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!

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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 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 an 18th Century “Undress” Costume – The Skirt & Accessories

Today I have the second making of post for my 18th century undress costume to share! I’ll go through making the skirt and matching accessories. If you missed part one, it can be read here, and talks about making the jacket and stomacher.

I originally planned on making the skirt for this costume very simple – three panels of the brown material knife pleated down to fit the waistline. But the more I thought about it, the more concerned I was that it wouldn’t have enough volume. So I decided to make an open front skirt, with a petticoat made from the stomacher fabric underneath. Except I didn’t have enough of the stomacher fabric to make a petticoat. Which meant the dress needed to have a fake open front, which made it way more complicated.

Anyway, step one was measuring from my waist to the floor while wearing the proper foundation garments, which in this case were a *new* bum pad (new year, new bum pad, that’s what I always say) plus a cotton/tulle petticoat. Not accurate, but way lighter than quilted petticoats with less bulk at the waistline.

I wrote down the center front, side front, back front, and center back measurements, then used those to figure out the dimensions of each skirt panel. This was pretty easy to do since they are rectangular, with a sloped waistline.

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I didn’t take any pictures of the skirt panels in this stage because they were just giant rectangles. But here is how much fabric I had left after cutting them out – I quite literally cut it pretty close!

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Before doing much with those panels, I cut out and assembled the front panel. This was made from a forty inch wide piece of the woven polyester, with horsehair sewn into the hem to prevent it from rippling in the front.

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Then I cut out a thirteen inch long strip. The top edge was cut with pinking sheers and left raw, and the bottom edge was turned inward twice and sewn down by hand.

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I gathered the ruffle by machine, then pinned it to the other panel, an inch above the hem.

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The ruffle was sewn on by machine as well. Since the ruffle was so dense the stitching wasn’t very visible. The sides of this panel were fraying a lot, so I finished them with bias tape that was sewn on by machine.

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Now back to work on the brown panels! I cut them so two 40″ wide panels would make up the back. The remaining panel was cut in half, with one half on either side of the ivory panel.

I interfaced the front of these panels with 12″ wide strips of medium weight fusible interfacing, which helped a lot with the shape. However I should have also lined the panels, because the interfacing looks terrible when the front panels flip back (something I struggled with when photographing this costume on a windy day).

The front edge of these panels were folded inward, then I sewed the folded edge to the ivory front panel.

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I thought this looked okay at first, but it was one of those things that looked worse the longer I left it on my dress form. It was very obvious from certain angles that the skirt was all one piece, rather than an open front gown with an underskirt, which was the effect I wanted.

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See? It was worse on this side for some reason.

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So I ripped out the stitches that secured them together. Then I sewed 20″ wide panels of muslin onto either side of the ivory panel, and evenly gathered the top. This time my plan was securing these panels together at the side seam, which prevents tension from being put on the front edge of the brown panels. Luckily, this worked and I could move forward!

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I turned the top ten inches of the side edges inward by hand, twice, to neatly finish them. This will be the point where the skirt opens.

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Then I figured out a pleating pattern I liked, and sewed the pieces together with french seams.

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The top portion of the sides were left open, these allow me to get the skirt on and off. I much prefer this to back closures, but it requires costumes with skirted bodices or jackets…otherwise it can look a bit awkward.

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The brown portions of the skirt were hemmed by hand. I turned the hem inward by a half inch, then an inch and a half.

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The finishing touch was binding the top edge of the skirt. I didn’t have enough brown fabric left to make bias tape, so I used the ivory material instead. Not the nicest finished, but it won’t be seen when it’s worn.

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I sewed a single eyelet into each end of the binding (so four in total, two on the back, two on the front) ribbon can be threaded through these to tie the skirt in place.

And here you can also see the back pleating pattern. The pleats on this were very finicky – I spent a lot of time redoing them on the dress form until the looked right.

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That finished up the skirt and jacket! Here it is worn.

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But it isn’t done, don’t be silly. Have I made a costume in the last year that doesn’t have some sort of accessory? Why would this be an exception?

Though I couldn’t find a style of hat that would pair well with this, I did find some knitwear accessory inspiration through the designs Claire wears in Outlander (side note; the designer has a really great blog that I would highly recommend). And I just so happened to have an interesting purple knit fabric collecting dust in my stash!

I decided to make a pair of mitts, and a shawl. The mitts were made using a pattern I found online (located here – but it appears to have been taken down), which I would recommend. But if you’re using knit fabric, don’t add seam allowances! That was my one big mistake, parts of it ended up too big.

