Late 18th Century Stays

So, like much of my costume wardrobe, my 18th century stays aren't fitting so well these days, so I decided to make a new pair. I've never tried making a later 18th century pair of stays, so I thought I'd try out JP Ryan's new half-boned stays' pattern (pictured above).

Unlike her fully boned stays, I've experienced some fitting issues with this pattern. I usually really like JP Ryan's patterns, but I've had some frustrations with this pattern. It might have actually been the same amount of work to scale up a pattern from one of my costume books. I had to redraft the pattern, shortening it by 2.5 inches, adding 4 inches in the bust, and shrinking the waist by 2 inches. I had to make two mock-ups - my edits made the pattern the correct proportions, but it was too large. Here's my first mock-up (clearly too big)
I forget sometimes that I'm very squishy. Here's the second mock-up...apparently still too big, even if my dress dummy fooled me:Luckily, I didn't want to make these stays meet in the back as the pattern is designed to do, so I just took the excess out of the final back pattern piece and was back in business.
Now I have to redraw all of the boning lines. This was painstaking work that took over an hour to get right, so I'm slightly frustrated. I'm also thinking the straps might be too short, but that's an easy fix and I have enough left-over fabric. You can barely make out the penciled in boning lines in the photo below:

Civil War Cage Crinoline

While I already own a hoopskirt, it's made as a petticoat with sewn-in channels. It's very similar to this cage crinoline at the MET. All the fabric (in addition to the steel) is surprisingly heavy. It's from the popular Simplicity pattern, but it's too long and is constantly scraping the ground. I could fix that, but it's also very large and not really designed for day-wear. I decided I'd like a new set of hoops, and wanted to try making a cage crinoline, like this one at the Victoria & Albert museum:
I purchased a fairly straight forward kit from Originals By Kay, and was able to put it together in an afternoon with my husband's help (I really don't like having to use the bolt cutters to cut the hoop wire). My dress dummy was a lot of help. It seems like period crinolines had many more hoops than modern reproductions, but our hoop steel is very different than what they had available during the civil war.The hoops are 108 inches in circumference, and are not an exact bell shape since they are ever-so-slightly larger in the back. That way my skirts will be more voluminous in the back. I would definitely recommend Kay's kit for convenience and ease of construction. There wasn't enough tape in the kit for me to make my waistband, but I have enough ribbon/tape lying around that it wasn't a problem. I admit I'm curious about the Truly Victorian hoop pattern since it includes a bag hem (you're less likely to put a foot through a hoop). Has anyone tried out the two different hoop styles?

I have a petticoat that will work with these hoops, though I know I should really make a new pair that:

A) Fits better
B) Has a flounce
C) Is neither too short nor too long

Completed Civil War Corset

Here's a finished shot of me in my new Civil War corset. It'll do the job so I can move forward with my Gettysburg dress, but it's a bit too small...I can't even post the back shot because I'm a bit embarrassed by the fit. In hindsight, I definitely should size up Simplicity 7215. It was my favorite corset, and I hope to fit back into it someday.

18th Century Calash Bonnet

Today I'm going to review my Calash bonnet project from the Burnley & Trowbridge workshop. These somewhat goofy looking bonnets served a fairly practical purpose - to protect a lady's hairstyle from the elements. I found a few period illustrations of a Calash showing enormous examples, most likely from the 1770's:

Here a smaller portrayal of a Calash bonnet, also from the 1770's (the portrait is titled "Miss Crewe"):

This is most likely a satire portrayal of a calash, but I like that it's a more rounded shape consistent with the hairstyles of the 1780s. It also shows off the lead string or ribbon that's sewn onto the calash. The bonnets are very lightweight, and a lady could hold onto the ribbon to keep the calash from blowing off. Janea told us that contemporary lady magazines frowned upon young ladies who snapped their calash ribbons in order to be noticed by passing gentlemen. Shocking!

Here's Emma modeling the milliner shop's calash that's based off the Spruce Sportsman. The reeds in that sucker are 40 inches long!

Here's my calash in progress. I chose a green silk with pink lining, similar to this calash at the MET. I worked all the channels by hand with silk thread. This is one of the few projects I've made that is 100% hand-sewn.Here's the finished product from the side:Here's a nice shot of the contrasting lining. I can't find the reference, but apparently this color combination was compared to a blushing rose. Although they appear slightly cumbersome to the modern eye, apparently calashes could be very romantic (or coquetish...if you go around snapping your ribbons) accessories.And here's the back, finished off with a small ruffle and bow.And here I am with the obligatory mirror shot. Don't I look period correct with my shorn hair, glasses, and red t-shirt? I just didn't have the energy to dig out my wig. But, you can see that I have plenty of room for a towering coiffure.

