1740's Riding Habit

Another weekend, another Williamsburg workshop. This time we were learning to draft/drape 18th century riding habits. The riding habit above is one that the Williamsburg Millinery shop reproduced, and is an almost exact replica of a riding habit at the London Museum.


I went into the class only knowing that I wanted a green riding habit, with worsted wool in hand. I had no idea what style of riding habit I wanted to make - we watched a slide presentation showing habits from the beginning to end of the 18th century. Although I loved some of the later century riding habits (especially the hats), the riding habit on display had caught my eye and I was in love with it. When the instructor asked me what I wanted to make, I pointed over to the mannequin and said "I want that." And so, the 1740's riding habit project was born.

I took a close up picture of the back to show the pretty hand-detailed stitching, and the gorgeous point in the back of the riding habit. It's lined in the same blue silk taffeta that the waist coat is made from. I'm a little daunted at the prospect of figuring out how to drape the skirt of the coat by myself, as well as a few finishing details that I'm unsure on (cuffs, collars??).

At the workshops, we only work on the tops - the skirts are simple and something that we can do on our own at home. We get a basic fitting basted down, and then we're expected to finish up everything on our own. This is as far as my riding habit got. I have chalked on lines on the green wool which will take out some more fabric - right now it's able to close all the way down, but I actually only want it to button down to the bust gusset. I also have sleeves, but I didn't get a picture in them. They're very narrow and fit perfectly.

Here is my fitting partner - she had made her skirt and riding shirt ahead of time (I still have to make mine). The top was drafted by me. I think it went pretty well. I had some very minor corrections from the instructor, but otherwise I'm getting this draping thing down.

The instructor brought along an 18th century sidesaddle was pretty neat. We were allowed to sit in in and get a feel for what it might be like. How funny that this class was only a week before I started my sidesaddle riding lessons! I don't think the saddle above would qualify as a 'safety' sidesaddle that modern ladies use, but it's still fun.
I just HAD to bring back a picture of this Lady Worsley riding hat because I just drooled over it. There were so many feathers on that hat!! I tried it on and really liked it, but I'll have to figure something else out since my riding habit will be far too early for this look. Apparently ladies didn't wear tricorns after the 1730's (if you were British, anyway). I'm thinking I might take on an Austrian persona when wearing my 1740's riding habit so that I can wear a tricorn. Marie Antoinette was pictured wearing a tricorn in the 1770's.

I'll enjoy finishing this project, but it is definitely on hold for now. I'm putting the final touches on my regency ball gown before George Washington's Birthday ball (on Valentine's day), and then it's time to start some SERIOUS CostumeCon sewing.

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.

Let The Costuming Resume!

After devoting most of December to handcrafted Christmas presents for my family, I'm back to my costuming. It's definitely crunch time: I have a ball, a workshop, and Costume Con to work on, so I'm planning to devout quite a bit of time to sewing from now until May.

Just so you can see what I've been up to in December, here are photos of my family with their 'magic quilts.' The pillows unfold into quilted blankets. Above, my mother-in-law got a 'Provencal' style in blue. Everyone got a personalized quilt based off their hobbies and personalities:My sister-in-law got a kitty print pillow.

Her Husband got a hockey themed pillow

And my father-in-law (the LGB train nut) got a train themed pillow.

Right now my main focus is finishing the binding on my 18th century corset. I worked on it over the Christmas holiday (you can see my dog Caly dutifully assisting me), and I've been working on it in the evenings in front of the TV.

I just finished binding the top of the corset this evening: Of course, it's the easiest. I dread all those tabs on the bottom of the corset.

For those of you who have never used leather to bind your corset, I have to say I highly recommend it. My glover needle cuts through the leather like butter, and the leather stretches and conforms to the shape of the corset a lot better than normal fabric binding. There's the added benefit of having leather protecting you from any protruding reed bones as well. After my old corset, having a strong layer of leather in between me and the reed ends will be a welcome change.

Boning and Binding and Costume College

For some reason, despite the fact that I have rotated these pictures with my photo viewer, blogger refused to upload them without rotating them back to their original position. Sorry in advance for any cricked necks that may result from this post.
So I have finished boning my 18th century Stays. The Silly Sisters came through for me, and recommended that I replace the flimsy ash reed that just wasn't working with oval reed. What a difference that made! I feel like they're really starting to look like the real thing.Next up is binding the edges. I have 15 yards of fine white goat leather. I was apprehensive about binding the stays in leather since I had never worked with leather before, but I'm amazed at how easy the leather is to work with. I'm using a 'glover' needle, or a leather needle, which I'm sure helps. It is specially made to pierce the leather more easily. The problem I'm encountering is with my thread. My instructions recommend using silk thread, but the silk keeps raveling and bunching while I'm using it. Any ideas? Should I be waxing the silk before I start using it? I also have some more modern 'thread conditioner' I picked up at my local fabric store.As you can see I haven't progressed very far yet - I've been distracted with Christmas projects and preparations (I know, I know, excuses, excused). Overall, I think it will look very nice though. I'm using a backstick on the exterior binding, and a slip stitch on the inside. Once all the edges are bound, the lining and straps will get sewn in.

