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 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!

 

An Orange Brocade Dress – Making a 17th Century Costume, Part Two

Welcome to part two of making my Orange Brocade dress, if you missed part one it can be read here. That post ended with a fitting, and binding the arm openings of the bodice. This post will cover everything else – from the sleeves, to the skirt, chemise, and hat! It was originally going to be divided into three posts, but since I’ve been off my blogging game recently I thought you deserved them all at once.

Here is what I ended up with…

And here is how I did it!

Since my fitting was successful, it was time to move onto the sleeves. Like the bodice, I copied the pattern from Norah Waugh’s “The Cut of Women’s Clothes: 1600-1930“*. The pattern is kind of ridiculous, with a bunch of marks that aren’t labeled (seen here). Some markings are for the paned portions, others for knife pleats, gathering, or cartridge pleats. It’s also a lot smaller than I would have expected, being less than 30″ wide.

But this totally worked in my favor since I had barely any material left. After a mock up and a few alterations I cut the sleeves out, and lightly gathered them.

The gathering is only where the paned portions will be. Then there are knife pleats at the lowest portion of the sleeve, which will sit under the arm.

Then I made the paned portion of the sleeves. These are strips of the same brocade, with the ‘wrong’ side facing outward so they appear darker. I turned the edges of these strips inward twice by hand, to prevent fraying. Then embroidered ribbon lace was stitched on by hand to both edges.

There are only 3 panes for each sleeve, which matches Waugh’s pattern. I planned on adding more, but lack of material got in my way once more.

These were sewn onto the sleeves, and completely cover the gathering.

Now it was time for cartridge pleats. You’ll see these on most sleeves from this period and they are glorious. But they usually require a lot of fabric, a thick fabric, or a combination of the two. Otherwise they can look pretty bad. And since my sleeves did not have a lot of material, and are made from a very thin brocade, I had to fake this.

So I cut out facings for the top and bottom edge of the sleeves, made from cotton. Then I marked a line half an inch away from the bottom edge of the facing to indicate seam allowances. And finally, I marked vertical lines every half inch all the way across the facing, except for where the paned detailing is.

Then I cut up pieces of cord (I used 1/4 cord made for upholstery piping that felt almost papery) and sewed a piece onto every. Single. Line.

I hemmed the bottom edge of the facings, then sewed them onto the sleeves with the right sides facing each other. I turned the facing inward and stitched a quarter inch away from the edge to secure it in place.

Then I got out my heavy duty thread and sewed through the facing and top layer of fabric, between each piece of cording. This created the appearance of full cartridge pleats, while only using 1/2″ of fabric and no stiffening!

There are two rows of stitching to secure these, approximately half an inch apart.

I sewed the back edge up with a french seam.

Then made cuffs out of strips of brocade that is backed with ribbon.

The cuffs were sewn on by hand, then covered with embroidered ribbon and the trim I used on the neckline of the bodice. For some reason the cuffs gaped outward at the hem, so I had to hand stitch tiny darts into them. I’m not thrilled with that, but it isn’t obvious unless you get really close up.

The sleeves were pinned in place.

And sewn on with lots of tiny whip stitches.

And that’s about it for the bodice! After another fitting I added a modesty panel, and it was finished.

I’m pretty ecstatic with how this turned out. The fit and the way the materials work together is even better than I had hoped. The skirt didn’t go quite as well, but it all evens out.

The skirt for this project was an adventure. Not because the patterning was difficult – it’s basically rectangles with a sloped top. It’s the waistline that had me stumped. But we’ll get to that later.

Step one was cutting out four 42″ wide panels for the skirt, then sewing them together. This was easier said than done, since I wasn’t sure what petticoats I would be wearing with this, or how much volume the cartridge pleats would provide. So I had to guess the length. But I couldn’t cut the panels too long, since then I wouldn’t have enough fabric for the sleeves. It was stressful!

Once I managed that I sewed the pieces together, with seams at the center front, center back, and sides. The skirt opens from the front, so 10″ of the center front seam was left open.