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I finished the edges by turning them inward by hand, and left the mitts unlined.

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I wasn’t super happy with how the laid on my hand (probably because I added seam allowance and they looked silly!), so I folded the pointed edge back and sewed it down with a button as decoration. This was actually very common during the time, and a convenient fix for me.

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Next accessory: A shawl, which could also be tucked into the neckline and used as a fichu/neckerchief. This was super easy, I cut it out from a corner of the knit material, then turned the edges inward by a half inch and sewed them down by hand. I didn’t do a rolled hem because this knit was fine enough that it didn’t fray much or unravel (thank god).

In the photos below I used one of my great grandmothers brooches to secure it in place.

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And that’s it! Here is the finished ensemble. I’m very happy with it. I really love the color palette and textures in this project. The fit of the jacket, the drape of the skirt, the embroidery…it all turned out even better than I expected, which is a rare and wonderful thing!

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I’ve already photographed this project and have a costume spotlight video filmed that goes into more detail. But it will probably take me a week to get that edited and posted. In the mean time, here is a little teaser.

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That’s it for now! Thanks for reading!

Making an 18th Century “Undress” Costume – The Jacket

It’s been a few weeks since I last posted. I was busy enjoying a break from social media obligations, but I’m back now and happy to be writing again! I have a ton of projects to talk about – both ones in progress, and ones I completed last year and never wrote about.

But I’m going to start the year off by talking about the first project I’ve completed in 2017: An 18th Century “Undress” Ensemble. It sounds a bit scandalous, but in this case “Undress” is used to refer to informal garments from the 1700’s, rather than anything that goes underneath them.

I decided to start on this after flipping through reference books in search of inspiration. The patterns for “undress” appropriate jackets in Janet Arnold’s  Patterns of Fashion 1: Englishwomen’s Dresses* caught my eye – and a quick search through my stash showed that I had almost everything I needed to make one…plus a matching skirt and some knitwear accessories inspired by Outlander.

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I’m really happy with material selection for this – I used 6 yards of a checked brown and black fabric from the Plaiditudes collection (my favorite), 2 yards of loosely woven polyester, and a yard of purple sweater knit. I don’t think any of these are historically accurate, but I love the textures they have.

I did have to buy two buttons, two yards of interfacing, a yard of muslin, and two packages of embroidery floss (which came to a grand total of $8) but everything else was from my stash.

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To get started I scanned, then resized the jacket pattern from Janet Arnold’s book and copied it to paper. When doing this I changed the scale from 1″ to 1 1/4″ – which meant my pattern ended up being considerably larger than the original one. This was intentional, since I knew it would be easier to size it down than size it up while trying to preserve the pleats in the skirt.

The end result was way too long waisted for me, but the width was almost perfect. I raised the waistline by an inch, changed the back curve, and added a dart to the bust, but otherwise it was good!

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Here is the mock up I made. This jacket is meant to be worn with a stomacher, but a pattern for that wasn’t included. So I pinned a piece of cotton to the front of my stays, then drew the shape I thought the stomacher should have onto the cotton.

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The stomacher was actually the first part of this costume I began work on, and one of the things that attracted me to this project. I was going through hand sewing withdrawal and wanted something I could work on in front of the TV – hand embroidery seemed perfect for that!

I browsed through a lot of stomacher patterns but most were more eleborate than I wanted (and could manage with my meager embroidery skills). So I freehanded my own design that was simpler.

I drew the design right onto my pattern, then scanned it and made a few changes in photoshop. The design was mirrored, then printed out and taped together.

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wanted to traced the design onto my fabric, which would have made embroidering it way easier. But the weave of the fabric I chose was too loose – pencils didn’t mark it, and ink would spread down the fibers and be visible in the end.

So I used the method I usually use for sequins: Trace the design onto interfacing, then ironing the interfacing onto the back of fabric. I used basting stitches to bring the design to the front, then got to work!

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I didn’t take any progress shots with my “blogging” camera, but I did post a couple on instagram. I used a split stitch to outline everything, then filled sections in using a satin stitch. I tried to pick colors for this design that had the same level of depth as the purple and brown fabrics I’m using for the rest of the costume.

Here it is finished, right out of the hoop.

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And after being ironed! I’ve attempted a few embroidery projects before but this is the first one I’ve finished. Considering that, I’m really happy with it. It isn’t as symmetrical as I would like, but the inconsistencies aren’t too major either.

