The Downton Abbey Exhibition : Review / November 2017 NYC

As I mentioned in my last post, I recently visited the Downton Abbey Exhibition in NYC. There have been a few Downton Abbey exhibits before, including the “Dressing Downton” traveling show. This is separate from that and sponsored by Viking (the cruise line) as opposed to a museum.

My mom and I are big fans of the show (and the costumes!) and decided to make a day of it and go into NYC to see it. We booked tickets for 11am, and showed up half an hour early. There was a surprisingly long line (and most of the wait is outside) but we did get in on time. It’s worth noting that the line was much, much longer by the time we left, so it’s probably better to go early in the day.

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Before getting into the details, I’ll give my rating, which is around a 4/10.

I’m kind of baffled by a lot of the decisions they made. I didn’t have huge expectations, so i’m not disappointed exactly…I just feel like they could have done SO much more, and a lot of the curation and layout decisions were bizarre. It was presented by Viking, rather than a museum, and I wonder if any of the people involved had prior experience in those roles.

 It wasn’t bad exactly, it just could have been a lot better.

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Some eye candy in the windows out front – I *adore* that velvet lace combo!

The exhibit is spread over three floors, each meant to mirror a floor of Downton Abbey.

The first floor was probably the most successful in my mind. It was small, but well presented. They had part of the set from the kitchen, along with quotes from the set designer (including an interesting tidbit about cutting down the legs of the work table since the actress who plays the cook was too short for the original one!).

They also had a replica of the main room, complete with the dining table, the wall of bells, and a replica Carson’s study.

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The details weren’t captured well, but it was so much fun to see these up close. The gown had gores of silky fabric at the side, something I never noticed in the show.

In another hallway they had the garments Anna, the butlers, and the other lady’s maids wore.

I was impressed by all the costumes – the sewing work was almost more impressive on these pieces than the evening gowns since there was nothing to hide behind. The collars were all perfect, as were the hems and the little tucks and pleats. Everything was so carefully done it was hard to spot the stitches!

I love the different materials for these pieces too, they look like simple cotton but there were subtle opacity and texture changes between the fabrics used. They ended up having a lot of depth in person.

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The text in this part of the exhibit was surprisingly interesting. A mix of things about life in service in 1910 through the 20s, how men and women’s roles differed, and some behind the scenes facts about the show and various roles staff had.

It would have been nice if the text was a little more extensive. Notes on the daily routine of a butler or lady’s maid would have been interesting.

The only downside to this floor is that it was small. I wish there had been more here – maybe an example of Anna’s shared bedroom? Something to give you an idea of the personal space they would have had available.

Plus, there wasn’t a lot of space around each display, which made it hard to see (thus the lack of photos). This was made worse by the fact it was crowded, and a lot of people were loitering while listening to the audio tour (which I understand, but was frustrating considering the lack of space).

The second floor was *way* more disjointed. You are greeted by a 5 minute film with clips from the show, then walk into a corridor with a half dozen evening gowns. This was my favorite part of the floor. The dresses, and all the costumes from this exhibit are impeccable. It was really interesting seeing them in person.

I was surprised to find that my favorite dresses (and the most elaborate) were actually 1920’s originals – I’m shocked these pieces didn’t disintegrate under the weight of the beading, but thrilled to see them in person!

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These pieces were original vintage – look at that beading! And the bias binding on the dagged chiffon! I’m tempted to try that but I’m positive I don’t have the patience.

I can’t remember the order, but there were three sets on the floor.

One of them was the dining table – fully set in all its glory. It was pretty to look at, but I wish there was a little more to it. Or more information about it. I found the surrounding writing on plaques about the space pretty dry. This was a problem I had with all the plaques on this floor.

(One of them literally said “The Crawley sisters have a tumultuous relationship that greatly effects all their lives”.  I was hoping for more behind the scenes tidbits, or comparisons to other historical households. Not things you know from watching the first episode.)

In this space, one wall was taken up entirely by a picture of Carson and a paragraph about how often the Crawley’s gathered for meals and how expansive the cutlery sets from this period were.

I would have really liked this to be paired alongside a labeled set of cutlery, or even a picture of a table setting from above. Or a fact about how much a set of cutlery would cost. How long it would take to clean…how long the table took to set for the show, maybe some history about how the paintings featured in the dining space were supposed to relate to the characters.…really anything other than what they presented.

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The second section shows Lady Granthams study, with two of her dresses. I believe these were her only wardrobe pieces in the exhibit. A bit disappointing since her costumes are some of the most elaborate in terms of design in texture.

The final set in the exhibit represents Mary’s bedroom. I apologize for the awful picture, this area was quite dark.

The bedroom set was large, and had two dress forms in the middle, both featuring delicate foundations. Again it was pretty, but couldn’t help but wishing for more. The set could have been more dynamic with mannequins primping at a vanity for a dinner, or showing the inside of Mary’s wardrobe.

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The rest of this room was filled with what can only be described by the word kiosk, and this is my biggest peeve with the exhibit.

These things were tables, with giant pictures of characters coming up from the vertically. There would be writing next to the picture, on the table, and sometimes on lighted drawers that could pull out from the tables. The drawers also held letters or accessories from characters in the show.

But it was so confusing – this plethora of kiosks in the middle of a room were really difficult to navigate since there was no correct order.

They were also so hard to read with the crowds, since one person standing in front of it would block the writing on the table for everyone else. This is why museums put information on walls! I get that it is a (potentially) traveling exhibit but every location should have walls!

Most of the walls had pictures of the cast up, with the occasional poster and blurb. Again I found this information so bland – one touched on the changes in women’s corsets but didn’t have any visual reference. If they couldn’t get an original garment, having vintage ads would have been cool!

(and right next to the blurb about lingerie they had a kiosk about Mary’s child…such an odd layout!)

Unfortunately this layout continued for the bulk of the second floor. The largest area of the exhibition was filled with them. There was clearly a decision to focus on written information as opposed to memorabilia from the show.

There were ones for every character. Some had interesting bits to them, or were paired with costumes (they had Matthew’s military uniform – paired with a vintage belt and boots!). But a lot of the information were things you would know from the show. Any fresh information was hard to find since things were crowded, and with the lack of organization it was easy to walk past things. The arrangement of these kiosks seemed haphazard at best.

….

The final floor was for the costumes – the pieces were beautiful. Truly impeccable. Every pleat, gather, seam, and stitch was perfect. I loved seeing the textures and fabrics up close – they really were stunning. Something to aspire to a seamstress.

This was made more impressive to me by the fact they were working with chiffon, georgette, and crepe which are notoriously difficult to work with, much less tailor to that degree.

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Look at the piecing of those godets!!

The downside to this was, once again, the layout. The costumes were all arranged in the center of the room, with some right next to the rope, and others 12 feet away in the center partially hidden by other pieces. I actually thought pieces were missing since they were placed so far from the ropes. It would have been nice if these were around the perimeter of the room, so each one could be seen in detail.

Again it was crowded and difficult to read the plaques. There were cases of hats parallel to the costumes, but they were difficult to get to with the large quantity of people.

