Versailles, here, started from a particularly special plate. I've only ever seen one like it, and so I took special care, and more time in considering, before and during the cutting.
Most of my masks start from raw sheet, but the special challenge of working from old platters is just grand. I start by just looking at the existing pattern on the plate, and designing around that. I then hand-cut around and about that pattern with a jeweler's saw. before carefully raise the form. I use mallets instead of hammers and specially made wooden versions of my usual stakes and anvils, in order to preserve the vintage or antique engraving. It takes a lot longer to work these in a way that preserves the pattern, but it is so worth it. The base platter is silver-plated, the cut edges are sanded and polished as a piece of fine jewelry would be finished
The wonder of a metal mask is in the strength and give of the material. Because it is so strong, the mask can be very thin- this makes it both very light, and makes it possible to fit as a second skin. These won't block your peripheral vision the way a leather, paper maiche, or plastic mask would. They can be very comfortably worn all day and night- no worries about sweat or rain causing them to soften and lose their shape. Rinse it with clean water at the end of the night before putting it away. They can stand up to anything you throw at them. As for packing? Throw it in your bag. If you're checking the bag, maybe stuff a balled up pair of socks where your forehead would go. Easy.
Not planning to wear your mask? They won't mind. They can hang flat against a wall, or sit on a shelf.