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I cut the embroidered piece to the right size, then sewed it to canvas and cotton with the right sides facing each other. After turning it the right way out the edges were neatly finished. Plastic boning was inserted between the cotton and canvas to help it sit nicely, then I tacked the layers together by hand.

I added a ruffle to the top edge for a bit of interest, and tabs of ribbon so I can pin it to my stays. And that was it!

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The rest of the jacket pieces (except for the sleeves…more on those later) were cut from the brown checked fabric. The bodice of the jacket was assembled by machine with half inch seam allowances.

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The “skirt” of the jacket was hemmed by hand. Looking back I wish I had bag lined with instead – doing those points was fiddly, and this fabric frayed so much that I had to do a double hem. The end result is really bulky and the pleats didn’t set as much as I would have liked.

But in the past I’ve bag lined the bottom of jackets and the lining was visible and looks awful. I guess the answer would be facing the hem with fashion fabric, then sewing lining in…but I didn’t have enough fabric to do that. Sometimes it feels like you can’t win!

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I ironed the pleats in place and marked the pocket placement with basting stitches.

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The waist seam was sewn – this should have been easy, but getting the point at the center back symmetrical was a huge chore and still isn’t perfect. After redoing it four times I gave up.

With the skirt on, I turned the front edge and neckline inward and sewed it down by hand.

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Then the lining was sewn in. The lining is made using the same pattern and made from lightweight cotton. It has two bones at the side seams and center back, along with a bone from the dart at the front down to the waistline. These help support the points at the front and back of the jacket as well as the eyelets.

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Here it is after all those steps.

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Next up – the eyelets. Annoyingly I couldn’t find brown thread that matched, so I used black instead. These were sewn by hand.

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And on to pocket flaps! I traced the pattern onto cotton, then pinned the cotton to my fashion fabric and sewed around the line I traced.

I cut a generous slash in the back so I could turn them the right way out, then topstitched around the edges by hand.

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Messy on the inside, but the front is what matters, right?

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I sewed them on over the basting stitches with tiny whip stitches.

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I really splashed on the buttons for these. They were a whole 60c.

(I bought and sewed these on after finishing the rest of the jacket so you won’t see them in the next few photos)

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Now it was time for sleeves. I was not excited about these. My instant success with the fit of the jacket did not extend to these – I found the original pattern for them way too wide in the cap of the sleeve, too curved at the elbow, not curved enough at the armscye. They didn’t sit nicely or fit at all.

After a ton of alterations I got something I was happier with. And I freehanded a cuff pattern to go with it.

Originally I was going to make the cuff a different style, but I didn’t have enough fabric for my first choice. And by that point I was too lazy to size the pattern up again just to trace the cuff out so I made something up.

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Everything was cut out. Then I marked the pintucks onto the top of the sleeves.

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These were pretty fiddly to do…

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But offer a smoother alternative to pleats or gathers, which I like.

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Then the side seams were done up.

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And I repeated the process with a silky lining. Not accurate, but makes getting a costume on way easier.

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I sewed these together at the cuff, then turned them the right way out and basted along the top edge.

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The cuffs were backed with interfacing, then sewn together. I used stitching to make guidelines a half inch away from each edge, then turned these edges inward by hand.

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I lined the cuffs with a heavyweight twill to help support them.

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Then I made a ruffle from the same fabric I used for the stomacher. Originally the tops of these were supposed to be visible over the cuffs…but that looked bad.

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After some trial and error I decided they looked best pinned to the interior of the sleeves. I neglected to finish the top edge before sewing these in place. The end result is hilariously messy. I’m kind of ashamed.

BUT I was an hour away from finishing this costume and really impatient, so I pressed on. I do plan on fixing this later, but it would have been a lot faster to finish them in the moment. I don’t know how my brain gets so excited to spent 15 hours embroidering something but can’t take an extra 10 minutes to neatly finish a raw edge.

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Luckily it looks nice from the outside.

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I sewed the sleeves onto the bodice, and that was it!

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Aside from a few details in the finishing (the point at the back, the hem, the interior of the cuffs…) I’m really happy with this. The fit is pretty great, I can get into it on my own, I love the fabrics, and it’s a bit different from what I usually do.

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Here is a crappy picture of it worn.

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In case the dirty mirror makes that photo too horrifying to look at – here is a photo of it worn with the skirt!

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And that’s it for today! Part two should be up soon, but I have a fabric haul to share first.

Thanks for reading, and I hope your year is off to a good start!