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Already planning to attempt something similar to this…

I also feel like the variety of costumes was poor. There were only a couple a pieces from the earlier seasons, and it was heavily focused on Edith and Mary. Cora had some of my favorite wardrobe in the show and there were only three or four pieces of hers in the exhibit.

What was there was gorgeous and I’m glad I got to see it. I just wish the presentation did it justice.

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The holy grail. It looked so light and airy in person. Especially the bodice! I always pictured the lace being thicker. I was also surprised by the lack of sheen the silk chiffon has, it was quite matte, but the layering of colors gave it a beautiful texture.

Overall thoughts: It could have been so much better.

So much happened in Downton Abbey. More than a dozen outfits were featured in each episode, not to mention the accessories, storylines, and relationships. They had so much material to work with – and not just from the show! I’m sure there were scenes that were cut and behind the scenes stories. Not to mention the time period in general, a lot more 1915-20’s history could have been included.

With that in mind, I feel like there should have been more there. I would say they had 60 garments, maybe 50 pieces, of jewelry, and 20 hats. Plus the 6 sets. It was simultaneously underwhelming and felt too crowded for the space they had (mostly because of those stupid kiosks).

If you are used to museum quality exhibits and expecting something comparable, I think you’ll be really disappointed. The mannequins weren’t dynamic at all, there was no interaction in the “sets” and a huge lack of props. How cool would it have been if they had a vintage car and the related gear?

I understand that it is a traveling exhibit, so it can’t be too crazy, but I wish the quality of the exhibit felt close to the quality of the show.

Not to mention the fact that is was majorly overbooked. With the venue size and layout they chose, I think there needed to be half the amount of people in there.

And based on the lines, I think we experienced it during a slow time. They must have seriously underestimated the amount of time people would spend there, or they just oversold tickets.

If you love the costumes (especially from the later episodes) or are a super fan and want to see a look into the sets, it is probably worth going to. But I wouldn’t expect to learn anything new or feel like you are actually experiencing Downton Abbey.

Thanks for reading!

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1918 Ensemble, Dressing for Downton

Today I’m dipping my toes into 1918, and the wonderful fashions it has to offer.

I actually researched this period quite heavily earlier in the year when I was pursuing a design job for something set in the early 20’s. The job didn’t work out, and it left me a little bitter towards the era. But this weekend my mom and I booked tickets to the Downton Abbey Exhibition and I thought it would be fun to wear an understated period costume to the event.

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The late nineteens are a perfect period for casual historical dress since the silhouette (though more modest than what is fashionable now) wasn’t dramatic like the early 1910’s, or the later 1920’s. Though corsets would have still been worn during this period, waistlines were starting to widen and you can get away without one. Perfect since I would have to wear this for four hours of public transit!

(it was also 2 days after Thanksgiving so a corset would not have been welcome regardless of the wear time…)

I based this ensemble mostly off of two ads: This one for the blouse, and this one for the skirt. I also made a coat to wear over it, which was based on ones from a winter Sears catalogue.

I had all the materials for this on hand, and made it over a 4 day period (some of those were half days with Thanksgiving and all). I’m really pleased with the end result and this may motivate me to make more vintage themed clothing to wear on a regular basis!

I started with the first piece: the camisole.

I draped this on my dress form. Getting the right amount of flounce at the hem to create the proper silhouette was probably the most difficult part.

This is it transferred to paper.

The body of the camisole is made from silk charmeuse. This particular cut was *very* off color, so one side is more yellow than the other, but it’s only really noticeable at the back.

I sewed a strip of wide cotton lace into the center (backed with more charmeuse) to serve as the statement of this blouse.

I’m not sure when this lace is from, but it came from a collection that included pieces from 1910. Based on the design and weight I would not be surprised if this lace was also from that period. I outlined it with some zig-zag edging to add a bit more texture.

The collar of the camisole is also charmeuse, but I backed it with fusible interfacing. Then I stitched a half inch away from each edge, and used that as a guide when turning the edges inward.

It was pinned to the top edge of the camisole, with the right side facing the wrong side. Once turned the right way out all the raw edges will be hidden!

Then I topstitched the bottom edge down.

The bottom edge was gathered slightly at the front and sewn to an interfaced waistband.

The final addition were straps, made from bias cut strips sewn into tubes.

The back closes with three glass buttons. This is the first time I’ve done functional button holes in…3 years? Maybe longer?

I finally bought a home sewing machine, which though slower than my industrial, has some stitches and features that I’ve missed! The automatic buttonhole is one of those things.

It is a SINGER 4423 Heavy Duty *, if you were wondering. I go more in depth about it (and all my sewing machines) in this video.

I used the camisole as a base for draping my next pattern: the blouse. I believe these pieces would have been combined in the 20’s, with a closure hidden on one side. But I thought making them separate would make the pieces more versatile. And the camisole also provides enough coverage that I didn’t need to wear a slip over my bra.

Here is the pattern I ended up with. It’s shaped by pleats below the shoulder with a drawstring waistband.

I cut all the pieces out from a thin, crisp, silk shirting. This fabric was a dream to work with – I’ve never had something make french seams easier!

I didn’t take a lot of progress pictures for this, since it came together in a single evening. But here you can see the main pieces assembled. All the edges were finished by machine with rolled 1/4″ hems. Seams were flat felled, or finished with lace binding. And the bottom edge was turned inward to create a channel for ribbon.

I tried to draft the sleeve pattern for this the historical way, but I got confused and made it up instead. This worked surprisingly well! Fit the armscye perfectly on my first try. I just had to adjust the length and width a little.

The cuffs were gathered by machine.

Then sewn onto the cuffs. The raw edges were bound with lace binding. I wanted to add button closures but didn’t get the buttons (or know what size they would be) until the day before wearing this piece, so I used hooks instead.

The sleeves were sewn on by machine, then the raw edge was bound.

I also made the collar. This was assembled from a layer of the checked silk, which was backed with interfacing, and a layer of silk charmeuse, which was supposed to be lining. I sewed the layers together with the wrong sides facing each other, then topstitched around the edge.

It looked great! Until my iron smeared burned goop all over the corners of the checked side. I couldn’t get it off, and I didn’t have a lot of fabric left…so I made the charmeuse side face out instead. I actually really like the contrast of this, so it was a happy accident. But it means the topstitching looks a little sloppy since it was originally done on the other side.

I sewed the collar on by machine, then tacked it down a half inch away from the edge to keep it in place. The final touch were silk covered 3/4″ buttons. Three on either side of the bodice, and two on each cuff.

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I also added a snap just above the top button to secure it to the camisole.

And the back! I didn’t expect to love this as much as I do, but I’m really happy with it. It’s delicate yet structured and so different from anything I’ve done before.

I usually shy away from thin or slippery fabrics, unless I’m using them as an overlay. But making a tailored piece out of them was surprisingly easy and fun – I think this will motivate me to branch out more with my fabric choices.

Unfortunately the skirt didn’t go as well. At all. My first attempt was made from a beautiful wool, but the finished skirt looked awful. It had a wide, rounded waistband that made me look so heavy.

There was also way too much fabric, and it drooped at the seams. It was supposed to have pockets, which I tried making out of a contrasting wool, but then there was way too much contrast. So I remade them from matching fabric and it looked even worse! The whole thing was an unsalvageable mess.

