"Poor fool, he makes me laugh - ha-ha-ha-ha-ha!"

This is basically the only costume sketch where Maria Bjørnson didn't make Carlotta look drop dead gorgeous. I wonder why?

The costume consists of a three main parts: a mighty frilly underskirt, with a draped apron and rows and rows of lace ruffles, a corseted bodice with decorated front (=stomacher), and an overdress with trims and a train. The overdress is attached so the bodice and decorated skirt can be seen, and is often draped as a "polonaise", I.E with one "pouf" in the back and one over each hip. The overdress also has elbow length sleeves showing off lace engageants, and in the costume design it's suggested a pink floral fabric is to be used.

Accessories include a high wig "powdered" white and decorated with feathers. In the UK Carlotta also use a folding fan, as can be seen in the design. Because this is Carlotta's fastest costume change - dressers stands ready behind the Il Muto bed to get her out of the b/w dress and into the Countess one - there is no time for changing the shoes. She therefore keeps her black Victorian boots, whereas a true Rococo lady would wear delicate high heeled pumps. However, black boots also what the costume design shows.

This text accompanied an exhibited dress in the USA: "A rich lady of this era would receive visitors in this state of undress. To our eye it seems like a lot of garments for the boudoir. In the opera "Il Muto" Carlotta is playing "The Countess" wearing this frothy pink costume with a lace negligée. Joining the countess in this scene are her hairdresser, a jewelry salesman and his assistant, her confidante and her new "maid" who is really her new lover in disguise."...