 

 

Making a Yellow Striped 1790’s Round Robe, Part Two

This is the second (and final) post about making my 1790s Round Robe, based on a pattern from Norah Waugh’s The Cut of Women’s Clothes: 1600-1930*. I posted about my struggles with making the bodice here, and today i’m writing about making the sleeves, skirt, and matching hat. Luckily those parts gave me way less trouble than the bodice!

The sleeves were kind of confusing. As mentioned in my previous post the pattern for these was weird. The lining pattern was a completely different shape and size, with much smaller cuffs than the sleeve pattern. Yet there was no gathering marked on the sleeve pattern that indicated they could be sewn together.

So I decided to ditch the lining pattern.  I cut the sleeve pattern from the striped yellow fabric and sewed them together with half inch seams. I “finished” the interior edges with fray check since I forgot to add enough room to do french seams (oops). Then I finished the cuffs off with bias tape.

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The top edges were also finished with bias tape, though I was a bit sloppier and attached this by machine since it won’t show.

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I pinned the sleeves to the underarm of the bodice first.

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Then I gathered the tops until the fit nicely in the sleeve cap.

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The sleeves were sewn on with slip stitches, and later reinforced with running stitches that were sewn a quarter inch away from the edge.

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Now it was time for the skirt! It was kind of unclear on the pattern whether the total width of the skirt was eighty inches, or if the back panels were eighty inches and the front panel/visible petticoat was an unmentioned width. I like full skirts so I chose to go with the latter…plus an extra twelve inches to make it more proportional to my height.

(and because I like full skirts)

I cut two forty six inch wide panels, then sewed them together with a single french seam. I cut the hem on an angle so it’s a few inches longer at the back than at the front. And I also rounded off the corners.

The hem was turned inward by a half inch with basting stitches.

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Then inward once again to hide the raw edges. This time I sewed it in place with whip stitches.

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The back is pleated with double box pleats. I really like double box pleats, they nicely distribute fabric and aren’t as bulky as gathers or as finicky as normal pleats. Here was the “pleat sheet” that I followed.

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Here it is pleated down.

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And laid out flat.

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I sewed across the top, then pinned it to the waistline of the bodice. I left all the pins in the pleats until after the skirt was sewn on.

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It was sewn on with whip stitches and now I had something that looks like this!

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I’m pretty sure a dress like this would have been worn over a petticoat that was visible from the front of the gown. But I didn’t have a petticoat that was pretty enough (or high waisted enough) for that to work. So I chose to add a front panel.

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The front panel is made from a rectangle of a sheer curtain from ikea (which is roughly fifty inches wide) and a rectangle of muslin (forty-ish inches wide) that are sewn together with french seams. The back portion will be gathered and sewn in place but the centermost thirty inches of the curtain fabric gather down with a draw string.

On the top edge I marked the center point. Then I put two pins fifteen inches away from the center point in either direction.

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Ribbon is sewn over the 15″ marks, then tucked into a channel (which was actually the hem of the curtains). The ribbons poke out at the center point and can be pulled and tied to gather the material down.

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After doing this I hemmed the skirt – I ended up hemming this again because it was an inch two long.

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The portions of the top edge that don’t have a drawstring were gathered down by machine.

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Then it was sewn into the waist of the skirt. As you can see the muslin panel is at the back of the skirt – it adds width to the hem of the front panel which makes it hang nicely, but isn’t visible when the dress is worn.

I’d planned on posting photos of the process of getting into this dress since it looks a big confusing, but it’s actually really easy! The dress can be stepped into, then arms go into the sleeves and the drawstring on the skirt is pulled until it’s tight it sits above the waistline. The “lining” of the bodice hooks together overtop of the skirt and keeps in place. Then the snaps/hooks on the bodice are done up and that’s it!

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The headpiece for this costume was really easy. I’m not a huge fan of the popular turban headdresses from the 1790s (though I plan on making one for a different project) so I decided to make a hat instead. My usual methods of interfacing and wire seemed to heavy for such a summery dress, so I bought a cheap straw hat from Michaels.

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I made a TON of alterations to it (I filmed a tutorial of the process, which can be watched here if you’re interested) like lowering the sides, narrowing the brim, and reshaping the crown to make it more appropriate for an 18th century costume.

I also lined the hat with a scrap of the ikea curtains and trimmed it with a ribbon and bow made from leftovers of the yellow fabric. The final touch was a feather and some flowers. It isn’t perfectly accurate, but for less than ten bucks of materials and an hour of time i’m pretty pleased with it!