Attempt number two was made in three hours from a purple chevron fabric I got from the plaiditudes collection at Jo-anns. I draped the skirt design on my dress form, then used the muslin as a pattern, adding seam allowances by eye. It was SO messy, but the end result turned out a million times better than my first attempt.

This skirt has way less volume, and has pleats in the back instead of gathers. The waistband is still wide, but it’s straight which is a lot more flattering. And there is decorative seaming down the front instead of pockets.

It’s not my best work, but it fit, and it looked pretty good!

I think the same can be said about the jacket. This piece was actually drafted, partially assembled, and completely cut out over a year ago – I even made a video about it. I planned on this being my winter coat for 2016, but after buying a glorious winter coat from J-Crew I lost interest.

The jacket also had some issues I wasn’t happy with. I ran low on material so I couldn’t make the skirt as wide or long as I wanted (it actually has plenty of volume, so I’m sort of glad for that now). I also had to ignore the grain line on some pieces, and didn’t have enough left for a matching hat which I was originally really excited about.

Plus the topstitching on this jacket was plagued with problems. It kept skipping stitches, which meant I had to sew over them again, leaving backstitch marks. This was made worse by my plan to use contrasting stitching during construction.

Even though this was only a year ago, I’ve learned a lot about my machine since then and working with heavier fabrics in general. Unfortunately that helps me moving forward, not with the issues this jacket already had. To fix the topstitching I would have had to completely disassemble the bodice and remove it all by hand. And that still wouldn’t resolve the grain line or length issues.

But I already had a lot done. So I decided to take a half day and get it finished, fully knowing that it was impossible to make it perfect given its other issues.

Finishing it included:

Figuring out which pieces went together

Figuring out wtf I was thinking with the pocket design (the required topstitching would have sewn them shut..)

Sewing the entire bottom half together

Hemming it

Sewing the cuffs on

Attaching / lining sleeves

Attaching bottom half

Lining the waistband

Sewing in closures

Tacking the collar

Sewing on buttons

…in less than a day.

Surprisingly, it turned out okay! I’m not going to share close ups since the finishing isn’t great at all. The interior skirt seams were left raw, and the topstitching  got a little messy at points. But it’s finished, and I love the shape and design of it. Hopefully I can reuse the pattern for a similar jacket, made to my current standards.

It’s a little wrinkly from yesterday.

And that is it! Four pieces in four days. All together I think they looked lovely. And it was surprisingly comfy and weather appropriate!

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I accessorized the ensemble with a pair of Katie & Kelly shoes (these were like $12 on clearance at DSW last year) and the Authentically Academic bag from Modcloth. I had gloves from the 40’s with me too, along with a 50’s themed pair of Quay sunglasses…so it was a little all over the place, but very retro.

For my hair I slept with a mixture of 3/4″ and 1″ curlers in, all wound inward towards my face. In the morning I brushed them out, then tucked the ends under and pinned them to the base of my scalp.

Sort of how you would do a faux bob, but the volume from the curls makes it look more like a fancy up do. I teased my bangs a bit and pinned them to the side. Then sprayed my hands with hairspray and used them to smooth and flatten the top before setting it with a heavy misting. It’s probably more of a 40’s style than 1918, but I felt it looked passable.

Any loose bits are probably from me trying to adjust bobby pins after putting the blouse on and getting the buttons caught in it. That happened several times.

That is it for today! Thanks for reading!

My next post will be about the exhibit itself!

18th Century Redingote, Worn Photos

As promised, today I have the photos of my 18th century redingote ensemble to share! If you missed them, the blog posts about constructing this dress can be found here, and here.

For the fourth year in a row I went to the local pumpkin patch to photograph my newest piece. I really love this as a backdrop, there is something magical about it in the morning! The lighting is so pretty, and the contrast between the field, mud, pumpkins, and corn makes me smile.

My dresses always get a little dirty there, but it’s nothing a bit of water can’t fix, and I think the pictures make it worth it!

This ensemble consists of a redingote, skirt, hat, and fichu, which I detailed the process of making in the posts linked above. It’s worn over a chemise, stays, a bum pad, and a cotton/netting petticoat, which I also made. The only pieces I didn’t make are the socks (charlotte russe), the wig (color.salon, ebay), the shoes (fraser, American Duchess*), and buckles (cavendish, American Duchess*)

If you want to see the layers in a little more detail, I have a video showing the process of getting into this – and a few clips of me wearing it! It can be watched here.

Now onto the photos!

And that’s it! Thanks for reading!

Making 18th Century Accessories + Shoe Review

This post will cover making the accessories to go with the redingote featured in this post!  I’ll be talking about a ridiculous hat, a fichu, and a petticoat/skirt. I’m also including a review for the shoes I purchased to match, which are the Fraser style by American Duchess.

I’m going to start with the skirt, since it’s probably the “biggest” part of the costume, after the redingote.

My original plan for this was two rectangles, one for the body of the skirt, and one for a ruffle around the hem. But I just finished making a skirt like that out of a different fabric. And I made two others the year before. And another the year before that. They are easy to do, but kind of boring. I knew I wanted to put a twist on this, and eventually decided on making the ruffle with a zig-zag hem.

I thought this was appropriate – it kind of reminds me of the texture of leaves, or if we are really stretching to meet the Halloween theme, the teeth of a carved pumpkin. I’m glad that I did this since it’s way more interesting than my other skirts…but it was alway way more labor intensive.

I decided to back the main suiting with a thicker one. This will give it more structure and help the points hold their shape. I probably would have used taffeta, or a lighter material if I had one around, but this worked in a pinch.

I traced all the points onto the lining – this along took an hour. This was an eight yard strip of material.

Sewing them took another hour. Then I trimmed around each edge, and clipped the points and corners. I also used a seam ripper to remove the stitch at the very top of each concave point. This makes it turn out smoothly, but does reduce long term durability.

And it was gathered down to be four yards long, the same width as the top portion of the skirt. Here you can see the drawer unit I kept rolling around to support the fabric as I sewed – this was super heavy!

I sewed it to the top portion of the skirt with a three quarter inch seam allowance. It still looked a little drab, so I decided to make a ruffle out of leftover brown taffeta. This helped tie the garments together, and added more interest since it’s a different texture.

I cut strips out of the fabric on its bias with pinking sheers. Then I sewed the strips together, and gathered them down the middle. I sewed it onto the skirt in large scallops.

I did all of this by machine since I was rushing. If I wear this again I want to cover the stitching with trim or beads. It doesn’t look great and isn’t super even since the skirt was so hard to get through my machine. But from a distance I really like it!

Then I lifted the waistline of the skirt until it sat at the length I liked. I trimmed the excess, and gathered the top edge.

I made the waistband out of matching fabric, sewed in a hook, and sewed up the side seam. I really like how this turned out, but the waistline is a little large – it kept slipping down and is visible in some of the pictures. So the hook has to move before re-wearing.