I also sewed the front seam with a 5″ seam allowance, and with the wrong sides facing each other. Then ironed it open. This causes the darker “wrong” side of the fabric to be visible, and added more contrast after sewing on the trim.

For some reason I don’t have photos of any of those steps, but hopefully you’re still with me!

Next up was the pleating. Much like with the sleeves, I created a “facing” for the top edge of the skirt, which had guidelines marked.

The skirt actually had enough fabric in it to do real cartridge pleats (unlike the sleeves, where I needed to fake it). But the brocade I’m using is very thin, so I would have had to back the fabric with something thicker. And I was worried that would make the pleats stick out too much, creating more of an Elizabethan effect.

So I used cord to pad the pleats. These were cut into one and a half inch lengths.

Then sewn onto the cotton facing, and pinned to the top edge of the skirt.

I turned the facing inward to hide the raw edge, and it was ready for pleating!

After doing half the skirt, it became very clear to me that the cords were wayy too close together. The skirt would have had a waist of 60″ if I kept going!

So I started over and used a seam ripper to remove every other piece of cord.

When I resewed it the pleats were a lot deeper, and the waistline was much smaller.

Now it was time to add the waistband…that seems easy, right?

For most skirts from most periods, it would be.  But 17th century waistbands are a mystery to me because they don’t seem to exist. 

It’s a known fact that most bodices from this period had tabs to prevent the heavily boned bodices from digging into the wearers waist. Which means to cover the tabs, the skirt needs to go over the bodice. Except the waistband for the skirt isn’t visible in any. Of. These. Paintings.

Also – the point at the front of these bodices are visible in every. Single. Painting. Which means the skirt is worn over the tabs, and under the front of the bodice.

You may be thinking that an easy solution is sewing the skirt to the bodice, and having it close down the back. But that interrupts the cartridge pleats and destroys the shape of the skirt.

In this extant garment a small waistband is shown, and after many hours of frustrated searching without finding a better alternative, I decided to go with it. So my waistband is made from strips of brocade that were reinforced with interfacing and folded like double fold bias tape. The skirt was sewn to it by hand, with upholstery thread.

I actually used upholstery thread to do the pleating too, since it’s less likely to break under strain.

Here it is!

And from the interior.

I left the front of the waistband un sewn, since unlike the majority of the skirt, the front ten inches are not gathered. Instead they are left flat, and help create the smooth front, large rump effect that was popular in the mid 1600s (and continued to grow in popularity in the 1700s!).

Here you can see it in it’s current state on my dress form.

I realized that the waistline needed to be lower at the front so it could tuck under the bodice, so I cut several inches off.

Then I tried the skirt on and marked the hem. The skirt is hemmed symmetrically, but not evenly, since it was longer in some places than others, and I couldn’t predict the correct length when cutting the panels since I wasn’t sure how much volume the cartridge pleats would provide.

(The more volume a skirt has, the farther it will flare out, and the longer it needs to be)

And now it was time for sewing on the trim. I used seven yards of embroidered mesh lace that I bought on etsy. This was hand sewn on with two rows of stitching – one on either edge.

As you can see, down the center front (where the interior fabric was turned outward) the trim stands out more.

And on the hem it’s a bit more subdued.

Annoyingly, I was 4″ short of trim. Which left this gap at the back. I didn’t want to buy more trim, since it was only sold in 7 yard lengths, and took several weeks to arrive (at this point I planned on finishing this costume much earlier). My fix for this was sewing the narrower trim down the center back, which covers where the wider trim ends. There is still a gap, but it looks more intentional.

Then I sewed the remaining bit of the waistband onto the skirt, treating it like double fold bias tape.

The final few things to do where redoing things I had already marked as being finished. These things weren’t difficult, but they definitely weren’t fun. So I put them off for two months and only revisited this project earlier in the week.

(oops)

Thing one was tacking down fusible interfacing I had ironed to the center of the skirt to keep it smooth. It had started to pull away from the fabric and refused to stick.

It went from this:

To this! Much better.