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Here is the finished ensemble. Though I don’t love how this dress looks from the front (my frustrations with the volume placement mentioned in the post about making the bodice still stand) I like the silhouette from the side a lot. And the color scheme makes me happy – I don’t usually make light or summery dresses, so it’s a nice change.

It’s paired with a cheap blonde wig and a long strand of pearls from Kohl’s. Last minute I decided to stick a petticoat underneath it the dress – just a small quilted petticoat that has an eighty inch circumference and pleated waist, which added a lot to the shape of the dress.

And that’s it! More photos of it finished will follow this post later today.

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Thanks for reading!

18th Century Riding Ensemble – Photos

I’m excited to post these – it’s been a while since I’ve had photos of a finished costume to share!

I’m really pleased with these pictures. There were a few issues with the hat and wig, but overall I’m thrilled with how it came together, especially since this was my first time having the entire costume on.

These photos were taken during a pretty intense blizzard (I posted a short video on Instagram that shows how hard it was snowing) and though I love the contrast of the jacket against the snow, I think it hid a lot of this costumes details. I still really like these pictures, i’m just not sure all my hard work shows in them. Because of that I plan on getting more photos of this ensemble in the future – including some that show the dress that goes underneath this project!

Speaking of that, I realize that I still haven’t blogged about the dress worn with this project. The dress is technically finished, but i’m not completely happy with it, so I think i’ll hold off on writing about it until it’s been fixed up. However I have blogged about making the jacket and hat which are the real stars of this ensemble!

Here are the photos!

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Thanks for reading! Another update on my Plaid Walking Ensemble should be up tomorrow!

Making a Tricorne Hat / 18th Century Riding Ensemble

This post will make more sense if you’ve seen my post about making an 18th Century Riding Jacket, since this hat was made to go with that piece.

This hat was an adventure. It had a lot of ups and downs, but I think the most difficult part was figuring out how big it should be. The ensemble this project is based off of is worn with a very small decorative hat, which I like. But I didn’t think it would flatter my wider frame/face and the proportions of the rest of the costume.

Making a full sized one didn’t hold a lot of appeal either, that seemed too practical to go with the heavily beaded jacket. So I split the difference and made a medium sized one. I don’t love everything about this hat but I am happy with the sizing of it, so i’m glad I took so much time to think about that before getting started.

This is the pattern I came up with for the cap of the hat. I started by drawing out the top then fiddled around with strips of paper until I got a shape I was happy with.

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I cut out both pieces from buckram and marked the seam allowance onto the piece that makes up the “taper” (sides) of the hat.

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I clipped the seam allowance at the top edge of the taper, then pinned it to the crown of the hat.

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And sewed it down with a ton of upholstery thread.

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Then I covered it with two layers of quilt batting to round out the shape.

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Now it was time to cover the cap with wool. This step made me think back to some wet moulding tutorials I saw a while back, which gave me the brilliant idea to wet the wool and mould it over the cap. Then I wouldn’t have to worry about seams or gathers at the base of the hat.

If I had taken a few minutes to actually google those tutorials, or to think about this idea for more than thirty seconds I might have realized how stupid this plan was. Because the wool i’m using isn’t felt, so it doesn’t stretch, even when it’s wet. But you know what does stretch when it gets wet? Buckram.

The wool quickly dampened the buckram and the tension on the pins securing the wool to the buckram caused the buckram to bunch up at the sides and even disintegrate at points. I tried to salvage it by pinning it to a wig head, but the wig head was too small. It was a complete mess.

I ended up with this lumpy, uneven thing. But I didn’t want to redo it because I had limited quantities of wool and buckram. So I moved forward and hoped it wouldn’t be obvious in the end.

The best part of this whole thing is that a week later I came across a pre formed buckram hat base which was the exact size and shape I was going for. If I had remembered it’s existence a week earlier I would have saved myself some frustration and have a significantly less lumpy hat!

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I set the cap aside for a bit and drafted the brim. This part was pretty tricky, I made three or four attempts before coming up with this which still isn’t perfect but worked well enough.

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I cut it out from felt weight interfacing, then sewed wire into the edges so I would be able to shape the brim.

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I covered the top side with wool then basted it down a quarter inch away from the outside edge. The outside edge will be finished with bias tape later on so it doesn’t matter, but I folded the inner edge so it’s on the underside of the brim.

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Then I sewed it down.

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And I sewed the cap to the brim. This was a pain since the buckram had warped to a point where it really did not want to fit in the opening.

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The end result was pretty bad but at this point I had invested so much time into it that I felt I had to finish it.