Next up: The fichu. This is basically a shawl that could be worn under dresses as an alternative to an undershirt. They would fill out the neckline, make dresses more modest, and serve as a stylistic choice. I made mine in an hour or two, out of a scrap of thin cotton and two four yard lengths of mesh lace.

I started by cutting out a triangle – as large as I could from the material I was working with. Then I turned the edges inward by a quarter inch, twice in order to finish them. I did this by hand, but machine sewed everything else, which was sort of silly!

I used two four yard lengths of lace from etsy. One has little bows on it, the other is a leafy design. I liked the leafy one more, so I put it closer to the top. Then I covered the gathered edge with a narrow mesh lace.

I like how this looks, but I wish the lace was more dense. I may add onto it before reusing it. I see myself getting quite a bit of use out of it with other costumes, since this was a staple in most 18th century ladies wardrobes!

Now for the hat! I might be biased, but I think this is the best part of the costume. Looking at it makes me smile. Wearing it makes me smile. It’s great.

I made this based on images in Women’s Hats, Headdresses and Hairstyles*, along with references from various paintings. I constructed it from a self drafted pattern, out of felt weight interfacing with wire sewn into the edges. Then I covered the pieces with interfacing, lined them with scraps, and stitched them together with upholstery thread. It took me two evenings to finish.

The brim is lined with orange silk (leftover from the pumpkin dress!) and more brown taffeta ruffles.


I trimmed the exterior with a strip of the striped silk (I cut the edges with pinking sheers), and a band of the orange silk. These were loosely sewn in place since the top of the hat narrows and they kept trying to slip upward.

For decorations I made a rosette from more strips of silk. These were gathered down as tightly as I could, then I sewed up the side seam. I was going to add a smaller ruffle to the center, but I decided beading it would be more fun. So I stitched a base of suiting material onto the back to support the embellishments.

The embellishments consisted of a bunch of faux pearls, and a spider brooch. The back of this had bent and was really thick, which made it difficult to wear. So it got a new home here! I think it looks quite comfortable.

In my mind this added to the totally not obvious witch element. I also liked how the orange stones would catch the light.

That was glued on, along with a white feather and two pieces of fake fern. I was originally going to use orange feathers, but I like how the white one ties in with the pearls and lace on the dress.

The ferns – though completely inaccurate, tie the colors together really well. They fade from a deeper orange (like the striped silk) to a lighter orange, like the shantung scraps. It’s one of my favorite hats i’ve ever made – I think the contrast and trims are perfect!

And that is it for the pieces I made! So if you want you can stop there. But I did want to mention, and give a little review of the shoes I bought to go with this.

These were my main purchase last month. The price hurt a bit, but I’ve enjoyed my other historical themed footwear so much that I wanted something similar for 18th century projects. I invest so much time into pieces that accurately(ish) represent the period from the hem upward, it seems like a shame to skimp out on the shoes! Plus they will go with a lot of future projects too, not just this one.

(also I don’t think the price of these is unreasonable at all, it’s just much more than my other shoes)

They are the “Fraser” 18th Century Leather Shoes (Black)(1700-1760)* by American Duchess, listed here*. I purchased them in a size 10, along with the cavendish gold  buckles.

Overall, I like these. The shape is lovely, and surprisingly flattering to the foot. I adore  the side profile – the heel is so cute! And the shell of the shoe is very soft and flexible, which makes them more comfortable than the vast majority of my shoes.

I also like the sheen of the leather used, and that natural materials were used for the lining, too. The construction of them seems nice, and they were symmetrical and free of flaws.  They also came with replacement heel caps.

I compared them to other shoes I own that are a similar heel height, and they were the same length if not a little longer. I’m a solid size 10, and these fit me well lengthwise.

On the downside, the fit is hard to determine until after the buckles are installed, and they obviously aren’t returnable after the buckles are in. I found the shoes a little big width wise and assumed the buckles would tighten them. I placed the buckles as far back on the latchet as I could (up until it tapered to a point where it would not fit through the buckle smoothly) and they are still a little large on me. I probably would have returned them for a 9.5 if I had known.

The buckles are also way harder to install than I thought. There is a diagram on the website, but I feel like a video or picture tutorial would have been more helpful. I ended up using photos of the shoes with the buckles installed as more of a guide than the actual tutorial.

Neither of those are really flaws of the shoes, just things I noticed.

My only real disappointment is how much the lining frays. The edges are topstitched to the interior of the leather, not folded inward. So there isn’t anything preventing it from fraying. And since the shoes are black the raw edges of ivory lining are quite obvious. I’m going to trim the frayed edges and finish them with glue, which isn’t a hard thing to do at all, but it would be nice if it wasn’t an issue.

Now for the wear test!

I wore these for around 2 hours during the photo taking process. They really are one of the most comfortable pairs of shoes I’ve ever worn, and the leather didn’t mark at all – even when walking through some rough terrain. The soles got super dinged up, especially around the edges, but I was expecting that.

I was walking through gravel, and on unpaved paths, so it’s understandable. But it was a very very short walk. I’m not sure how these would fair at reenactment events where you are more active on similar terrain, or even on a daily basis with textured asphalt.

(I’ll scrub the dirt off before putting them away!)

I did notice that one shoe creased quite a lot at the toe. I’m not bothered by this, but it’s kind of odd that it only happened to one of the shoes. It looks like I buckled this one a little tighter (though I could still get it on and off without unbuckling it…so I don’t think it was *too* tight) which might have been the cause.

Those are my thoughts! Visually I love them, and I’m very glad to have them. I don’t think they would be the best shoes for everyday use (I wasn’t expecting them to be), but I will really enjoy wearing them with other 18th century pieces. I think they are a nice finishing touch to the costume!

Most of the negative things I mentioned aren’t even negatives. They are things that happen when you wear shoes. They go on the ground. They wrinkle. I made peace with it before buying them. But I was curious how the more authentic materials would wear compared to plastic and rubber, which is why I mentioned it.

Now I’m eyeing up the red kensington and edwardian pumps…but those are a few paychecks away, at the very least!

That is it for this one! I should be back with more photos tomorrow, and maybe a video if I can get it done in time.

Thanks for reading!

Making an 18th Century Redingote

Todays post is about a real doozy of a dress that I made over the last two weeks. It consists of a redingote, petticoat, hat, and fichu. I even bought some fancy period appropriate shoes to go with it!

I’m going to split this into two blog posts – one about the redingote, and another about the accessories. Both posts should be published back to back, with photos of this ensemble following on Monday.

This project was driven by the idea of making an 18th century witch costume. This has been in my head  ever since discovering this magazine page, which is the 1890s take on a 1700s inspired witch fancy dress costume.

I felt very strongly throughout making this that is was a witch costume. I think the hat made me think of pilgrims, which reminds me of the salem witch trials. The timeline for those things doesn’t even line up, but it was so clear in my head while constructing it.

However looking at it now, this costume doesn’t actually have anything that makes it “witchy”. So i’m not sure why I felt that way about it. But that was definitely in my mind while working on it (especially the hat)! And this motivated some of the choices later on so I thought it was worth mentioning.

As far as design, I’ve always wanted to make a tall 18th century hat, and been interested in redingotes since discovering them during my riding habit research a couple years back.

