The Sunflower Gown : Making a 1830’s Dress

Last Thursday I drove by the prettiest sunflower field, and was overwhelmed with the desire to make something inspired by it.

I also wanted to make something that could be photographed in the field.

Unfortunately, sunflower season is really short and I didn’t expect them to be around for another week.

Which meant I had to make a dress that week.

So I did!

I did the pattern drafting on Friday, and actual construction started on Saturday. I had the dress and a headpiece done and ready to be photographed by Sunday evening.

I think it turned out pretty well for two days of work!

resize

The idea for this was very much shaped by the fabric I had in my stash. In fact, at first I didn’t think I had any fabric that would be suitable for a sunflowery historical gown. I was planning on making a few 1950’s pieces in autumn tones that would suit the backdrop, and that is what I spent a good chunk of Thursday/Friday working on. But the further along I got, the more I wanted to make something historical instead.

So I went through my stash and came across a recently purchased silk shantung. I would lovingly call this fabric baby poop colored…But I still bought it, because it has a very strong gold/green shift, which is striking when light hits it.

It isn’t exactly sunflower colored – but it has yellow, green and black tones in it which is reminiscent.

sunflowers (10 of 27)

This was my original sketch, along with some skirt variations.

I designed this without researching references, but I did look to Costume in Detail* for construction notes regarding 1830’s dresses, which ended up being very helpful!

sunflowers (3 of 36)

The parts I was most excited about (like the big sleeves and gold petal overlays) ended up in the finished dress. But other plans had to be dropped due to fabric and time limitations.

Remember, I only had two days, and six yards of fabric, which isn’t a lot for a historical gown!

sunflowers (36 of 36)

The first idea I dropped, was the plan of having a pleated bertha collar. I decided it took too much fabric and time to create. Instead I draped and off the shoulder bodice which was shaped with gathering at the front and shoulder.

sunflowers (1 of 36)

sunflowers (2 of 36)

I made a mockup for this, then got everything transferred to paper. I also drafted the sleeves right away, which is rare for me. I tend to leave sleeves for last (as in, after the whole bodice is done) because I hate them so much. But there was no time to procrastinate!

sunflowers (32 of 36)

sunflowers (31 of 36)

The bodice pattern was cut out twice – once from a floral cotton which will serve as lining, and again from the silk. Boning channels were stitched into the seam allowance at the sides of the lining, and at the center seam.

sunflowers (4 of 36)

I stitched the layers together, with the right sides facing each other, all the way across the neckline.sunflowers (5 of 36)

I ironed the lining inward and stitched around the neckline by hand. At this point the side seams were still left open. And I wanted to leave them open until after sewing the sleeves on. Which meant I had to make sleeves.

sunflowers (13 of 36)

I cut the sleeves out from a layer of black cotton sateen, and a layer of floral embroidered glitter mesh.

I’m SO glad I remembered that I had this fabric in my stash. I don’t own a lot of black material and was quite frantic trying to find something for the sleeves that had a lot of texture, but wasn’t too thick or heavy (my previous candidate was velvet, which is both thick and heavy).

This ended up being perfect, and I had just enough left to work as an overlay.

sunflowers (7 of 36)

The sleeves were gathered down by hand. Originally I wanted these to be pleated, but I thought having pleated sleeves with a gathered bodice would look strange. So I gathered them instead.sunflowers (9 of 36)

I was going to pad these to get the amount of volume I wanted, but I decided to try stitching ribbon in first to see if that would help. I’m not sure what this is called (sleeve stays, maybe?) but it is often shown in sewing books.

The ribbon forces the sleeves to stay a certain length, which prevents them from sliding down the arm and losing their poof. These sleeves were about 13″ long in the center. And the longest piece of ribbon is 7″.

I didn’t have high hopes that this would work based on my test fitting…but it totally did! No need for sleeve pads here!

 

sunflowers (10 of 36)

But the sleeves weren’t done! I wanted the gold fabric to lay overtop of the puffed portion, almost like flower petals.