In other news, I have really got to crank up the sewing rate because I found out last week that I got a membership to Costume College (long weekend at the end of July/start August)! That means my Charles II mistress project is DEFINITELY on. I'll want to finish triming my 18th century Robe Anglaise before Costume College.

My sewing calendar for the next few months: finish my 18th century stays in time for my next Williamsburg seminar in January. I'll also need to bring a finished riding habit shirt and skirt (they seem fairly straight forward, and I'm not hand stiching them!). Then, in February, Gatsby's tavern is hosting George Washington's birthday ball, at which point my Regency Ball gown will make its debut. I would like to have an over robe in red velvet and a matching turban to go with it in time. Then, it's time for my Costume Con single pattern project, my vampire costume, and my secret masquerade secret. Hmm...any chance I'll get all of this done?? It's rather ambitious, but I'll give it my best shot!

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.

Williamsburg Zone Gown Workshop

I went down to Williamsburg this weekend for yet another fabulous Burnley and Trowbridge workshop. For this workshop, we were constructing backs made out of four pattern pieces, and then fronts that were either sectioned or had drawstrings (like the late 18th century chemise dresses).
Here, I'm at work draping the back of my fitting partner's gown.These were the pattern pieces that when my partner draped the gown for me. A 'quartered back' or four pieces make up the back of the dress. This back style was the basic difference between the Robe Anglaise and the draping back of the Robe Francaise.Here's a photo of me once we finished draping the front of the dress.Finally it was time for pinning and fittings.Many of the dress pieces are simple pinned together at this point, but the back has been completely assembled and finished. This is what the back of the gown will look like (I'll cut a rectangle of fabric...probably 108 inches long, and pleat it until it fits into the dress. The skirt sews right onto the finished bodice).Here's what the front looks like. The stripes are supposed to do that - I didn't mess up when I cut them. You can see the line where they have been pieced together. I'm doing to cover that line with some trim to dress it up a bit. This is what I walked away from the weekend with - I have more sewing to do to finish up assembling the bodice, and the it's up to me to figure out the skirt and petticoat. I'm pretty confident I can do it.
The owner of the Silly Sisters was at the workshop, and brought a period gown from her own collection for us to look at. The stitches were amazing, and it was interesting to see how the seamstress worked with what she had, piecing where she needed to.Here is a close up of the trim. As usual, I love the pinked edges. How pretty! Amazing that it has survived for over 300 years.There is talk of beginning 1812 workshops so that we'll all be ready for the 200th anniversary of the war of 1812. In honor of this, we got to see a replica of early 19th century stays. Given how much trouble I had making mine, I might take this course if they decide to offer it.
There was lots and lots of inspiring costumes on display this weekend. I love this cap made out of silk gauze (what we could call organza today).
The color and detailing on this jacket and petticoat combination are simply gorgeous!
I especially liked the back - it's a pet-en-l'air with a hood. I had never seen that combination before.
Here is a quarter back round gown, worn by one of the ladies that works in the Milliner's shop in Williamsburg. I love the little detailing at the bottom of the dress and the sash.
This gown has the drawstring front that was one of the options in this course. The gown is based off of a portrait that we were shown during the workshop - it's a dead ringer for the original, right down to the purple hem.
This is Janea Whitacre, Mistress and Mantua-Maker of Colonial Williamsburg, the teacher for this workshop. She's wearing a beautiful zone gown with a raspberry colored petticoat.I love how the stripes on the indian print cotton worked out in the back. The bunching that you see is because she is wearing the back bustled up. In the 18th century, this was called a gown "En Polonaise."
Sarah, the apprentice at the Milliner's shop, is wearing a chemise gown with a drawstring front. I LOVE the sash she is wearing. Her hair is styled in the fashionable 'hedgehog' style of the later 18th century.
On Sunday, Dave went to the museum in Williamsburg (somehow neither of us had ever made it there). He wound up on a once a week special tour of the historical fashion display and was very thoughtful and took pictures for me. Pictured above is an amazing stomacher - all the trim and detailing is just amazing.
These are silk quilted petticoats (they would have been worn on the outside of the garment as a skirt...this was not an undergarment).
The green skirt under the red is quilted, but that is lost in the photo. However, I thought that the red gown was pretty.
Here is a quilted petticoat that is meant to be worn as an under petticoat (undergarment). The stays are a late 18th century style (one of the girls in my sewing group made this pair of stays in her own size). They give a bit more of a curve to the front of the body, instead of the ridged straight front that earlier corsets provided.This is an example of the ridged, full boned pair of stays that would mold your body into a triangle torso, and the front is ridged and flat. The keen observer will note that these are the exact pair of stays my blue 18th century stays were patterned from. I actually have the pattern pieces that would create this corset in the size shown here. Pretty neat, huh?