I also had a problem with the waistband gaping where the cartridge pleats started. This was fixed with a little knife pleat that I tacked down by hand.

As far as closures go, the waistband attaches to the bodice with a hook and bar on either side. The bar is placed just above where the tabs end.

The slit closes with snaps. Half the snaps are actually sewn to a modesty panel, so the front of the skirt doesn’t overlap.

And that’s IT! After many weeks of work, and a lot of procrastination, this dress is finished! And I love it so much.

The only fault I have with it (aside from the gab in the trim) is that it could have used an extra half inch in the waist, since it’s hard to get the back to close completely when lacing it myself. But it does lace all the way closed if I put the effort in (which I didn’t for these photos…)

This dress will be worn with two accessories. The first is the chemise, which shows slightly at the neckline and underneath the sleeves.

For this I used two yards of sequin mesh – which looks beautiful, but those sequins are like little knives once you have the pressure of the bodice overtop…so I regret that.

 I also didn’t have enough fabric to make this the way I wanted. Or any trim that matched it. I regret that too.

I used the dress pattern as a base for the arm openings and neckline, I just made the bodice much bigger and longer so I could get it over my head.

I also used the sleeve pattern as a base – I just cut it to be more narrow.

After gathering the sleeves I sewed them to a gathered strip of lace, which had more of the sequin mesh sewn onto the hem. I’d originally planned on doing all of this out of sequin mesh, before I realized I didn’t have enough fabric.

The body of the chemise was originally made from two pieces of fabric, but it was comically small. I ended up using what little fabric I had left to form a gusset at the front – this looks really funny, but made it wearable, which was nice!

The top edge is trimmed with the scalloped edge of the fabric.  I hand stitched the seam allowance down to form a channel.

Then I threaded two strands of ribbon through the channel to create a drawstring effect – allowing me to lower or raise the neckline so it matches the neckline of the dress.

I sewed the sleeves on, and it was done! It came together in a few hours and looks quite nice underneath the dress.

The final accessory is a hat. As I said in my first post about this project, the inspiration is this painting. I bought a yard of blue stretch velvet for the hat, along with some bright orange feathers.

I made the base out of felt weight interfacing, with wire sewn into the edges. The brim was lined with brocade, then covered in velvet. The top portion was covered with velvet, then lined with cotton and sewn together.

I bound the brim with gold brocade, and covered the stitching with orange and gold sequins.

I sewed the pieces together and covered the join point with some braided gold cord.

I trimmed it with a gold bow and the feathers. I originally wanted to add flowers, but it ended up looking messy.

With the hat done, this project as a whole is done!

Though there are things I would change if I could, I’m really pleased with this project. I love the dress and the trims and the hat – and even the chemise, with it’s mismatched lace. I’m already brainstorming another (slightly less elaborate) 17th century project. But I may hold off for a couple months.

Thanks for reading – I hope you enjoyed! And hopefully I will be able to photograph this soon.

 

Making a Striped Cotton Dress, Early 20th Century

I recently took a trip into the garment district, and for the first time in years I didn’t have a list of projects I was shopping for. However I did have a list of materials to keep an eye out for, and one of those was lightweight cotton.

Lightweight cottons are incredibly versatile – they can be used for foundation garments from any period, gauzy dresses from the 18th century to the mid 1800’s, and more practical pieces from the beginning of the 20th century.

I’ve always found it difficult to find lightweight, soft, yet sturdy cottons that would work for these pieces. Especially since (for me) a big part of a garment looking authentic is it’s texture – which is one of the challenges with plain cottons. They don’t have a lot of it, and garments can look cheap or flat regardless of how well constructed they are.

Which is why I really lucked out when I came across this striped cotton. It has a faded look to it, and the dots buried in the stripes add a bit of life to it. I originally thought it was red and white, but it’s more of a mauve. It’s very soft and slightly sheer – exactly what I hoped to find, and perfect for an edwardian day dress, which is what I decided to use it for!