These petals were created with half circles of fabric, in various sizes.

sunflowers (11 of 36)

Each half circle was folded in half, and stitched together to form a quarter circle shape. The quarters were turned right side out and ironed. Then the rounded edge was gathered down by hand until it was an inch or two long.

Five of these will be used on each sleeve, which the longest petal at the center of the shoulder.

sunflowers (12 of 36)

This was stitched onto the top edge of the sleeve. I also finished the lower edge of the sleeves with matching gold piping.

sunflowers (14 of 36)

The lower edge looks a bit messy from the interior, and the top edge is kind of…uh…girthy? It’s almost a cm thick at points! So I decided not to finish this edge, since any stitching or binding would just add to that.

sunflowers (15 of 36)

Even though it was quite thick, my sewing machine stitched through it like a champ.

Once the sleeves were on, I sewed up the side seams. I also added boning to the front seam (it stops just below the gathering) and the side seams. Leaving me with this!

It looked so much better than I had expected it would – which really got me feeling excited about the project!

sunflowers (16 of 36)

Though the sleeves were the hard part of this project, they were made easier by the fact I had a clear vision. Where my thoughts towards the skirt were murky at best.

I knew I wanted some visual interest on the skirt – I recently made two 1840’s dresses with plain rectangle skirts, and I’m a bit bored with them. Not the shape, just the lack of trimming.

And the 30’s were famous from elaborately trimmed skirts, so I felt this project would be incomplete without something.

My first idea was pintucking the skirt, then decorating it with sunflowers. But the skirt would have been too short if I did that (I was working with the fabrics horizontal width for the skirt, about 45″).

Then I decided to trim the hem with large triangles, made from black velvet and piped with matching shantung. These could be stitched to the underside of the hem and turn outward, like petals. They could also serve as frames for hand made sunflowers. This idea is seen in my original sketch.

sunflowers (35 of 36)

I was pretty committed to this idea, so much so that I wasted 1/2 yard of my precious silk to create the piping. I also cut out a dozen velvet triangles, and  poly shantung for lining.

sunflowers (6 of 36)

The piping was stitched to the lining, with the wrong sides facing outward. Then velvet was pinned on top with the edges tucked inward, covering the frayed edges of the shantung.

These looked OK, but I didn’t love it. The velvet lacked texture since it was so dark, and the piping blended into the skirt. I thought it was too harsh and clashed with the bodice. sunflowers (33 of 36)

So I decided to dress the skirt up with lace instead. I had 12 yards of 7″ wide chantilly lace that I bought on etsy a while back. I figured I could sacrifice a few yards for this, and still have enough leftover for a civil war era gown (which I’m pretty sure was my original intention for it).

sunflowers (20 of 36)

Despite my intentions for something different, the skirt for this was just a rectangle. But I had a reason for it! On top of fabric limitations, this fabric has a very different sheen and coloring depending on the grain line. Cutting the skirt as a rectangle means the grain is the same all the way across, and ensures the sheen will look even.

The rectangle for this was 3.5 yards wide, and the full width of the fabric.

I marked a line two inches away from the selvedge, and ironed the lower edge up so it touched that line.

sunflowers (17 of 36)sunflowers (18 of 36)

Then I hemmed it with a super sloppy, very wide catch stitch.

sunflowers (19 of 36)

The chantilly lace was placed 6.5″ away from the finished hem, and stitched on by hand with running stitches. sunflowers (21 of 36)

The top edge was gathered down by hand to match the waist of the bodice, then stitched on by machine.

sunflowers (23 of 36)

After that, I turned the back edges inward. I had about 1.5″ of allowance on either edge, but I wanted them to overlap so I wouldn’t have to add a modesty panel. I also wanted to stitch boning into both edges without any visible topstitching.

I honestly don’t even remember how I went about doing this, but I know the end result was far from symmetrical and not too pretty in terms of construction. But it looked okay from the outside…which is all I can really ask for when making a dress in two days!

sunflowers (27 of 36)

I stitched hooks and bars into the back to serve as closures.sunflowers (26 of 36)

I also added a belt. I debated about this a lot, but strongly felt the dress needed something to break up the bodice and skirt. I pinned a velvet waistband on first, but wanted something with more texture. So I ended up making a waistband from black cotton sateen, then fussy cutting bits of beaded lace out and stitching them on.

