For this costume I chose two specific designs for my inspiration. I adore the Australian dance costumes. I love the use of velvety ropes in the skirts and the colour grouping, they are also full enough to look very different when they are in movement to when they are still.
However I was not quite as fond of the skirts as I would like to be. My favourite skirts are those from Germany as they are rather more elegant than most others. This is a gaudy costume but sometimes a little goes a long way.
historical details/my costume

Australian
I based mine mostly on Marina Prior's version as an image has become available that shows how different her bodice was from the other costumes used during the Australasian run.
I suspect her dance costume was not reused in later years whereas I think Maree's costume was passed on to Danielle Everett.
Marina's dance bodice was made from a regular velvet like more of the rest of the costumes in productions around the world. Maree's was made from crushed velvet (the green looks very purple in the stage photos) and this is the case for Danielle's bodice as well. What makes me suspect it's the same costume is the appliques on the black velvet; they are identical to Maree's. Marina's appliques are very different.
German
It's possible the costumes changed in the shift from Melbourne to Sydney rather than as a cast change as all the dancers bodices were changed at the same time. Looking at some photos of Marina in the Sydney run this seems to be the case after all.
The German bodices are very similar to other European bodices. The basic costume remained the same but the appliques varied quite a lot. Colby Thomas had a fairly large set of gold appliques, very densely sewn with a few jewels. Anne Gorner had a set of appliques rather like the Australian/Canadian and Spanish versions with a black background and sparse gold shapes sewn to them, she also did not have a gold border around them. Janine Kitzen had a set of appliques similar to Anne but three was a gold border.

Australian
It is hard to find photos of the skirts Marina and Maree wore. The only one I have seen is one in a brochure I own of Maree from the hips up. This is enough to show that while she may have got a new dance costume, her skirt was likely passed on from Marina.
The fake bodice section (peplum) is quite high on the hips and forms a gentle point in front. In this regard it is rather similar to the US versions. What makes it likely to be a handed on costuem is that this peplum is made from a regular velvet not crushed velvet.
The apron drapery is a red fabric that looks like it has a woven or printed darker spotted repeat, a border probably created by applied decoration rather than a woven or printed pattern in the fabric with wide gold tapes covered in green and red stones covering it. Gold ribbons form a trellised border along the edge as well.
Danielle Everett's skirt however has a new peplum. It forms more of a cuirasse body and covers more of the hips. It is also made from crushed velvet. In other regards the skirt looks very similar in this area to Maree's.
the skirt was later used in Korea and South Africa before being used for the "World Tour." In this form there have been many more images to be seen.
The tabs are rather bright and wide in comparison to other versions and there is an extra tab at the centre back. This is a feature I particularly like as it is seen in many versions of Carlotta's skirt.
The skirt "base" is a metalic fabric in stripes, some english versions use a similar metallic but plain fabric.
The pleated hem is mostly reds with some gold, quite probably a taffeta base with ribbons sewn on to create texture. The same gold ribbons create a matching trellise at the hem.
The waterfall drapery is quite unusual. Firstly they are rather wider than in any other production other than the US. In the US the drapery is loose however while the Australian one is carefuly pleated and folded as per the European versions. Another feature is the reversal of the colours. The drapery is red lined in green, creating red diamonds down the centre back with green triangles on the sides. Most European draperies have green lined in red creating green diamonds in the middle with red triangles on the outside. I am not sure if the Australian way is used on those skirts with a red as opposed to green base, but it does seem likely.
German
The German skirts are on the whole the most elegant versions, which is not to say they aren't beautiful and still ornate!
Most used the classic red apron on green but the tabs are made of the same fabric as the skirt in most cases. This is a lovely green/black shot taffeta for Anne Gorner.
Janine Kitzen had a green apron on red skirt, rather similar to some other European versions (notably used in Denmark and Spain, both of which apparently used recycled costumes from other productions. The fabric looks to be from a sequined saree, much like the other red skirts.
Colby Thomas was a very long running Christine and it's possible she had more than one version of the dress. A signed photo of her suggests a velvet skirt with a red/black taffeta apron. My favourite version of the skirt, Renee Knapp's, also suggests this. These two photos are rather dark so the details may be rather muddied. The original version of Carlotta's Elissa skirt though was indeed velvet and it make a nice contrast to allow the brilliant gold and jewels to really glow.
Renee's skirt had a rather differnt apron drape as well. It was bordered not with a fringe but a wide scalloped border of gold.
The pleated hems are ratehr more silvery grey in tone than the Australian, perhaps with a metallic fabric base to which other ribbons were sewn.