If you read my recent Progress Report you may recall me raving over fashion plates of 20th century ladies in antique magazines, which definitely served as inspiration for this style of dress. But my main reference was this dressit was listed on etsy, with a bunch of close ups which helped me figure out the construction.

I think the end result is pretty lovely – but let’s start at the beginning!

Step one was draping. This was tricky to drape, since I wanted the oh so glamorous pigeon breast shape, where volume from the bust carries down the the waist, which is cinched in with gathers. It’s very easy to over exaggerate this shape and end up with way too much fabric in the front.

I was also challenged by the pleats in the shoulder – they look okay here, but I was concerned the ends of the pleats would splay open when it was worn.

The back has a box pleat in it, for decoration more than anything else.

I transferred that to paper, then made a mock up. The pleats and amount of volume worked surprisingly well, so I moved on without any alterations.

I cut all the pieces out, then marked the pleats on the wrong side of the fabric with pencil. They were ironed, pinned, then sewn down by hand. I also gathered the front of the bodice pieces.

And the back. For some reason the pleat wasn’t symmetrical, which really bothers me! But I wasn’t sure how much fabric I would need for the skirt, and I didn’t want to waste any by recutting this piece, so I didn’t bother redoing it.

Then I cut out a “facing” for the collar, which will actually serve as a base for the lace trim that will be shaped into a collar.

This was pinned on top of the striped fabric to prevent the stripes from being visible through the lace.

(before doing this I sewed up the shoulder seam with a french seam)

For lace I used a gathered eyelet trim from Jo-ann’s (I removed the gathers with a seam ripper, then ironed it flat) and a lace I got in a grab bag when I went to Lancaster. I wasn’t a big fan of this combination at first, but I don’t have a lot of white lace in my collection, so my options were limited.

I sewed the lace together by hand, to create a single two inch wide unit. Then I pinned that onto the collar.

And here it is sewn down. I had to pleat and gather parts, but after ironing it looked pretty smooth. It’s a bit hard to tell with the lighting, but the closure point is on the left side of the collar, imitating the dress I based this on.

Now it was starting to look like a bodice! Since one of my goals for this was to keep it very lightweight, I decided not to fully line it.

Instead I sewed the interior seams as french seams, and created a facing that extended from the neckline to the waistline. This was cut from muslin, then pinned to the right side of the fabric. I sewed it on with a half inch seam allowance, then turned it inward to hide the raw edges. I topstitched a quarter inch away from each edge by hand to prevent the facing from shifting and peaking out. I also tacked the far edges of the facing every few inches.

Now onto sleeves! The pattern I created for this is pretty shoddy, but it worked! The sleeves have four tiers, three made from striped fabric, and one made of lace.

The top tier has the stripes going vertically, tier two has the stripes going horizontally.

Tier three is actually muslin, which the lace was sewn over, and tier four is more horizontal stripes. I’m really happy with how the sleeves turned out, I love playing with the grain lines in fabric, but it can be hard to do without wasting a lot of material – not to mention tedious. This was an easy way to sneak it in and add some interest to a simple dress.

The lace pinned together – ready to be sewn together, then onto the sleeves.

And here they are in all their glory!

I left the sleeves unlined, since none of the fabrics are prone to fraying. But I did the side seam up as a french seam.

Then the bottom edge was turned inward by a half inch. I loved working with this fabric since the stripes served as  guidelines for where to sew.

The tops of the sleeves were gathered down by hand and sewn onto the bodice by machine. Then the seam allowance was whip stitched together by hand. This isn’t the cleanest finish, but it was popular in the 19th century and avoids additional bulk in an area where mobility is important – so it works for me!

Now I did a quick fitting and the end result wasn’t great. Though the pleats looked nice on my mockup, during this fitting they bunched really badly above the bust. There was a lot of folded material at the sides too, which was frustrating.

I ended up mostly fixing this by tacking the pleats down further, and tapering the ends off almost like darts. I did this with pins on the left side, which looks a lot better than the right side.