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So I moved forward! I pinned wool to the underside of the brim and sewed it down with a mixture of whip stitches and basting stitches.

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Then I sewed up the back seam and sewed bias tape around the outside edge of the brim. This bias tape was made from a mottled gold brocade which matched the beading on the jacket nicely.

By some miracle the hat looked pretty decent once it was folded into the tricorne shape. I think the front is a little bit long, and the sides could be shaped a little bit differently, but this was a way better result than I was expecting.

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To jazz it up a bit I sewed sequins onto the bottom half of the bias tape, then I sewed on a thin gold ribbon a quarter inch below that.

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I had four inches of lace left after finishing the jacket, which was just enough to add this decoration to the right side of the hat. I trimmed the lace with sequins and beaded it using the exact same method ghat was used on the jacket. Then I added a beaded tassel and a button.

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I still wasn’t super happy with how the sides of the cap looked. So I used my usual method to fix this sort of thing which involves adding stuff until I like the way it looks. On the left side I added two home made chiffon flowers that have fake pearl centers and two bleached peacock feathers.

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The other side has three ostrich plumes – two in a peachy color, and one that’s white. The base of the feathers are hidden by another chiffon flower, which has a gold floral cameo center.

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And another photo of the lace detail on the side because that’s my favorite part!

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I also covered the seam at the back of the hat with gold braid and added sequins to the top side of the centerfront.

And that’s it! The hat is finished.

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The underside isn’t too pretty since my attempts at lining it ended badly. Eventually I decided that it didn’t matter since the wool doesn’t fray.

The saftey pin is there so I can hang the hat on my wall – it doesn’t have any structural purpose, I just forgot to take it out!

The plastic comb was a late but very necessary addition to the hat. When we were taking photos of the finished ensemble the hat was a bit of a fail, it had no way of staying on my head and I didn’t have enough range of motion in my arms to pin it to my wig after I got the dress on.

The hat refused to stay where I wanted it and fell off so many times that the brim got really bent out of shape. Which was easy to fix, but not something I noticed when we were taking the photos. So the hat isn’t sitting properly/shaped properly on my head in most of the photos which is dissapointing.

But thanks to the comb that will not a problem when I wear it again!

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Here is a photo of how it’s supposed to look when its worn. Obviously the hair and styling isn’t right, but you can get an idea of the shape! I think it turned out really nicely in the end, which i’m pretty amazed to be saying since the construction process didn’t go very smoothly.

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And here it is worn with the finished ensemble! I don’t think the snow did a lot of good for the hat – the feathers kind of deflated, and the decorations are hidden by snow. But it adds a lot to the outfit and i’m excited to get more photos of it in the future!

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And the last thing I wanted to mention is that I bought an accessory to wear with this costume – it won’t be visible when the whole thing is worn, but the color was so perfect that I couldn’t resist. These are clocked stockings from the American Duchess store. They are so pretty, and red, and pair with this so nicely!

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And that’s it! The full photoset of this project should be up next week!

Making an 18th Century Riding Habit / Riding Jacket

I’ve been in a pretty serious relationship with this garment for the past three months so i’m really excited to FINALLY be sharing the process and finished piece with you guys.

This is going to be a really long post so i’ll start with an image of the finished product, hopefully that will give you the motivation needed to make it to the end!

Isn’t it beautiful?

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Let’s go back to the beginning. At the start of 2015 I came across this painting of Sophie Marie Grafin Voss by Antoine Pesne and I fell in love. I’ve always been a fan of the structure and details on 18th century riding habits, but i’ve never seen an image of one that really inspired me until I came across this.

Although the beading and details are beautiful, they are also ridiculously impractical, as are the short sleeves and deep neckline. But that’s what I like about it. It’s very different from most of the riding habits* you see and it perfectly combines the traditional frills and details you’d find in an 18th century women’s wardrobe with the very structured menswear inspired design that riding habits are famous for.

So I decided to make it something similar to it.

 *This isn’t really a riding habit. I’ve titled this post that way because it’s the most common term for riding jackets which is what this garment actually is. Riding habits were a combination of matching garments worn for riding. This is just a riding jacket paired with a more traditional 18th century dress.

In December I finally began work on the piece.

The first step was drafting the pattern. This was surprisingly easy since I used the pattern I made for the bodice that goes underneath this jacket as a guide. I changed up the seaming a little bit, lowered the neckline, added larger seam allowances, lengthened each piece by a lot, and made the pieces wider to the bottom so the skirt of the jacket would have a lot of volume.