This looks a bit messy up close since the lace has a large wandering floral pattern, and really isn’t made to be cut into tiny pieces. But from a distance it still has visible texture and adds a bit of sparkly!

sunflowers (25 of 36)

Now with my limited fabric and time remaining, I decided to make sunflowers. These were created from dozens of 4″ wide circles. Each one was cut out, then ironed into quarters. Like with the sleeves, the curved edge is gathered down.

Except this time they were sewn on to a circular base of interfacing.

sunflowers (24 of 36)

The bases were covered with velvet, and more butchered black lace. I wanted the centers to have a lot of texture to mimic sunflowers, but I didn’t have time (or enough black beads) to embellish the centers fully.

The lace was a way to quickly get the effect I wanted, and it worked perfectly!

The lace had to be stitched on by hand, and while I was at it I stitched on some larger black beads, and some gold sequins. The sequins were a random addition because I love sequins. But I’m so glad I decided to use them, the contrast of the gold against the black makes them look lit up, regardless of the lighting.sunflowers (22 of 36)

I pinned the sunflowers onto the dress while it was on my form, before sewing up the back seam. This way I could remove the dress from the form and stitch the flowers on while the skirt was completely flat.

Even though that made the sewing process easier, I didn’t do the best job of this. They were *really* roughly stitched on with whip stitches at the underside of the fabric. I tried to stitch through the edge of the interfacing centers, since that is the heaviest part of the flowers.

I wish the stitching was cleaner, but I’m actually pleased with the placement of the stitches. Since I didn’t tack down the petals, they flip outward slightly, making them look more natural. sunflowers (29 of 36)sunflowers (28 of 36)

That was the dress done! But I knew I wanted to make a headpiece too.

This ended up consisting of two gathered strips of the black mesh, and a bunch of the small flower “petals”. These were stitched into a a single strip.

sunflowers (30 of 36)

That I hot glued onto a headband and backed with boning and felt. Am I proud of the quantity of hot glue on this? No. But it looked good in photos and took less than 10 minutes to make.

The “finishing touches” included pinning my petticoats so they hung above my ankle. And pinning fabric sunflowers onto my funtasma shoes* so it was less obvious that I don’t have any 1830’s appropriate footwear.

1830’s footwear is supposedly the easiest to fake, since they wore square toed flats. But I do not own a single pair of flats because they make my feet look massive.

IMG_4757

And that was it! Also for those curious, this was worn over my recently completed 1840’s corset based on a pattern from Norah Waugh’s Corsets and Crinolines*. I have a couple  photos of this on instagram (here, here, and here) and I can vouch for this pattern being awesome – I love the shape of it, and it is pretty comfy!

For petticoats, I wore a cotton/net full length petti that I made a few years ago. It is full length, so I had to pin it up by about 6″ for this photoshoot. And that was stacked on top of two knee length tulle petticoats (specifically, this one).

I’ve been really unhappy with the volume in my other 40s/30s skirts and I thought this would be a good solution. And I was right, look at that poof!

resizeI’ll post the full photoset tomorrow.

And as always, thanks for reading! I hope you enjoyed!

 

Advertisements

1840’s Dotted Dress – Part One

Surprise, I’m not dead! And I have an explanation (kind of).

I have been sewing, and I have been writing, but I’ve been documenting the process over on Patreon and my YouTube channel.

This year I’ve tried to make my social media presence (if you can call it that) a little more profitable to justify the amount of time I devote to it. And unfortunately for my blog, that has meant focusing on platforms that allow monetization. So I’ve been making a lot of simpler garments which allow me to keep a more regular video schedule.

This has meant my time for elaborate historical things is limited. And there isn’t a whole lot to write about/document when making more modern items or simpler pieces.

But I’m trying to find more balance – (It’s hard when you work from home and every hour can be a work hour) and find the time to focus on projects I’m really excited about. Projects that have enough substance to them that I can actually blog about them.