18th Century Mitts

Next up from my weekend in Williamsburg: mitts!! I've always wanted a very pretty pair of mitts, but I could only find wool/linen mitts that were cut too big or too small. This way, I got to make a fancy set of mitts fit to me.
Here's an example of 18th century mitts (the painting is called the Lady with the Veil). I love the raspberry changeable silk with the blue lining. Isn't that a fantastic color combination?! It wouldn't work with any of my dresses, so I decided to go with something else. There's something very coquettish, though, about having the tip of the mitt flipped back to reveal the lining.Here was the inspiration for my project - a pair of silk mitts from Colonial Williamsburg's collection. It helped that there was a reproduction of these available to look at during the workshop. I made a simpler version of this pair: I ditched the inner arm cut-out, green accents instead of blue, no leather lining, and less embroidery because I just don't have the patience.Here I am getting the muslin for my mitt pattern fitted. There definitely seemed to be an art in getting things to fit properly. Sarah, from the Mantua Maker shop, was a pro and tugging, tucking, and otherwise getting the uncooperative fabric to conform to my hand. Here's a shot of the finished product (ignore the non-period fingernails). The fabric is a duchess silk satin. I saw it and immediately fell in love (I was actually holding another bolt of fabric for my mitts when I spotted this fabric underneath a pile on the fabric table). Little did a know that there's a story behind the fabric: the satin was a remnant from Vera Wang! Yes folks, I made a pair of mitts out of the fabric Vera Wang uses in her $5,000-and-up wedding dresses. Pretty neat, huh? Here's a shot with the tips flipped back to show off the sea-green silk taffeta lining.

I decided to finish the edge of my mitts the same in the same manner as my inspiration gloves: a herringbone embroidery stitch up the side in silk embroidery thread.

This is what it looks like when I'm wearing it. The camera didn't do a great job of capturing the stitches, but you get the gist.

18th Century Muffs

Ah...muffs. What an elegant accessory! I can't imagine why they fell out of style. Especially the very clever 19th century muffs that had hidden pockets inside. Apparently 18th century muffs did not commonly have pockets. Fur and feathers seem to be most commonly depicted in 18th century fashion plates. The period examples I have found, however, are not dominated by fur/feathers (though the MET has one in its collection). Maybe they were just considered more fashionable/desirable but were more expensive? Anyone know? Here's a 1770's French fashion plate from Galleries des Modes et Costumes Francais showing what appears to be a fur muff:

The Museum of Fine Arts in Boston has several muffs in its collection, including some very pretty silk muffs. The one below features gorgeous silk satin and a portrait medallion. Portrait medallions seem to have been pretty popular decorations for muffs, but since I don't want to mess around with printing out an image with my printer on silk, I decided to forgo this option.

I really liked this example as well. It features some gorgeous detail work, including fly fringe. Having learned how to make fly fringe during the last class I took with Burnley & Trowbridge, I can tell you that's a big time investment! I think I managed about 6 inches of fringe after four hours of labor.

I have Emma from the Mantua Maker's shop to thank for helping choose this amazing color combination. I had already decided to go with green silk for my muff because I thought it would go nicely with my pink Robe Francaise. When I couldn't decide on how to trim the muff, Emma steered me towards the gorgeous peach silk ribbon. One of the great things about the muff is that it's essentially a pillow cover. I made a linen tube and filled it with wool batting for the inside. The silk cover slides on and off the pillow, so I can make as many silk covers as I want! That's nice since it seems like I'm always new gown in completely different colors.Here's the finished product! Doesn't it make you think of candy? A salt water taffy, or maybe French Macaroons? I definitely fell victim to the color palate from Sophia Coppola's "Marie Antoinette," but who cares?!Here are all the lovely muffs that were made during the Burnley & Trowbridge workshop.

Girl's Revolutionary Dress

This project is finished. Here's the final photo:
The front panel is a pink satin. I used net trim that I found in the .97 cent bin (wohoo!), roccoco trim on top of that, and net lace for the sleeves. With the exception of a little trouble with the zipper, no problems, and the dress went together like a dream.

I'm also announcing that I'm assembling a gallery of my completed projects so they'll be all together in one place.

Robe Francaise

George Washington's Birthday Ball

Well, the Regency ballgown is officially completed. I hemmed it last week, and wore it to George Washington's Birthday Ball at Gatsby's tavern. Dave came to the ball with me (it was Valentine's day) and I had a GREAT time dancing! I spent a good portion of the night 'costume shopping,' or admiring other lady's outfits to find out where they got their patterns/wigs/accessories. The Ball was set in the year 1799, and I'm a bit too avant-guard - my dress is more like an 1805 or 1807 dress. The lady that's in the picture with me is perfect for the year 1799:
I love her overgown, the long gloves, and the turban was perfect! I have an overgown and turban planned for this gown, but CostumeCon priorities come first until May.
Mary took this great shot of my dress from the back, and I went ahead and helped myself to it because I like how it shows off the pleats at the back of the gown.Here, Mary and I post together out in the banquet room, as we enjoy chocolate dipped dried fruit, cream puffs, and other yummy indulgences in between dances. Mary attends sewing night with me, and it was great to see a friendly and familiar face there!