I also changed the pattern to have a front closure instead of back laces, since those obviously wouldn’t be appropriate for a jacket!

This is the altered front panel.

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Side panel.

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And back.

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I did not make a mock up for this jacket. Mostly because I didn’t have any fabric around that was thick enough to create an accurate mock up (muslin does not lay the same way as heavy wool). But also because I was feeling pretty confident about the pattern since the bodice I based it off of fit really nicely. And since the jacket was patterned with 3/4″ seams I could let it out pretty significantly if it was too small, and I could always add gores to make the skirt of the jacket bigger.

So I laid all the pieces out onto my wool melton fabric and cut them out. I packed the pieces as tightly as I could on the material since I was a little bit worried that I might have to recut some of them and wanted as much material as possible to be left over.

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Front panels…

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Side panels…
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And the back panels.

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I sewed together the back panels first, backstitching and cutting the thread just below the waistline so the bottom eighteen inches of the seam was left open. The seam was pressed and the unsewed edges were folded inward by three quarters of an inch. Then I sewed the edge down so there was a finished slit at the back of the jacket.

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Then the side back seams were done up. I was really pleased with the draping at the back, even though it looks a bit wonky on my dress form.

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I pinned the shoulder and side seams up and did a quick fitting of the jacket overtop of the panniers and stays. It fit well enough but there was a lot of bunching at the waist since I hadn’t accounted for the angle of the panniers. This was easy to fix, I just added a horizontal dart to the waistline.

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After another fitting I felt comfortable moving forward. The jacket seemed really large at the side seams but I didn’t want to take it in right away since I knew the embellishments on the front of the jacket would stiffen it significantly and change the ease and fit of the front panels.

I drew the trim pattern onto the front panels with chalk. Unfortunately I couldn’t get them spaced perfectly, or as far apart as they were in the reference photo.

After another fitting I realized the lace needed to extend farther down. If i’d noticed that initially I could have spaced them farther apart and made them look a lot better. But I didn’t. And by the time I noticed the problem my only option was to add a sixth strip of trim to each side.

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Speaking of the trim! The one i’m using is from the seller LaceTime on etsy. It was four bucks for two yards and I used four yards in total. Traditionally braided trims and cords would be used on riding jackets but since this one is so fancy I decided to go with lace instead.

I should also mention that I chose to make the detailing of this jacket gold instead of silver (which is the color it probably was) because I thought it looked more striking against the red.

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Here the lace is sewn on to one side, and pinned to the other. Since the spacing was off on my jacket this lace ended up being too wide. So I folded the edges inward to keep it inside the lines I marked.

I may have accidentally sewn some of this lace on upside down and not noticed until the jacket was almost finished. Oops.

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Since the edges of the lace were folded over they looked really bulky. The lace also wasn’t super even since it was difficult to precisely fold the edges over. The end result looked pretty sloppy, and I wasn’t happy with it at all.

So I decided to add an extra step to the embellishment process. I densely stitched sequins around each edge of the lace and overtop of any gaps in the lace where the base was visible. I did this with red thread so it would blend in with the material and better integrate the lace with the  fabric.

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This took forever. So many sequins went into this. Each piece of lace took around two hours to embellish, that’s more than twelve hours of sequining just on the front panels! But it looked beautiful and added a lot of depth to the lace.

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Then the beading began. For this I used two different sizes of gold seed beads and beige colored thread. I followed the pattern of the lace, stitching between the covered cord that makes up the design.

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This is when the lace really started to transform. Above you can see the difference between the side that has beads sewn on and the side without. These really changed the color of the lace, and added a lot more depth and texture to the piece.

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Once I was done beading the lace I tried the jacket on. Here it looks really bulky since I had tons of excess fabric pinned into the side seams but you can get a rough idea of how it was looking.

I also did a test for pocket cover placement, which is what that funny thing on the right side is supposed to be!

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This fitting made me realize that I had to take the waist in by more than two inches and fold the front edge over by two inches instead of the planned one inch. Guess my worries about the jacket being too big were for nothing!

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With the body of the jacket coming along well I drafted a sleeve pattern.

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Then those were cut out and I used chalk to mark the trim placement on them.

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The lace was pinned, then sewn on.

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And sequined, then beaded with the same technique use on the front of the jacket.

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Here you can see the beading part way done.  Really shows how much the beading transforms this lace!

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With the lace completely beaded I moved onto the tassels. On the left you can see the four different types of beads I used for each tassel.  All these beads are slightly different in color and finish which makes the tassels look a bit more interesting.

On the right you can se the two different types of beads that were used on the lace.