I’m not sure if I’ll ever be as regular about posting as I was in 2015-2016, but do want to try to write when I can.

That’s not an excuse or anything! It’s an explanation, totally different.

Now onto the true topic of todays post – a new dress!

1840s.red.angela.clayton

Last month I had a spare week or two that I could devote to projects of my own choosing. And I decided that two weeks was enough time to make a summery  dress.

I was kind of creatively exhausted and didn’t want to make anything *too* complicated, so I decided to make a pair of mid 1800s dresses based on extant examples.

This specific design was  based on two dresses from the Met. And when researching it further I found several other examples (take a scroll through this) which are almost identical. I always find it interesting when fashion trends are so obvious in historical pieces.

C.I.49.40.1ab_F

1976.208.1a_F

More photos here and here.

I think I was drawn to this style since It’s kind of the opposite of projects I’ve made before, while still being really similar. I’m used to the ruched/pleated/gathered portions of a bodice being around the neckline, with a fitted bodice to the waist. Where this has a fitted yoke, and gathering around the bust. I thought it was just different enough to be a fun challenge for me, without actually being challenging (creatively burnt out, remember?)

And I was right! I like this dress, and I loved working on it.

The main material for this dress is a dotted cotton with a reddish orange base. It’s a nice quality quilting cotton which I purchased in Lancaster for $4.99/yd. I had eight yards of it, and I ended up using a matching apparel fabric purchased on the same trip to trim the bonnet.

I like this fabric, but the colors remind me of condiments. A ketchup base with dollops of mustard, relish, and a sprinkle of pepper. It’s like elegant hot dog fabric. Mmm…

Resize (5 of 51)

Now let’s talk construction! I started by (not so professionally) draping the pattern. This was harder than I expected. The extant example I was imitating had a very high, modest neckline…but also nearly fell of the mannequins shoulder! Which is pretty contradictory.

This is what I ended up with.

Resize (1 of 51)

Resize (2 of 51)

I transferred that to paper, then made it into a mockup. I was being obnoxiously lazy and actually fitted this over a 1950’s girdle instead of my 1830’s stays.

BUT IN MY DEFENSE, they have a really similar effect of lightly shaping the body to the waist, and separating/lifting the chest. 10/10 would recommend if you are too lazy to lace up regency stays.

Now you might be able to tell that I made some slight alterations. The gathered portion was really droopy, and needed to be lifted by over an inch. It fit well over the shoulder, but the neckline was really low and arched. I raised and flattened it by quite a lot.

Resize (3 of 51)

However, in general I was pretty pleased with this. I’ve had some bad experiences with gathering and bodice patterns. Unless there is a lot of tension on the gathering, it poofs out and can look really silly. So this gave me confidence moving forward!

Resize (4 of 51)

After making the pattern alterations,  I could get to work! And step one was making piping. All the piping. Something I don’t love about the mid 1800s is the quantity of tiny pointless piping that borders EVERY edge of the garment. What purpose does adding piping around the armscye have? None. And usually, matching piping was used, so you could barely see it!

But it is a staple for this period, and something I’m determined to improve at. So I used some cording from home depot, tiny bias cut strips of fabric, and my piping foot to create a dozen yards of it.

Resize (7 of 51)

In the past I’ve done this with silk and had horrible, very puckered results. But it went really well this time – and after a quick iron my piping was ready to be used!

Resize (8 of 51)

The first place it is featured is in the seams of the back panel.

Resize (6 of 51)

I stitched the piping onto the rounded edge of the side panel by machine.

Resize (9 of 51)

Then I stitched a half inch away from the edge of the back panel, and used that line of stitching as a guide for ironing the edge inward.

Resize (10 of 51)

The folded edge was pinned to the edge of the piping.

Resize (11 of 51)

Then I stitched the pieces together by hand, using a backstitch.

Resize (13 of 51)

Resize (12 of 51)

Onto the front panel! I cut this out, then marked lines 2″ and 3″ away from the bottom edge. The bodice was gathered down by hand at these points, with the bottom row of gathering being 6″ wide, second row 6.5″ wide, and the final row 7″ wide.