Here was another great 1799 gown/overgown combination. The couple pictures is dancing the opening minuet at the Ball. It was very pretty, and I have to admit, not at all what I expected a minuet would be.Loren gets the prize for my favorite costume of the evening. It had that 'all together' look that was just perfect. Her wig is EXACTLY what 1799 hair should look like, the overgown is gorgeous silk, and the undergown is fine transparent cotton with a white embroidered hem. I thought she looked very nice. Loren and I met at the Williamsburg Riding Habit workshop - I'm apparently finally getting a good handle on the costuming community!

18th Century Completed Stays

I hereby declare the never-ending 18th century stays project complete!!! This is the first garment I ever made that was drafted and crafted for my measurements.
I hand-bound the edges of the stays with a very soft goat leather. The wooden bones don't poke through the leather. Any future corsets that I make with wood will have leather binding! The inside of the stays are lined in a checked linen. Apparently plaid and stripes were the most commonly found linings in 18th century stays.I picked up this handy little tool at the Williamsburg stays' workshop. It's a bodkin, and is used to help lace up your stays. Sure is a lot easier than using shoe lace plastic tips (and more period correct)So here I am modeling the corset. Caly wanted to be in the picture too. You would not generally wear a petticoat underneath the corset like I am doing, but my shift is very sheer so it's for modesty's sake.Here's the side shot. I have the perfect mid 18th century flat front. Without the flat front, you can't properly fit the 18th century gown which requires a rigid foundation.Whoa...cleavage shot. What I'm really trying to show here is the nice triangular shape that my torso has taken by wearing the stays. Again, this is part of the 18th century aesthetic. Here you can see how the corset is laced up. Rather than using a modern lacing technique (where it looks like you're tying a shoe), this corset is spiral laced. The eyelets are off center, and the corset is laced from the bottom up. This pushes everything up as you lace the corset, which is the desired effect for the 18th century. I never realized how lacing can be so important to giving the corset the right shape: this same corset looks different if I start lacing from the top and doesn't look correct. Victorian corsets are laced and tied in the middle, so that the waist is nipped in.
On an unrelated note...I've been finding old childhood photos, and I found this picture (I'm on the far left, my sister is the next one over). In one of those "as-luck-would-have-it" moments, my sister and I got to be walk-on girls for the Opera Eugene Onegin. I was nine years old. The Opera was in Europe, and this was long enough ago that the visiting opera troupe was known as the Opera of Leningrad. Wow was their costume room fun!!I loved having the little curls at the side of my head, and I thought my dress was so lady-like (my sister was very unhappy when they put her in a shorter gown and bloomers because if her age, but she was as cute as a button!). As we were leaving every night, the performers would come out in their enormous white ball gowns that seemed to stand out a mile, with lots of tulle and satin (if you've ever seen the movie version with Liv Tyler, this is toward the end where Onegin sees Tatiana at a ball and finds out she's married). I think these photos mark the beginning of my fascination with historical costumes.

The Amazing One Week Gown

Well, as usual my gown has made its "debut" without really being what I would call "finished." I went to an 18th century ball on Saturday night, and worked all week to get my gown to the point where I could wear it. Here I am earlier in the week, having finished the shell of my bodice. When I left the workshop last weekend I was pinned together, so I finished the seams on one side, and then used the finished product as a guide for finishing the second half of the bodice (which was never fitted since we ran out of time).
I was very happy with the way the back turned out. I love the little square formed by the shoulder straps and the nice point at the base of the bodice. And look at how well it's fitting...it's like it was made for me (*gasp*). The hardest part was repining the shoulder straps (Dave was a big help on this) and setting the sleeves into the bodice. Thank goodness for him, because my fitting double was pretty much worthless. My stays couldn't take the strain of squeezing the foam form (I apparently have more of a 'squish' factor than my foam form does).So here's the dress as I wore it on Saturday night. The fabrics match, so it's kind of hard to see, but there is an underskirt that is separate from the dress, and then an over skirt which is pleated and sewn into the bodice.One of the things I'll need to redo is the hem of the over skirt which is a bit too long in a few placed. Then I would like to trim the dress on the bodice and at the sleeve edges. I'm still debating adding a flounce to the under-petticoat, but there's something very nice about it's current simplicity.Here's the back. I'll need to hang the dress on my fitting double to make sure that something funny isn't going on with the pleats on the left side of the bottom point, but for the most part I'm very happy with how the over skirt pleated into the bodice.I took this shot from the side so you could see the silhouette that was popular towards the later part of the 18th century. I'm wearing a false rump. I tried my best to style my wig in the popular 'hedgehog' look. The silk ribbon in my hair is eventually going to be made into a belt for this outfit. I should still have enough leftover silk to use in my wig for a decorative touch.Just for fun, here's a photo of me in my cape, ready to walk out the door. I need to make a pocket for this outfit - I had nowhere to carry a camera, so unfortunately I don't have any pictures from the ball. There were some amazing outfits and wigs that I really wish I had photos of, but I'll just remember that for next time.