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Each tassel is made up of eight strands, which are a little over an inch long.

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Finished tassels on sleeves.

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And finished tassels on the jacket.

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To hide the tops of the tassels I added buttons. I realize embroidered buttons are a lot more historically accurate, but I didn’t have enough coverable buttons left and I wanted to finish this project. I’ll probably end up replacing these in the future with something more accurate.

Then again glass seed beads aren’t very 18th century appropriate either but I used plenty of them, so perhaps it doesn’t matter too much!

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Finished sleeves!

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Here are all the buttons sewn onto the jacket.

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Now it was time to make the pocket covers. Which are, like everything on this project, just decorative. I used all but three inches of the gold lace on the jacket so I had to raid my stash for something that would work for the pocket covers. Luckily I came across a different gold lace, which was just the right shape. I used that as a guide for patterning the pocket covers, then cut the covers out from interfaced wool.

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Then the lace trim was pinned and sewed on.

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And the sequining process resumed. These took even longer to do than the trim on the jacket but it sure looks pretty!

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I didn’t like the visible organza in the lace so I covered that with gold seed beads. Then I stitched clear montees into the circular loops of the lace.

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I sewed the pocket covers onto the front panels and finished them off with a button.

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Here is one of the finished front panels!

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So pretty!

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And all the beaded panels together. I think I spent more than eighty hours hand stitching beads and sequins onto this project. I was sick of it at times but for the most part I really enjoyed the process. I find beading really calming, and I would love to do more of it on future projects.

It also ended up being pretty convenient since I could do it in front of the TV. I worked on this through the first four seasons of Downton Abbey and a bunch of Top Gear episodes.

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I did one last fitting before sewing everything together. I ended up taking it in at the waist a bit more, raising the sleeves at the shoulder, and taking it in at the shoulder. Then I sewed the side seams and attached the sleeves.

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During this fitting I realized the jacket was wayy too long at the back, so I removed more than four inches of fabric from the hem. Then I turned the hem inward by an inch and sewed it in place.

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The cuffs also got hemmed.

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And so did the neckline. Shortly after taking this picture I lined the sleeves and secured the lining to the interior of the cuffs.

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Now it looked like a proper coat!

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I turned the front edge inward by two inches until I reached the waist, the rest of the front panel was only turned inward by an inch.

Then I sewed in the hooks and eyes. THERE WERE SO MANY. I used all the size two hooks and eyes I had, which was 19 in total. They aren’t spaced evenly, so they don’t look too pretty, but they line up perfectly so i’m happy.

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At this point the coat was wearable, but it still wasn’t finished. I roughly pinned the lining in.

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After making sure the lining wasn’t restricting the drape of the jacket I pinned it in properly.

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And sewed it in place. This lining fabric isn’t historically accurate at all but it makes the jacket much easier to get on and off, and that’s what matters to me!

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And the jacket is finished! I chose not to further embellish the neckline or hem, since I didn’t feel the jacket needed it, and i’m happy with that decision. I really love the way it turned out. I had so much fun beading this, and the fact that the fit turned out so well delights me to no end. I definitely think this is my most successful 18th century inspired garment that i’ve made so far, and it’s certainty my favorite from a visual aspect.

I’m really proud of it. And that’s a nice feeling!

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Of course there are a couple things I would change. Mostly the spacing of the lace. It would have looked so much better and been way more flattering if I had spaced them properly and only used five pieces on each side. Then I could have used the full width of the lace and the wider lace would have made my torso look longer and more narrow.

But other than that I think it’s pretty great! Not exactly like my reference photo, but pretty great all the same.

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Divots in the wool once again gahh. Luckily they aren’t all that noticeable when it’s worn.

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Here is a teaser photo from the photoshoot I had with this project. This was my first time wearing the ensemble, and I was rushing because of the snow so I don’t think it shows the jacket in its best light. The bodice was slipping at the shoulders, which caused the jacket to sit lower on the shoulder than it should, and the sleeves ended up bunching. I think i’ve fixed the bodice to rest higher on the shoulders so it should wear much better next time!

I’m also going to (eventually) add buttons to the centerfront of the jacket. That was always part of the plan but I forgot to set aside buttons for it and used them on a different project by mistake!

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So that’s it. It’s always weird finishing a project i’ve invested so much time in (ninety hours!) but i’m looking forward to starting new things. And this beauty has a proud resting place on a hook in my sewing room so I can look at it whenever I like!

I’ll be posting about the dress and the hat soon. Thanks for reading!