Resize (14 of 51)

I did this all by hand so the gathers would be all cute and precise. The top edge was also gathered down by hand.

Resize (15 of 51)

The bottom edge of the bodice will be covered with a 3″ wide band, and I didn’t want the bulk of gathers to be visible underneath it. So the gathered panel was sewn to a 3″ wide strip before being sewn to the other bodice pieces.

This was sewn by machine to the side panels – this might be the only seam on this thing that doesn’t involve piping.

Resize (17 of 51)

But it DID involve boning! I was worried the gathered portion would ride up and poof out, so I stitched the seam allowance together to form a boning channel. Then I added a plastic bone on either side. This worked really well in keeping it positioned – I’m so glad I chose to do this.

Resize (16 of 51)

Then I cut lining from a very lightweight cotton. Every part of the bodice is lined except for the gathered portion. Traditionally this probably would have had a pieced lining to offer more support, but I didn’t think that was necessary to achieve the shape I wanted.

Resize (18 of 51)

I stitched piping onto the top edge of the main bodice piece by machine, then hand stitched the yoke on top of that.

Resize (19 of 51)

The same process was repeated for the shoulder seam.

Resize (20 of 51)

Except I goofed up and made the shoulder allowance too small, so I couldn’t actually get my arm through the armscye. Gotta love off the shoulder pieces which have ONE inch of difference between “Too small to get on/move in” and “Too big, falls off”.

Luckily this piece didn’t have a lot of decoration on the collar/yoke, so I managed to figure out a fix for it. After a several hour long break, of course.

Since this is when I took a break in the project, it seems like a natural breaking point in this post!

Resize (22 of 51)

Resize (21 of 51)

So I think this is where I’m going to end this post and todays musings. But the dress is done, and all the progress photos are edited. So I should have more updates soon.

lightroom (9 of 12)

Thanks for reading!

 

Making & Wearing a 1950’s Swing Coat

Usually I start the year off with a wrap up showing the previous years projects and my thoughts on them. But I’m not particularly happy with how 2017 went, and I’d rather move forward with new things than write about my previous work.

So today’s post is going to focus on my first project of 2018: A 1950’s ensemble. This project was inspired by the glorious mid century costumes used in “The Marvelous Mrs. Maisel” and “The Crown”.

(both of which are wonderful shows if you are looking for something new to watch!)

Mrs. Maisel featured a lot of very vibrant pieces, with outfit changes between almost every scene. I was especially fond of her oversized coats, and it seemed like an appropriate season to sew one for myself!

green coat (10 of 10) RESIZE

I didn’t have anything in my stash that would work, and most wools I found online were outside of my price range. But I ended up lucking out and finding a 5 yard cut of bright green textured wool from Fabric Warehouse that was $50. Score!

green coat (7 of 45)

I did a lot of pinterest browsing prior to draping this, but nothing really sparked my interest. I wanted this to be styled after swing coats, with tons of volume. But I also wanted to have it be functional, with a collar and buttons as opposed to an open front. To make it harder,  most of the wintery “swing coats” I found were lacking the dramatic silhouette I wanted.

green coat (4 of 10) RESIZE

I had a few ideas sketched out but created most of the design elements while draping. Which was also a challenge – I’m not entirely comfortable draping loose garments, since there isn’t as much of a guide to go off of when it comes to fit. It was also difficult to imagine the design made out of the thick wool when I was draping it from flannel.

I ended up with this, which surprisingly turned into a passable mockup. So I transferred it to paper and decided to go for it! I figured worse case scenario the panels would be wide enough I could make changes as I went.

green coat (8 of 45)

I focused on the back panel first, since it has the most volume.

It’s made from four pieces – two that meet at the center back, with one gored panel on either side. The pieces were sewn together with one inch seam allowances, then topstitched down. I didn’t worry too much about raw edges since this wool doesn’t fray.

green coat (10 of 45)

Then the back panels were pleated. I topstitched the top 12 inches of the pleats down to create a slimmer shape around the torso.

green coat (11 of 45)

Another view – the stitching isn’t perfect but this was very difficult to manipulate through the sewing machine, so cut me some slack!

green coat (12 of 45)

Then I cut out the sleeves…which were also upper portion of the back panel. The sleeves are raglan style, so these pieces were connected.