Then during a visit to Fabric Mart in PA I discovered an orange/brown striped silk taffeta which seemed perfect for an autumn themed 18th century ensemble. I combined that with a suiting fabric I had around, and some other scraps, and this piece was born!

My inspiration was originally this piece, but that was more of an inspiration to make a redingote, not something that shaped the design. For the collar and cuff details I used this as a major reference. And I used more elaborate examples, like this, to justify the long impractical train.

To be honest, I didn’t do a lot of research on redingotes prior to making this. I was too impatient to delve deeply into it before getting started!

From my understanding, “Redingote” was a term used to describe riding and hunting costumes for both men and woman (interchangeable with the riding habit). But *most* plates and pieces described as redingotes have a skirt extending from the waist to the ground, and are ofter paired with contrasting petticoats.

Women’s riding habits were usually two matching garments, with a shorter flared jacket and skirt with side closures.

It also seems that the term redingote was later used to describe open front day dresses that lacked the practicality that most riding habits have, but still have some of the military style detailing. Mine definitely falls into the latter, impractical category.

This project began with a bodice mockup. It’s three pieces, with the collar incorporated in each piece (as opposed to being sewn on later). I also used very appropriately themed mock up materials!

The mock up fit pretty well, I was thrilled with how the collar looked. There were only minor alterations to be made at the centerfront and straps.

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For the first time in a long while, I made this bodice without a heavy duty base layer. I was worried the seams would get too thick if I did, and lighter dresses are always more comfortable to wear. So I cut the “base” from quilting cotton.

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The lining is a suiting fabric I bought online for $3 a yard. It’s a low quality suiting, but I like the texture it has. And it’s a weird greyish light brown that matches the brown stripes in the taffeta really well.

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And the exterior is the striped taffeta! Carefully cut out so the back seam would line up.

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The cotton and suiting were layered, then assembled together. The cotton adds a bit of stiffness to the flimsy suiting.

The seam allowances were turned inward and stitched down to create boning channels.

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The bones are all plastic, purchased from onlinefabricstore.net.

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The construction process was repeated with the silk taffeta. This material was on clearance for $8/yard, which is hard to beat for silk! Five yards of it went into this dress.

I managed to get the back seam matched up without basting – I was very pleased!

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I sewed the lining to the silk with the right sides facing each other – I stitched around the collar and waistline, only leaving the arm holes and front edges open. Then I turned it the right way out and used embroidery floss to stitch around the edges. This added a bit of texture, which I liked.

Unfortunately as a whole, I didn’t like it. It looked dull.

The suiting didn’t have enough contrast with the silk, and the collar didn’t look as big and dramatic as I wanted. I didn’t have enough material to recut things, so I decided to sew piping around the collar. This made it appear slightly larger, and more interesting with the addition of a new fabric.

This piping is made from brown poly taffeta over cotton cord. I had the taffeta leftover from the brown doublet I made several years ago. The piping was made by machine, but sewn on by hand.

All the raw edges were turned inward and tacked down with whip stitches. Unfortunately these are on the outside of the bodice, which I don’t like, but they are hidden by the collar.

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The sleeves were a lot of trial and error. I based them on a Norah Waugh pattern, but they ended up totally different. I cut the sleeve cap way down and played around with the width. I wanted them to be tight, but allow more mobility than the original pattern did. I also wanted to get them on and off without having to add closures at the wrist.

Boy were these a terror. The mock up looked good, but the finished sleeves were an inch too big! I took them in three times before the looked okay. Then I made the cuff, and sewing those on made the sleeve too tight. So I had to remove the cuff, remove the lining of the sleeve, let the sleeve out, then resew on the cuffs.

They still aren’t perfect – they are a little wrinkly and baggy around the upper arm. Maybe i’ll redo them someday.

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The cuffs were made from the same suiting, but I backed them with interfacing. The edges were turned inward by hand, then piping was sewn on.

The piping for these was made very carefully, there are gaps without cord so the pieces can overlap without additional bulk. And the cord ends before the seam allowance starts, so there isn’t bulk there either.

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The sleeves were finished with a lace ruffle. I used a lace with a feathered trim, which adds a really nice texture.

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The lace was gathered by machine, then whip stitched into the cuffs by hand.

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Here it is on the dress form. At this point the only thing left were closures, and the skirt. The closures consist of 6 hooks and bars that secure the bodice one inch to the left of the center front.

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The buttons were placed on either side of the closures, spaced evenly from the center front. I planned on looping lacing made from taffeta around these, to create an effect similar to the one seen in my main reference. But the lacing wouldn’t stay on, the shank of the buttons wasn’t long enough.

I don’t mind it without the lacing, but I still want to add it at some point since it was part of my original plan.

I don’t have many pictures of the skirt, because it was made in three hours the day before photographing this costume. It’s two 63″ x 58″ rectangles sewn together, with the bottom edges rounded out. I turned the edges inward by a half inch twice, then whip stitched them down by hand.

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The top edge was pleated with 1/4″ pleats, then sewn to the bodice.

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I left the top edge of this raw, and didn’t whip stitch the seam allowance down since i’m not completely sure if I like the skirt positioning. I think it sits too far back at the bodice, so I might redo the pleats before finishing it properly.

And that is it! Overall I like this garment. My only complaint is that it’s a little big. My seam allowances must have gotten screwed up somewhere, the silk is almost baggy on top of the lining (though this could also be related to the lack of a thick base layer). The sleeves are still a bit big too.

But it was really comfy! And I think the fabrics and proportions work really nicely in the finished piece.

Thanks for reading – keep an eye out for the following posts!

Making a Rapunzel Inspired 1820’s Dress, Part Two

It took me longer than it should have, but here is part two of making my Rapunzel inspired 1820’s dress!

If you missed part one, it can be read here. And I’ll be picking up right where I left off!

At this point, it was time for sleeves. I usually dread this part of projects because sleeves suck. But short puffy sleeves aren’t too difficult – and I had a pattern for short puffy sleeves laying around, which made the process even easier!

The pattern was originally drafted for an 1820’s dress that has a similar armscye and silhouette, luckily the proportions worked out really well for this piece too.

Here are the sleeves cut out – I would have preferred the floral design to span the entirety of the sleeves, and go vertically like the print on the bodice. But I didn’t have enough fabric for that. So I focused the print on the front portions of the sleeves.

Like the bodice, these were cut from the glittery floral overlay and satin, then sewn together before construction.

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I gathered the sleeves by machine. The top was gathered down to 17″, and the bottoms to 12.5″. Then I attached them to a cuff, which is made from scraps of the netting and satin, trimmed down to form a 1″ strip.

I thought the sleeves were missing something, so I added a lace ruffle. resize-0475

The sleeves were sewn on to the bodice with 3/4″ seam allowances. This seam also helped secure the bands at the neckline.

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At this point it was really coming together!

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I bound the raw edges with some eyelet lace – I picked up a 300 yard spool of this lace, so you’ll probably see me use it as seam binding in a lot of future projects!

(also the extra is listed here – if you’re interested in it/supporting the blog!)

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With the sleeves sorted, it was time for the skirt! I intentionally left this for last so I could use all the remaining material and get as full of a skirt as possible.