I think the folded material at the sides was caused by excess fabric in the back, which I fixed by gathering the center back portion down to be an inch and a half smaller. I also regathered the front panels so the volume was more focused at the front of the bust.

Later on I played around with foundation garments, and improved the shape even more – I found a ruffled corset cover made me look too barrel chested, but bust pads really improve the crinkling at the top of the corset.

With the fit fixed, I pinned on the waistband.

And that’s it for this post! Next up: the skirt, closures, hat, and finishing touches!

Thanks for reading!

An Orange Brocade Dress – Making a 17th Century Costume, Part One

It’s taken me longer than I had hoped, but I’m finally back with a “Making of” post! And it focuses on a project I’m really excited about: a seventeenth century ensemble.

I’ve wanted to make something from this period for a long time. It’s not a popular period for historical re-creation, but I’ve been attracted to it since I first started researching historical fashion. The high waists, bright silks, full sleeves, and jeweled decorations really appealed to me. And now that I know more about fashion from the 1500s and 1700s, I find the mid 1600s even more interesting since they are so drastically different than what came before them.

It’s also the period depicted in most of of Rembrandt and Peter Paul Rubens work, who are some of my favorite artists.

Despite my interest in the era, I haven’t completed a costume from the mid 1600’s. I’ve made some attempts, and even gotten pretty far! But bad fabric choices, fit issues, and poorly thought out designs have led to failure every time.

But this time I was determined. And luckily things went a lot better.

My previous attempts were based on simpler dresses that were free of decoration.  I’d still like to complete a dress of that style some day, but I thought success would be more likely if I went in a different direction.

Then I came across this painting and fell in love. I don’t like the mask, but textures, print, colors, and details really drew me in. I love the sheen on the dress, and how much depth it has. The amount of trim on it, and the paned sleeves looked like they would be a lot of fun to recreate. And I adore the hat, it helps balance out the proportions of the sleeves and skirt.

I couldn’t find a fabric deep enough in tone to match the painting, but I did find a lovely peach/orange/gold brocade in my price range. It’s from Fabric Express in NYC and cost $6/yd. I purchased eight yards but barely had enough material left to cut out the sleeves, so I should have bought more.

The trims are all from etsy. Seven yards of wide embroidered mesh trim (from HARMONYDIYLIFE), twenty yards of metallic embroidered mesh trim (from lacetrimwholesalers), and four yards of braided trim (from ddideas). I spent less than thirty dollars for the lot of them, and really lucked out in terms of color. They match the brocade perfectly. 

Once my materials were sorted, I did a bit more research and came up with a complete design (since the painting that inspired me only shows the top half of the bodice). I mostly used references from In Fine Style: The Art of Tudor and Stuart Fashion*, which has some great images of paintings and extant garments from the period. This ensemble was also helpful to me (especially for the skirt), since it’s more complete than a lot of seventeenth century examples.

The Dreamstress and Before the Automobile have made dresses from this period, and I found their write ups helpful in terms of understanding the construction.

When it came to the pattern I discovered two in my collection – one in Patterns of Fashion*, by Janet Arnold, and another in The Cut of Women’s Clothes* by Norah Waugh. I ended up using the pattern from Norah Waugh’s book, with a few alterations.

I used a trick mentioned in one of the blog posts linked above, and fitted my first mock up over 18th century stays.  I lowered the neckline, let out the waist, lowered the waistline, and made the front piece longer. I debated about cutting the front and sides as a single piece, but decided assembly would be easier with them separate, so that’s what I did!

Then I made the base layer. Which is effectively fully boned stays – there is so much boning in them. The channels were all marked onto cotton, then backed with medium weight twill and sewn by machine. I used plastic quarter inch boning to fill them, then assembled the bodice.

I did a fitting here, and realized the bodice was too big! Well, too big might be a stretch. but it wasn’t giving me the shape I wanted, so I removed a half inch of material from the side panels.

Then I cut out the top layer from the brocade which was backed with fusible interfacing. I wanted to avoid the bodice being thick, or heavy, but I also wanted the top fabric to be thick enough to hide the boning. I haven’t had any problems with that, so I’m glad I decided to interface it.