I stitched three quarters of an inch away from the bottom edge to create a guide for turning the edge inward.

green coat (13 of 45)

And here it is pinned on. I topstitched this in place by machine.

green coat (14 of 45)

The front panels are much narrower, and shaped with darts above the bust. I topstitched the upper portion / sleeves onto these pieces as well.

green coat (15 of 45)

Even though the edges of the wool don’t fray, the interior of the upper portion was looking pretty messy, so I lined it with a colorful cotton sateen. green coat (16 of 45)

Now it was time for the buttonholes. I chose to do welted buttonholes since I like how professional they look. I was a little worried the material would be too thick to pull them off, but it totally worked!

This was actually my first time using this technique on a garment so I didn’t take many pictures of the process, but there are a lot of tutorials out there if you’re curious.

green coat (17 of 45)

I turned the front edges inward and lined them with more cotton sateen. The lining around the buttonholes got a bit messy – I should have marked the cutout placement on the fabric instead of doing it by eye.

But no one will see that since I only photographed the other side!

green coat (18 of 45)

The front lining was secured with a cross stitch, and I hand stitched across the center front edge with a running stitch.

Then I sewed on buttons, which are very simple, but MASSIVE. I originally wanted to use vintage buttons on this, but they were all too expensive. So I purchased these from here instead.

I think this was a good call – not only were they cheaper, the more elaborate vintage buttons might have been a bit too much for this design.

green coat (19 of 45)

Now the shoulder seams and side seams were done up…only for me to find out the jacket was too big. I cut a good two inches of width out of the underarm, then redid the seams. This looked way better.

At this point I was trying to figure out the cuffs. I originally wanted them to flare out and reveal the lining. But the edges were really bulky and I thought the visible splash of pink made the coat less versatile. So I cut four inches off the sleeves and sewed on rectangular cuffs made from a scrap of green wool instead.

This looked so much better, I’m thrilled I made the change.

green coat (21 of 45)

Now for the collar! This was made from a layer of wool and a layer of cotton sateen for lining.

I made a mockup for this at the beginning of  the project, but decided to do another test before cutting it from wool. This was another good call! After a few minor changes to the pattern the proportions of the collar were way better.

I sewed it onto the neckline by hand, then flipped it out and pinned the edges while it was on my dress form. I’m not sure how I came to the idea (because it looked fine before I did this) but I decided to pleat the front of the collar. This added more shape and a really unique detail – so I decided to go with it!

green coat (24 of 45)

The collar was tacked in place, and that’s it for the jacket!

I did also make a hat to go with this – I didn’t document the process very well, but I’ll do a pillbox hat tutorial in the future. It was basically a rectangle and oval cut from heavy weight interfacing, with wire in the edges and cotton sateen lining.

green coat (23 of 45)

I padded the top and edges heavily, then pinned an oval of coating on the top. Then I pulled a loop of coating over the sides,  and whip stitched around it. The bottom edge of the coating was whip stitched to the lining, and a comb was pinned into it prior to wearing. Easy peasy!

green coat (28 of 45)

I did also make a dress to go with this. But at this point I was focusing on filming the process (that video can be seen HERE) so I neglected to photograph most of the steps.

The dress was supposed to be a simple number made from a bright pink cotton suiting which was shown in the material picture at the top of this post. But after washing that fabric it felt like cheap, stiff, thick, bedsheets – not really what I wanted. I also wanted to wear black and white shoes with this ensemble and knew that wouldn’t match.

After another pinterest browsing spree I decided to make a fitted bodice with a sheer pleated overlay and full skirt.

green coat (31 of 45)

Here is the mock up – this was intended to be the base layer. The pleated layer would be made from rectangles that were draped, gathered, and trimmed overtop.

green coat (25 of 45)

Mockup number one looked okay.

green coat (27 of 45)

But when I did some tests with my fabric, I realized the sheer fabric I wanted use crinkled up when it became wet. It’s a cool effect, but not for the structured pleats I wanted. It also ruined the dresses washability…so I decided to use the cotton on its own.