I started by straightening the short edges of my remaining satin, then I trimmed 9″ off the long edge. The end result was a 53″ x 125″ rectangle.

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I hemmed the satin layer with horsehair, which stiffens the hem and causes the skirt to have a bit more volume. I also gathered the waistline down to 25″ to match the width of the bodice.

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The overlay is also a rectangle, and was cut to be a half inch longer than the satin layer.

 I took some of the length off the top of the netting, and some off the bottom since I wanted the hem to follow the straight floral boarder rather than starting at a random part of the design.

I had originally intended to fussy cut around the scalloped edge of the netting and let that be the hem. But on my past couple projects that hasn’t worked out well – the skirt seems to short if you cut it so the edge of the scallops graze the ground (since the arches between the scallops are higher), and too long if you make it longer.

This netting was also just stiff enough to pickup lint and threads when it dragged across the ground, so an actual hem seemed like the best idea.

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I ended up doing a 1/4″ rolled hem, which was stitched down by hand with whip stitches.

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Then I sewed the back seams for these layers individually, leaving a 10″ opening at the top to serve as the closure point.

The satin layer was sewn with a french seam, since it frays, and the netting was sewn with a regular half inch seam.

I gathered the top edge of the netting as well, then sewed the layers together at the top edge. Here it is on my dress form over the appropriate petticoat.

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Before sewing the skirt onto the bodice I added closures. The bodice closes with hooks and bars, and the skirt closes with several snaps.

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I also basted the layers together 1.5″ away from the top edge. This is to prevent the layers from flaring up and getting caught in the waist seam as I sew it. This happens to me all the time and this does a really good job of preventing it.

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Here are the pieces sewn together – I ended up leaving the seam allowance raw, since it wasn’t fraying much and I didn’t want to add bulk to the waistline. But I do have an abundance of purple seam binding, so I can always do that later…

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The final step was sewing on the waistband, which is a scrap of netting that I fussy cut out. This was actually one of the first pieces I cut for this project, since I wanted to make sure I had enough material to do it and I was worried I would forget if I left it until later.

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These two photos were taken in my sewing room, which is painted blue, so the colors are a little cooler toned than the dress is in real life.

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And these photos are taken in my bedroom, which is ivory and red, so it makes the dress look a lot warmer toned than it is. But at least you can see it full length without a distracting background of figurines and fabric (which is what my entire sewing room is).

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I also tried this dress with a few brooches, since that was how I intended it to be worn. But I like the banding detail so much, I think this takes away from the overall design.

This is the one I was originally going to use. I think the metal is too brassy.

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And a different one, which was actually my great grandmothers. A better tone, but maybe not the right shape? What do you think?

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And no photos of the back, since there is a 4″ gap at the waistline which doesn’t look very nice. I’ll try to get some when I take worn photos!

I think that is it for this dress! Overall it was a very fun project. It took me three days of work, and $65 worth of materials. I think it turned out beautifully – I love how it looks historical but has a fantasy element based on the fabric alone.

If I see more fabric like this in the garment district I’ll definitely snatch it up – I had so much fun working with it, and making this piece. One of the few cases where I wouldn’t mind making another one to sell.

Thanks for reading! I think my next post will be about an 18th century piece…or that progress report I promised…or a haul & store review post from a trip I recently took to PA.

Making 18th Century Jumps – And how they look worn!

Today’s post focuses on a project that I did a terrible job of documenting (to be honest, that’s been most of my projects recently). It was also completed more than three months ago, and in progress long before that. So even if I did have a lot of photos of making it, the details are a little fuzzy in my eyes.

The reason this was so poorly documented photo wise is because I filmed the whole process. And up until last month I only had one camera, which didn’t let me take photos without disrupting the filming process.

This is bad news for those of you who like written descriptions, but if you are more of a visual learner the videos showing all the steps can be found on my youtube channel (here for the jumps, and here for the skirt) or down below depending on your email settings.

Now what is this project? It’s my second adventure into casual 18th century costumes. If you read my posts about making this dress than you may be familiar with my fascination towards what was considered casual hundreds of years ago.

Even though that dress was considered “Undress” it still required getting into stays and I felt awfully formal when wearing it. I wanted to stick to the same undress theme but make something that looked and felt different.

Unsurprisingly I found inspiration in Fashion: A History from the 18th to the 20th Century*, specifically this ensemble that consists of silk jumps and a matching skirt.

(this definitely contributed to the shaping too)

While researching that I came across a blog post (which I’m so mad that I can’t find again – I think it may have been on the American Duchess blog) that talked about French fashion being considerable more casual in the 1700’s than most of Europe. With an emphasis on practically in dress (so, not skirts so long you would trip over them).

I had also been seeing ads everywhere for the live action Beauty in the Beast movie, which got me thinking about what a historically accurate version of the famous blue dress would look like.

With enthusiasm coming from those discoveries (and dozens of fashion plates) I got to work!

I started by draping the jumps. For those unfamiliar with these garments, they were a support garment most often worn by working class woman. They are conical shaped down to the waist, but usually flared out beyond that point so they could be worn over skirts.Their structure comes from layers of fabric quilted together rather than boning. This makes them a lot more comfortable than stays, while still providing some shaping of the torso.

Here is the front of my draped jumps – this was tricky since I’m draping over a dress form made from hard foam. When the garment is actually worn my body (especially my bust) will compress to be a different shape.

If you don’t have a dress form, or find this hard do bypass, I think you could get away with altering a 18th century riding coat pattern. The shape and structure of this is similar, it just sits higher on the shoulder and has a smaller skirt.

The side…

And the back. I draped this over the appropriate petticoats to make sure there was enough volume in the tabs.

I traced the pattern onto paper, then made the necessary alterations so it had more of a conical shape, and added seam allowances. After a quick mock up I moved onto the final garment!

I cut all the pieces out from the top layer of fabric (a home decor material from Jo-anns), a cotton for lining, and quilt batting.

The first step was marking lines for the quilting onto the lining. These are diagonal across the pieces and a half inch apart. All the lines line up at the seams to create a subtle chevron effect (which was probably more trouble than it was worth).

The quilt batting in sandwiched between the lining and the home decor material. I trimmed the quilt batting so it didn’t extend into the side seams, then got to sewing!

The first two panels done – I used a pale blue thread and longer than average stitch length. These panels were my test, so after it worked I repeated the process with the front and back pieces.

The rest of the lining cut out and marked. You may notice that the only seam allowance is in the side seams. The rest of the edges will be bound with binding, like stays.

All sandwiched together!

Quilted and stitched together!

Now here is my major regret – I hand stitched the seam allowance down, and hand sewed boning channels into the interior of this to add more support. I don’t regret adding these channels, but hand sewing them was a terrible idea. It was so slow and not nearly as sturdy or clean as I would like.

If I made this again I would make another lining layer from lightweight cotton, add the boning, then sew it to the interior of the quilted bodice before attaching the binding. It would be a lot faster, shouldn’t add too much bulk, and would look so much better!

Now for the binding. I’ve mentioned my hatred for binding concave curves many times, and that still runs strong. It was made a lot worse on this project because of fabric choice.

