snake wrapped around them?" The base garments were cut in the style of 1940's bomber jacket and trousers. The fabric was a lightweight, printed cotton canvas thrifted from Goodwill, and the jacket lining was reused from an unfinished project. Materials: hand embroidery on cotton canvas. The anaconda is 17ft long, and the embroidery is 6.15 square feet.
  • This costume was an experiment to see if Savannah could make a dress out of real, living plants. The dress consisted of a small hoop skirt with pockets to hold the dirt and plants. Two of the dresses had a bodice that was covered in real moss, and the third a pinecone corset. These dresses were planted and grown out for about two months before wear. Then the plants that made it through the event would be planted in our garden afterwards.
  • This costume was an experiment to see if Savannah could make a dress out of real, living plants. The dress consisted of a small hoop skirt with pockets to hold the dirt and plants. Two of the dresses had a bodice that was covered in real moss, and the third a pinecone corset. These dresses were planted and grown out for about two months before wear. Then the plants that made it through the event would be planted in our garden afterwards.
  • The main fabric of the coat and shirt were hand dyed. Savannah hand wove the brown trim on the shirt chest and made the coat hem and vent trim. The pants have hundreds of rows of machine stitching on them, and the pocket flaps on the coat have several layers of patches of the shirt fabric overlayed on top of them, which were distressed with diluted acrylic paint. The creation of this costume spanned 8 months due to issues finding and receiving the materials. The coat is made from Lithuanian linen, and the leather rickrack trim came from Canada. Both were long waits for packages at the time. Photo: William Wakeman
  • The main fabric of the coat and shirt were hand dyed. Savannah hand wove the brown trim on the shirt chest and made the coat hem and vent trim. The pants have hundreds of rows of machine stitching on them, and the pocket flaps on the coat have several layers of patches of the shirt fabric overlayed on top of them, which were distressed with diluted acrylic paint. The creation of this costume spanned 8 months due to issues finding and receiving the materials. The coat is made from Lithuanian linen, and the leather rickrack trim came from Canada. Both were long waits for packages at the time.
  • The main fabric of the coat and shirt were hand dyed. Savannah hand wove the brown trim on the shirt chest and made the coat hem and vent trim. The pants have hundreds of rows of machine stitching on them, and the pocket flaps on the coat have several layers of patches of the shirt fabric overlayed on top of them, which were distressed with diluted acrylic paint. The creation of this costume spanned 8 months due to issues finding and receiving the materials. The coat is made from Lithuanian linen, and the leather rickrack trim came from Canada. Both were long waits for packages at the time.
  • The inspiration for the Bone Armor came from a story called 'The Skeleton Woman' from the book Women Who Run with the Wolves by Clarissa Pinkola Estes P.h.D. Materials came from childhood bone (mostly cow and goat) collection.
  • The inspiration for the Bone Armor came from a story called 'The Skeleton Woman' from the book Women Who Run with the Wolves by Clarissa Pinkola Estes P.h.D. Materials came from childhood bone (mostly cow and goat) collection.
  • This costume was made for our neighbor to go to the TN Renaissance Festival. It is made up of a pink satin romper that had a crenulated hem to emulate inner petals. Then, extra petals were stitched on topically to the waistline. Each petal had wire at the edges to help hold the petals out. The bodice was an 18th stay, designed to look like the base of a flower and sepals. The wings were a wire base with nylons stretched and sewn over them. Acrylic paint was used for the veins and markings. The wings were supported by slipping them down the bodice in the back.
  • This was a personal project made as a response to Summer's Bone Armor. Savannah wanted to make a set of armor to match Summer's with another natural material based loosely on historical scale armor. Made of 755 scales, weight 21lbs
  • This was a personal project made in response to Summer's Bone Armor. Savannah wanted to make a set of armor to match Summer's with another natural material based loosely on historical scale armor. Made of 755 scales, weight 21lbs
  • This was a custom commission for a client that loves to garden, and find interesting things in nature to stow in her pockets. She also wanted a reference to her dogs in the jacket. She wanted some sparkle on the jacket, but didn't want rhinestones. Savannah opted to use beads to make it look like it was raining instead. Materials: hand embroidery on 100% Linen, glass beads.
  • This was a custom commission for a client that loves to garden, and find interesting things in nature to stow in her pockets. She also wanted a reference to her dogs in the jacket. She wanted some sparkle on the jacket, but didn't want rhinestones. Savannah opted to use beads to make it look like it was raining instead. Materials: Hand Embroidery on 100% Linen, glass beads.
  • This was a custom commission for a client that loves to garden, and find interesting things in nature to stow in her pockets. She also wanted a reference to her dogs in the jacket. She wanted some sparkle on the jacket, but didn't want rhinestones. Savannah opted to use beads to make it look like it was raining instead. Materials: hand embroidery on 100% Linen, glass beads.
Savannah and Summer Cole: Journey Through the Eye of the Needle

December 6, 2024–January 24, 2025

When it comes to creativity and craftsmanship in costuming, look no further than Savannah and Summer Cole, the talented twin sisters behind the thriving costume design business The Wilted Tulip Costumes. From historical garments to fantastical creations, their work exemplifies the art of costume design in ways that blend history, personal expression, and the spirit of adventure.

“People come to us for the customization we provide in costuming. They can get a costume they cannot find anywhere else, made to their unique measurements, and in a fabric and style that is exactly what they want. They get to co-create their vision with us and can be as involved or guided in the process as they wish,” Savannah and Summer say.

The sisters are fearless when it comes to creative experimentation. They work with unconventional materials like shells, live plants, bone, and even sheet plastic to bring their wildest designs to life. More.

View Previous Exhibits
Tennessee tristar logo
TN logo

Address: 401 Dr. Martin Luther King Jr. Blvd., Nashville, TN 37243
Phone: 615-741-1701

For accessibility accommodation requests including alternate digital formats, captioning, ASL, and assistive technologies please contact Kim Johnson, Director of Arts Access, 615-532-9797.

  • twitter
  • facebook
  • youtube
  • instagram
  • About Us
  • Grants
  • Programs
  • Specialty License Plates
  • News
  • Resources
© 2025 All Rights Reserved Tennessee Arts Commission | Privacy Policy
Web Desgin by DesignUps