This meant I had to pleat down rectangles then kind of cut them to the shape of the pattern pieces…but not entirely, since then the pleats wouldn’t be straight. It was all less than ideal but looked okay in the end.

The pleats are half inch wide knife pleats which I topstitched down a quarter inch away from the edge.

There is also a facing that flips outward to create a decorative collar detail, which is what you see here.

green coat (32 of 45)

My original button plan had to be scrapped since they were ivory and clashed with the white cotton. But this meant I could use these bright vintage ones I bought in PA earlier in the year! I got these for $1 a card which I was pretty happy about.

green coat (35 of 45)

Buttons on, buttonholes done. I realize now the buttonholes were too close to the edge because I did my math wrong. So I need to be more careful about that next time..but it still looks okay!

At this point I did a fitting and removed a huge wedge from the side seam. I also shaped the bodice with a dart/pleat instead of the originally planned gathering. Though this was a thin cotton, it looked to bulky when I attempted that.

green coat (33 of 45)

The seams were done up with french seams. I also drafted a quick sleeve pattern and got that sewn on. I wasn’t kidding about the lack of progress pictures, this is the next one I took!

green coat (36 of 45)

One of my favorite bits about this is a little placket (?) / tab (?) thing that I added. This extends out from the neckline and hooks on to the second button. It looks cute on its own, and even cuter with a bow threaded through it!

This bow was made from a floral fabric I got at jo-anns. The bow was made from triangles, instead of rectangles, which gave it an interesting shape.

green coat (40 of 45)

The skirt was made from my remaining fabric – I tore it into two 30″ x 72″ pieces, then sewed them together with a french seam. The front was folded inward several times until the material was thick enough to sew button holes into.

(the bottom 12″ or so of the front skirt panels were topstitched shut as opposed to seamed)

I did a massive 4″ hem on this skirt, then gathered down the top by machine. The pieces were sewn together at the waist, and I bound the edge with bias tape.

And that was pretty much it! A few more buttons were added and its done. Not quite what I originally envisioned, but I like the end result.

It’s slightly long waisted and the buttons are too far over, but for $16 of material and less than two days work I think it is okay!

green coat (41 of 45)

And with the coat (which is the real stunner, in my opinion)

green coat (44 of 45)

green coat (43 of 45)

Now for the finished “look”! Modern pieces are so much more fun when it comes to makeup and accessories.

I tried curling my hair outward to get that Mrs. Maisel flip, but it was sort of a fail – I think my hair is too long. Regardless, I like how it looked, and it held up to the crazy winds we had when photographing this piece.

My lip color is Dusty Rose from Besame, and everything else is pretty much identical to what I show in this video (I go through my hair styling process in that, too).

The earrings were my moms and perfectly match the buttons on the dress!

green coat (45 of 45)

The belt was vintage from the etsy seller TwinFoxVintage. And the shoes are from Royal Vintage*.

I want to talk about these shoes for a second, because visually they are probably my favorite pair I own. Black and white spectator pumps* are such a classic, and these are beautifully made. They really cup the foot and have sturdy padding in the soles.

green coat (3 of 45)

I know sometimes with cheap shoes (of which I own plenty) your foot pops out regardless of size since they aren’t shaped properly. That definitely isn’t a problem here.

I didn’t have any issues with grip when wearing them and the heel height is perfect. They are really flattering on the foot too, and creasing/wear on the leather has been minimal so far. I would definitely order more from the brand in the future with this in mind. (They’ve been teasing spring releases on instagram and I’m already excited).

BUT

They don’t fit me. The site advertises them as running large, so despite being a solid 10 I bought a 9.5. The right shoe actually fits me well, but the left shoe is…evil. It felt okay when I wore it around the house, just a little tight, but I was confident the leather would stretch. I also thought a size up might be too big for my right foot.

I WAS SO NAIVE.