I choose to use this polyester suiting I bought many years ago (if you’ve been around since my Napoleon costume, this is the scraps from that!), since it was the best match for the floral design. This frayed so much, and seemed to pucker rather than stretch, even though it was cut on the bias. 

I machine stitched one side, then turned it inward and whip stitched the other side to the lining. It isn’t very even since parts frayed away to nothing before I could sew them, but from a distance it looks okay(ish)!

To make the curves look a little bit better I blanket stitched around them with embroidery floss.

Then I sewed eyelets into the front. I assumed since this fabric was quilted it would be thick enough to hold the eyelets. I was wrong – they haven’t torn out, but they are really warped after a single wear. Definitely should have added canvas to the front few inches to avoid this.

I also bound the arm openings.


And that is it! Overall I think they are pretty, just a couple of things I would do differently next time. And there will probably be a next time, since I really like the shape and functionality of this garment and am itching to make another! Maybe out of maroon and gold jacquard? With a shantung skirt.

Speaking of the skirt, I literally have no photos of it or the construction process. It has three panels (two in the back, one in the front) and a pleated waistband with side closures. The hem is straight, with the length adjusted at the waist. But the hem didn’t end up being that level, since the weight of the additional fabric in the back flattened my petticoat and made it appear several inches longer than the front.

Speaking of petticoats: I used an ample bum pad with the cotton/tulle petticoat overtop. The tulle was pinned up quickly before photographing this, which is the reason for any skirt lumps. This skirt fabric was a lot thinner (but also weirdly heavier) than I had expected and would have suited a quilted petticoat much better.

The shoes are, as per usual the Funtasma Victorian-03* (I’m looking into getting a more 18th Century appropriate pair soon, I swear!). I used my real hair with a few feathers and fake flowers stuck in it.

I made the chemise from some fabric I had around. And the apron is from what I had leftover. It’s two rectangles of fabric with curved tips, and a lace overlay. I gathered the top and used lace to bind the edge and form the ties.

Overall I like this ensemble. Especially the fit of the jumps. I think from a distance it’s really lovely, but I want to remake it with different materials and a slightly different construction strategy!

Here are the photos of it worn:

(Fun fact these were taken next to a busy street on the weekend before July 4th. Everyone was staring. The fence was also infested with caterpillars, which I didn’t realize before putting my hand on it. I really don’t like caterpillars and was not happy)

That’s it for this one! Thank you for reading!

Making a Rapunzel Inspired 1820’s Dress, Part One

Surprise! I’m back!

I realize it’s been a very long time since I’ve posted anything. It wasn’t my intention to be away for so long, and I don’t have a reason for the lack of updates. It just wasn’t something I was enthusiastic about doing and my last few projects weren’t documented particularly well. But I have been sewing, and I plan on doing a Progress Report soon to update you on all my WIPs and recently finished things.

But in the mean time I want to post about something I started approximately 12 hours ago. I’ve been working on a relatively elaborate 18th century piece for the last little while, but injured my wrist last week which makes lacing the stays and doing fittings very difficult.

So I decided to make something new this week. I wanted this to be something I could make quickly, not have to buy anything for, and could be worn over foundation garments I can currently get into. I also didn’t want to waste an expensive cut of silk or brocade since my “quick” projects aren’t always very well made.

In the end  I was loosely inspired by this painting and used this piece as my main reference for the dress design. I also took some inspiration from my favorite disney princess film Tangled – at least in terms of color scheme and period. For those unfamiliar with the film, Rapunzel wears light purple gowns   for both of her outfits, and her family crest is a golden sun.

A while back I bought satin and a *stunning* glitter embossed mesh because it reminded me so much of her design. And this seemed like the perfect time to use it! The film is also supposed to take place in the first third of the 19th century, so with the 1820’s references I guess you could say this is my more historically accurate take on her ensemble.

(but obviously glitter mesh isn’t quite historically accurate)

This material was from Hamed Fabrics in NYC, and was $8/yd. The glitter application and print actually reminds me a lot of the fabric used for the live action Belle dress (but prettier, in my opinion).

I’d also like to incorporate this brooch which I bought for a dollar at an antique market.

As per usual, my first step was draping the pattern. I did this out of cotton on my pinable form.  

Nothing very special about the design, though the neckline was kind of tricky. Very low and almost off the shoulder, but not quite! I drafted the back normally (rather than the exaggerated seaming seen in 1810 and the 1830s) with a separate shoulder strap.

Then I transferred everything to paper and cut out a mock up. This fit surprisingly well! The straps and bust were a little loose, but that’s an easy fix. I also ended up adding a half inch to the neckline since I thought it would be a little low after seam allowances if I left it as it was!

I dove right into cutting out the bodice. Everything was cut from once from satin (the top fabric) and again from cotton (the lining).

I also cut out mesh to use as an overlay for the back panels and straps. The mesh overlay for the front panels was draped overtop of the pieces after they were sewn together.

And here you can see that draping in action. I cut out a square I thought would be big enough for half of it, then pinned it until I was happy with it. I trimmed the edges, then removed it from the form and used it as a guide for cutting a matching piece for the other side.

Here is the overlay after being trimmed. I sewed these pieces together at the centerfront with a half inch seam allowance, then trimmed the allowance down so it would be less noticeable.

I pinned the overlay in place once again. I pinned it to the neckline and side seams first, then fiddled with the ruching at the center until I was happy with it.

Eventually I decided there wasn’t enough fabric in the ruching…so I gathered it more than originally planned. Which is why there is a big gap of fabric at the bottom of the bodice. I will cover that with a glittery waistband later.

Iremoved this from the dress form, then sewed around the overlay to secure it in place before removing any pins.

Now I could sew the bodice together. It didn’t look like much at this point!

I assembled the lining out of cotton, and sewed the seam allowance down to create boning channels.

I pinned the bodice to the lining, with the right sides facing each other. Then sewed around the neckline to secure them together. Then the bodice was turned the right way out, and I tacked around the neckline. Now it looked much better!

After a fitting I realize it was a bit too small. Luckily there was extra fabric in the center back edge, so I let it out by a half inch on either sides. Now the lining doesn’t match up with the back edge, but it’s better than the bodice not fitting!

At this point I was going to add boning to all the seams…but I forgot to sew two of boning channels. And I tacked over the center boning channels when sewing the overlay in place. So boning was only added to the side seams and the back edge. Oops.

The two dots of thread are where I tacked the overly to the under bust area. these dots, and some stitching down the center front are the only things that keep the pleating/gathering positioned.

My plan was to cover the gathering point of the overlay with the brooch, but I came across several examples of banding at the center of 1830’s bodices. Some of these also included banding on the straps, which I thought was a clever way to widen the neckline and cover seams.

 I cut some 1.5″ wide strips of mesh, folded them in half, and sewed the raw edges together with a quarter inch seam. However I quickly discovered the mesh was too delicate to turn the right way out. So instead I tacked the strips so the seam allowance was at the back of the bands and not visible.

Here they are in position. The middle one was secured by hand, and the ones on the straps will be held on by the same stitching that secures the sleeves.

