Gown
 The
dress is a pale blue/silver crushed velvet (probably panné),
done over in gold leaf in a widespread arching diamond scallop
and swirling design, with what looks like sprigs of berries.
Down the center are eleven false buttons, gold and round (not
set on a seam).
The neck is scooped, with a one to one-and-half inch band of
trim in the same fabric as the sleeves. This is edged in the
self-fabric corded piping. Embroidered on the trim are close
set yellow gold flowers, with a bead each for the centers.
The dress is seamed in a similar way to her Green Archery dress:
a center front piece, and princess seams that end not at the
top shoulder seam but curve over to the sleeve. Also, no standard
center side seam. Instead, there is one direct side piece, allowing
better for a fitted waist and a wide skirt.
We don't know how the gown closes in the back.
Sleeves
The blue sleeves are probably silk charmeuse. There's an upper
and a lower sleeve: a short sleeve ending in a band of trim,
then lower sleeves. It seems that the upper and lower are separate;
often there's a gap between the trim and lower sleeve, and folds
of silk under it.
Where the lower sleeve attaches is the question. Is it a separate
underdress? If it follows the basic idea of Peter's and Edmund's
outfits it's plausible. But we're not seeing it anywhere else
except the lower sleeve. The likely option is that it's attached
at the armhole, or even at the top edge of the trim.
The lower sleeves are large bells that cascade beautifully
around her hands. The top hem falls at her wrist, but the bottom
of the sleeve extends at least a foot below her fingertips with
her arms hanging down.
Images suggest the sleeves are finished with a very slender
self-fabric binding. If not, it could be just a narrow rolled
hem.
Note that in the exhibit images the sleeves appear a much paler,
lighter blue than in the film and other images.
The two inch trim at the hem of the upper sleeve is simply
a band of the same fabric as the sleeves. Segueing the top sleeve
to the bottom sleeve, it's either finely topstitched about 1/4"
from the top and bottom or lined with itself, with piping in
the seam.
The band is embroidered in the same gold flowers as at the
neck, all about the arm trim. The embroidery is embellished
with trails of beads.
Her slippers are a beaded pale blue/silver velvet.
Cape
Her cape is a dark blue velvet, embossed with large medallions.
Bag-lined in a pale yellow/off-white silk satin, it's trimmed
at the neck and front edges in a twisted gold cording. The bottom
edge is simply hemmed, with the blue velvet overlapping the
lining in about a one inch hem. Fastened with a gold brooch
emblazoned with a lion head.
Crown, Hair
"The tiara of Susan is a wreath of daffodils and mountain
ash leaves. Daffodils are a symbol of spring, and mountain ash
wood, used to make bows, refers to her gift [from Father Christmas].
My inspiration is the art-nouveau movement. I love organic forms
and combining natural and unusual materials, so the daffodils
are carved from gold-lipped mother-of-pearl shell, and set against
engraved gold leaves." ~Jasmine Watson interview
There are at at least seven duos of daffodils, on a slightly
darker gold setting. This crown curves well over the top of
her head. She wears the same crown as an adult.
Her hair is parted on the right side, with two french braids,
more to the side of the head than is standard, and rather loose,
probably joining into one braid at the base of her neck.
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