Lace was sewn into the seams (which were stitched by hand) and in a straight line on the back edge.

Lace was also sewn onto the front panels. A lot of lace. Three rows of embroidered mesh ribbon, with the wider embroidered trim near the neckline. I also cut out brocade strips from the “wrong side” of the fabric, sewed those down, and covered the edges with lace. This added more depth to the front of the bodice.

I basted the center front seam first, just to make sure everything lined up. Then sewed it by machine.

Then the side seams were sewn.

I pinned the top layer of fabric to the base layer. The tabs and neckline were cut without seam allowances, so I whip stitched the edges together. But the back edges, and the bottom edge of the front panel were folded over the base layer, then sewn down.

Now it was time to bind the tabs. I hate binding tabs. I always do a really terrible job – and that’s when working with lightweight cottons! I figured binding brocade would be impossible. Since I was already prepared for them to look bad, I decided to try a new technique and used half inch wide strips of leather.

(The Dreamstress did this for her 1660’s piece as well)

Both the top, and bottom edge were sewn by hand. I don’t think the end result looks great. But I liked doing it all by hand, and the leather curved around the edges better than I had expected. I also liked being able to snip the underside without worrying about fraying.

The underside.

And a close up. I cut the strips from a skin I bought on ebay a while back. I don’t think it was quite as soft/thin as the kid leather that is usually used for this, but it was easy to get a needle through. And my sewing room smelled like leather for days!

Next up was the lining – cut from two pieces of cotton and sewed together at the center front. There weren’t any raw edges on the tabs, so I didn’t bother lining them.

The lining was whip stitched to the base layer.

Then I sewed all the eyelets! It was a bad week for my fingers between these and the tabs, but the embroidery floss I bought matches the fabric really well and I’m happy with how they look.

And the lined interior. The back edge of the lining was sewn after I finished the eyelets so it would cover the loose threads.

I also fray checked the back of every eyelet, since brocade is prone to fraying.

Now I had something that looked like this!

I sewed the shoulder seam, then did a fitting. Which went surprisingly well. The waist is a little tight, but there isn’t any gaping in the back. And it fits my shoulders nicely.

I was even happy with the neckline!

I finished the bodice off with more binding. I used quarter inch wide gold bias tape for the neckline, and half inch wide bias tape in matching brocade to finish the armscye.

And that’s it for this post!

Thanks for reading, I hope you enjoyed! I should be back with another one soon.

Part two of this post can be read here.

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.

dsc_2087

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.

18th-century-casual-1983

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!

18th-century-casual-1995

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.

18th-century-casual-1869

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.

18th-century-casual-1994

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 Draped Velvet Dress

It’s that time of the year again! The time where I make a holiday inspired dress out of festively colored fabrics! In the past these have been elaborate gowns, and usually some of my favorite costumes that I make in a year. This years doesn’t rank that highly on my list, since it’s lacking the ruffles and beaded details that I gravitate towards, but I do like how it turned out! Especially considering that inspiration was tough to come by for this piece.

really wanted to make an elaborate 1950’s style evening gown, but I didn’t have the materials for it. The next idea I had and felt enthusiastic about was more appropriate for a snowy winter backdrop, which we won’t get until January or February. So I settled on this design: A “simple” draped gown made from red velvet.

Though this looks easier than my previous Christmas costumes it took longer than last years to put together. I’m far more comfortable with making structured, or ruffly gowns. Doing something sleek and draped requires skills I’ve never had to develop.

But I think I managed to do an okay job! Since the dress was lacking drama I paired it with some home made accessories with hopes it would dress the ensemble up. I think it worked out quite nicely, though it still isn’t my favorite project of the year.

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The first step was playing around with velvet and pinning it to my dress form until I had a shape I liked. I really liked how it looked with the center gathered, a deep neckline, and off the shoulder draped straps (sleeves?) so I decided to go with that. Then I pinned cotton onto the other side of my dress form until I achieved a similar shape.