And that was it for day one of making this project! I’m going to use a sleeve pattern from another project, and the skirt will be a gathered rectangle. So if all goes according to plan I can wrap this up tomorrow.

Thanks for reading!

 

Making a Historical Swimsuit, 1910

Since it is now officially summer (and disgustingly hot and humid), I’ve decided to spend this week focusing on some more weather appropriate projects.

And I’m starting with most summery of all projects: A swimsuit!

Or more specifically, an edwardian swimming costume based on examples from the early 1900s.

My original inspiration for this project was this picture.  I saw it just before leaving for a trip to Jo-anns and instantly decided to add 5 yards of black cotton to my shopping list. It wasn’t until I got home and did more research that I realized that is not an Edwardian swimming costume – It’s a pair of swimming bloomers with a corset cover from an earlier period.

So I did a bit more research after that, and finally decided to base my ensemble on this garment. I also discovered some glorious sailor inspired suits, but I didn’t have suitable (heh, suitable) fabric for them.

In my research I also learned that swimsuits during the early 1900s were made out of wool. But I knew finding lightweight wool would be a challenge, and it would probably be a tightly woven suiting that didn’t have much texture to it.

In the end I bought a lightweight cotton, which might be a quilting cotton, but it has a strong sheen to it, almost like cotton sateen. I’m happy with this choice since it’s more interesting (and way cheaper) than matte black wool, but it wrinkles like crazy which isn’t ideal.

I also bought buttons, and stole a 1/2 yard of paisley quilting cotton from my moms stash, which will be used for binding.

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Step one was draping. This has a flat back and collar, with a gathered front.

My fist mockup went surprisingly well! I had to lift the waistline slightly, but the amount of volume and gathering was perfect.

I started assembly by cutting out the collar pieces. They were sewn together at the centerback, then backed with interfacing. The piece on the left is the lining.

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I sewed those together with the wrong sides facing each other.

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Then bias binding was pinned and sewn on!

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I folded the binding inward and stitched it down with whip stitches, so both sides of the fabric are nicely finished.

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The front few inches of the bodice panels were backed with interfacing. Then these edges were turned inward in preparation for adding the closures.

I also gathered the top and bottom edges by hand.

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I sewed the front pieces to the back pieces with french seams. Then I finished the arm openings with facings.

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I sewed the collar on by hand. The raw edges from the bodice were turned inward and whip stitched down.

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I didn’t love the sleeves on the extant garment I based this on, so I decided to make mine with more volume. I fiddled with the pattern for a while before settling on this. The top edge is straight, and the bottom is curved.

The pins were used to mark the right side of the fabric – the sheen of this fabric is definitely more prominent on one side, but not very visible in certain lightings, so I had to be careful!

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The bottom edge was trimmed with bias tape – once again sewn on by hand. And the top edge was gathered slightly.

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I sewed the side seams as a french seam, then stitched the sleeves to the bodice by hand.

I also sewed on all the buttons (which are decorative), and closures into the center front. The collar closes with hooks, and the bodice closes with snaps.

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The “skirt” was draped out of some random cottons. I was very concerned about the shape of this – I wanted it to have some volume, but not flare out too much. I also didn’t have a ton of fabric, so I couldn’t make the panels too wide.

The skirt pieces were sewn together with french seams.

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Then all the edges were trimmed with bias tape – once again stitched on by hand!

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The skirt was gathered near the front, and at the back.

Then I sewed the skirt to the bodice with the wrong sides facing each other, leaving the raw edges facing out. The waistband will cover these later.

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After a fitting I realized the skirt looked longer on one side than the other…despite them being the same length (trust me, I measured). So I sewed a dart into the top of one of the panels, making it a half inch shorter.

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Now it was time for the waistband! This is made from a bias cut strip of printed fabric that has the edges turned inward, and an interfaced strip of black fabric with its edges turned inward.

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I basted the strips together, then sewed them to the bodice by hand with tiny whip stitches.

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The final step was sewing on two hooks – one at the front, and another where the waistband ends.edited (25 of 32)

(It’s already wrinkly)

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Now for the bloomers – because that bodice would be indecent without them! For these I used the bloomer pattern originally drafted for my cycling costume, I just made the pattern shorter.

However I also should have made the pattern narrower, these had way more volume than they needed.

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I didn’t take very many photos of this process, but the pants were sewn together with french seams. To keep the front smooth, I moved the closures to the sides of the bloomers. To do this I left the tops of the side seams open, and sewed buttons and loops onto either side of the waistband.

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The top edges were pleated to avoid excess volume under the bodice.

There are channels for the drawstring cuffs sewn five inches away from the hem of the bloomers. These were made out of strips of black fabric.

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Then the bottom edges were finished with bias binding, and a ribbon was threaded through the channel. I left a 1″ gap in the side seam where the channel is, which allows the ribbon to peek out.

As a side note, to get the cuffs to stay where I wanted them, I had to tie the ribbon before putting the bloomers on. There was no way to tighten them enough to stay up while they were on my legs.

The top edge is finished with bias binding, and has the loops/button closure method that I mentioned earlier. Unfortunately these ended up being WAY to big for me, so I had to pin the sides when we photographed it. Definitely something to fix in the future.

Also, these bloomers ended up being ridiculously long. I made them 3″ shorter than my cycling bloomers, but cut another 5-7″ off before binding the waistline. They were so baggy it was ridiculous.

And that’s it!

All and all this was a fun, easy project. I’m happy with how the bodice fits, and how it all looks together. It isn’t the best thing I’ve made construction wise, but for $30 of fabric and 4 days of work I’m pleased with it.

I’ve already photographed this project, and here is a partially edited preview of it all together!

This photoshoot wasn’t very successful since it ended up being really sunny, and the beach I wanted to go to required permits we didn’t have. Hopefully I can edit out some of the harsher shadows and get the full set posted soon.

Thanks for reading!

 

Striped Cotton Dress, Early 20th Century, Photos

A few weeks ago I got three projects photographed, including my Striped Edwardian Gown, which is the one I’ll be sharing photos of today!

I have two blog posts about making this dress and hat. They can be read here, and here.

This dress was such a fun project to work on, and I’m really happy with the end result. It fits nicely, I have a lot of mobility in it, and I think it looks quite authentic.

To add to the authenticity I decided to use my real hair for this shoot – and I’m so glad I did! It looks a lot softer and (for obvious reasons) more realistic than my wigs. My styling skills have ways to go, but I’m going to practice and use my hair more often with future projects.

As far as foundations go, I wore this costume over my white and pink chemise, my pink and white corset, a bust pad, and white chevron socks…And I’m just realizing I never blogged about any of those pieces. But you may have seen them in spotlight videos on my youtube channel.

Since the shoes show, I bought a pair of these* in white – which aren’t as comfortable as the black ones, but compliment the dress nicely. And these earrings* which are from the Downton Abbey collection.

I was so comfortable wearing this costume. I’m not sure that shows, but it was the best I’ve felt in a costume in a long time!

Now onto the pictures!

That’s it for this set, but I will have more to share soon! I haven’t been thrilled with what I’ve accomplished so far this year, and seeing photos of completed works makes me feel a bit better about things. So I have plans to take more soon.