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I transferred that onto paper and added seam allowances. Now I had a pattern to use for the base. Even though this dress looks loose and (hopefully) effortless, it has a stiff base layer that supports the shape and keeps everything in place. This is especially important for this project since velvet is heavy – keeping it up takes work!

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I debated about making a mock up but since the boning determines the fit, and boning is a pain to sew into mock ups I decided to make the real thing right away. But I was willing to restart if it was really off.

Luckily it fit perfectly! I decided to deepen the neckline, and make it more of a “V” than the sweetheart shape it originally had, but everything else seemed fine.

The base layer was cut from a cheap, stiff, quilting cotton. I cut each piece out four times, so the base is two layers of quilting cotton thick. This makes it more supportive and means I could insert the boning in between the layers of fabric rather than having to sew external boning channels.

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After adding the boning (all 1/4″ plastic bones) I turned the neckline inward.

In this picture the left is turned inward more than the right side to create the V effect I wanted. After deciding I preferred this I repeated the process on the other side

. Since the base layer will be hidden by velvet I sewed all these edges by machine.

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I sewed facings to the arm openings…then realized I forgot to support the highest points of the bodice, which also happen to be where the straps mount. This meant there would be nothing to support the straps, and they would flop outward.

So I sewed external boning channels made from ribbon on either side of the arm openings.

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I also turned the bottom and back edges inward.

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The final step for the base layer were the sleeve supports – which are just pieces of ribbon sewn to the high points of the bodice.

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Here it is on the dress form. The ugly side faces outward, since that will be the side covered by velvet.

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While it was on my dress form I draped velvet overtop and used basting stitches to mark the points where the velvet should be gathered or turn inward.

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Once I took it off my dress form I smoothed out the edges, then used it as a guide for cutting out a piece of velvet for the other side.

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These pieces were sewn together across the front edge with a one inch seam allowance. Then I used pins to mark the gathering line at the front.

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It was gathered down by hand with running stitches. Something about gathering velvet is super satisfying, it’s thick enough to form cartridge-pleat-like gathers but has a wide enough weave that it’s easy to sew through. Every other part of working with velvet sucks, but it gathers beautifully.

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I roughly turned the edges inward and pinned the front panel onto the base layer.

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Then I pinned that onto my dress form and draped the skirt panel for the back of the dress.

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And I used that as a guide for cutting out the panel for the other side.

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The top edge was gathered down so there is more volume at the back of the skirt.

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Then it was sewn onto the bodice portion of the back panel, which was cut from the same pattern as the base layer.

The side seams were sewn up too, with a one inch seam allowance. I sewed all the seams in this normally – no french seams for once! Velvet is really prone to shifting and sewing the pieces together once was enough of a headache, so I just pinked the edges and decided to let them be.

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To make the neckline a little less extreme (and to incorporate a color I plan on using for next years project) I cut four inch wide strips of mesh. I folded the mesh in half so it was more opaque, then sewed it onto the neckline of the bodice in such a way that it extends three quarters of an inch past the base layer.

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Then I pinned the dress onto the base layer. I started at the waistline, then moved upward.

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I sewed the waistline of the velvet layer to the base by hand with whip stitches.

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I tried the bodice on at this point and the result was disappointing. The waistline looked fine, but the velvet was really droopy in the bust area and I couldn’t see how to fix it. I didn’t think the bodice fit my dress form well enough to adjust the draping there, and the dress didn’t have closures yet, so I couldn’t wear it while adjusting it.

After a few days of procrastinating I tried pinning it to my dress form and that worked amazingly well. In ten minutes and with a bit of pinning I had fixed the droopiness. I’m glad I found an easy solution, but I sure wish I had tried it a few days earlier!

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After smoothing out the edges a bit more I took the dress off my dress form, then sewed around all the edges with slip stitches so they are secured to the base layer.

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I also folded the bottom edge of the straps inward, and the material at the back of the bodice. The photo of it finished is a bit blurry, but you get the idea!

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Then I sewed closures in, which are eyelets embroidered with matching thread.

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At this point I decided to finish the dress in two days so I could photograph it that weekend (made more difficult by the limited hours I could work on it and have good enough lighting to film the process) so photographing my progress fell to the wayside. Sorry about that, I’ll try to explain everything I forgot to photograph!

After a fitting I realized the bodice was a bit big – it stayed in place when worn, but wasn’t as flattering as I wanted. I ended up taking it in near the side seams with darts.

I also realized that the straps looked pretty pathetic, which I was expecting. They were really narrow and lacking the draped effect I wanted. So I cut out two rectangles, hemmed the edges with a cross stitch, and gathered the short edges down to approximately two inches. These were pinned just underneath the existing straps. I sewed the gathered edges to the base layer, with the top edge secured to the bottom of the ribbon sleeve support.

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I sewed up the back seam with a one inch allowance and left the top ten inches open. I folded the edges of the unsewed portion inward, then sewed them down by hand. Three snaps were sewn to the opening to keep it closed. Then I sewed a velvet modesty panel to the back, it’s mostly to prevent skin from showing through the eyelets, but I extended to past the opening left in the skirt, since snaps aren’t super reliable.

The hem is a half inch rolled hem sewn by hand. It might be my least favorite hem I’ve ever done – the sewing is fine, but it’s SO uneven. I leveled it while the dress was on my dress form and though it looks perfect when worn, I swear there are four inch discrepancies between each side. I have no clue what happened.

After a fitting I noticed the dress was gaping away from my shoulders. It fit the bust fit fine, but the weight of the velvet I added to the straps made the high points of the bodice fold outward. So I sadly had to add over the shoulder straps, which did not go with the design I planned. But it meant I got to use some of the glittery velvet ribbon I’ve been hoarding since last Christmas, which was nice.

In future I would shorten these straps – I sewed them on the night before wearing it, and did not do a fit check. They stay up but only if I stand very straight, which is kind of annoying.

The final touch were a few velvet poinsettias and sprigs of pine that I glued on.

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I was worried these would take away from the simple elegance of the dress, but I think they add a lot to it. It makes it more interesting it and ties the dress and the accessories together.

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Only thing I regret is placing one pine sprig in such a way that it digs into my armpit. That was a bad decision.

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Speaking of accessories – this dress has three! The first is the headpiece I made last year, which you can see a tutorial of here.

The other two are new additions – a staff, and a necklace. I thought the dress was a bit boring on it’s own, and these made it more exciting and costume-y. They were also really easy to make.

For the necklace I used two strands of red glass beads I got from Jo-anns, plus a crystal pendent. These were threaded onto some 6lb fireline with a clasp at the back. Then I used some thread to tie a piece of chain to the clasp, which hangs closer to the throat. I also tied three smaller crystal beads onto it. The whole thing isn’t very sturdy, I really should have bought a heavier thread, and chain that was meant for beading, not for sewing onto garments, but it’s pretty!

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The staff took longer to make, but it wasn’t very challenging either. My dad and I went hunting for appropriate sticks in our backyard and eventually found a small pine tree that had been cut down a few years prior. We broke off the branches and he cut off the bottom twelve inches so it would fit in the car.

Then I decorated it. Since the bark was spiky I glued ribbon around the point I planned on grasping it. I also glued on glittery pine cones, fake glittery pine branches, and velvet poinsettias to make it more exciting. There is a strand of lights on it took, which unfortunately don’t show up well in photos.

I was worried I didn’t get enough to decorate it (I was too cheap to buy the garlands – the ones I liked would have been thirty bucks). In total I spent fifteen dollars to decorate it and I have a ton of flowers leftover.

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And that’s it! As I said, it isn’t my favorite Christmas costume, but I like how it turned out. Especially with all the accessories – I think they really bring it together.

I’m also glad I pushed myself a bit, maybe I’ll do more things with draped details in the future.

Thanks for reading! A post with photos will follow this one! And if you want to see videos of me constructing then click here!