After wearing them…Well, I’d share a picture but it’s not safe for work. It gave me blisters that bled through my sock after 20 minutes of wear. And I was in a situation where I had to wear them for hours. By the end of the day it was pretty horrifying. I refused to wear hard shelled shoes for the following two weeks.

I don’t think this is the shoes fault, just the sizing instructions. If I bought a 10 I would have been fine, but by the time I realized it wasn’t fine, the shoes had marks on their soles and couldn’t be returned.

I’ve been trying to stretch them with crumpled paper and it’s helped a lot, but I think the wearing in process is going to be long and hard for me. It sucks because if these did fit, I think they would probably be my most comfortable pair of heels based on what I mentioned above.

green coat (4 of 45)

green coat (5 of 45)

So next time I’ll order my normal size (or maybe a size up). And do an indoor wear test for a lot longer to ensure they fit before wrecking my ability to return them!

As for foundations, the petticoat is from modcloth (it’s their longer one, but I really don’t like it and wouldn’t recommend it). The stockings have proper seams in them and were purchased from sockdreams, but are by the brand leg avenue. I ordered the plus sized option since I’m tall and they fit great!

This was also worn with a longline bra from the 50’s which I got on ebay.

Now for pictures!

green coat (2 of 2)resizwgreen coat (1 of 10) RESSIZEgreen coat (3 of 10)RESIZEgreen coat (6 of 10) RESIZEgreen coat (2 of 10) resizegreen coat (4 of 10) RESIZEgreen coat (10 of 10) RESIZEgreen coat (8 of 10)RESIZEgreen coat (7 of 10) RESIZEgreen coat (9 of 10) RESIZE

And that’s it! First project of the new year done. Now onto something new!

Thanks for reading!

Making 18th Century Accessories + Shoe Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Now for the wear test!

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

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

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

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

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

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

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

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

Thanks for reading!

Making an 18th Century Redingote

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

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

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

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

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

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

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

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

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

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

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

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

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

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

final-0907

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.

final-0954

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.

final-0951

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

final-0953

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.

final-0956

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

final-0957

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!

final-0960

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.

final-0964

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.

final-0979

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.

final-0971

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

final-0978

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

final-0980

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.

final-0984

final-0985

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.

final-1021

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

final-1024

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!

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, Continued

Last week I shared the process of making the bodice and sleeves for my striped edwardian dress. Today I’m writing about making the skirt, the hat, and the adding the finishing touches.

Let’s start with the skirt. This took me a while to “draft” because it’s so narrow – I’m used to making skirts that fit over petticoats or hoops, and without those as a base I felt a bit lost!

So I began by cutting a rectangle of material, then cutting it in half. Which left me with two 22″ x 45″ish pieces. I pinned one of the pieces onto the front of the dress form and played around with the amount of volume I wanted it to have.

Then I removed the panel from the dress form, trimmed the top edge, and gathered it properly. This was repeated on the other panel as well.

I cut out another rectangle, and while the fabric was folded in half I cut across it diagonally. This left me with three gored panels. I made sure all the diagonal cut edges were sewn to straight edges (to prevent warping), with the wider ends at the hem so it would have the most volume.

I didn’t photograph this process because my floor was really dirty, but you’ll see the skirt laid flat in a minute and hopefully it will make sense then!

Here is the top edge.

I pleated this edge so it would line up with the pleat at the back of the bodice.

Then gathered it down, so the whole thing was the same width as the bodice waistline.

Speaking of the bodice, here it is which the fit updates mentioned in the last post. The pleats were tacked down, and the waistband was sewn on by hand with running stitches.

I also decided to add ruffles to the hem of the sleeves, since they were an awkward length. The ruffles are 25″ x 4″ strips that were folded in half to create a finished edge, then I gathered the tops by hand and whip stitched them on.

I matched the seams in the skirt with the seams in the bodice, then sewed it onto the waistband.

The front edges were folded inward twice to hide the raw edges. This was sewn down by hand, with more whip stitches.

I put it back on my dress form and used pins to mark where I thought the hem should go. Then I tried it on and adjusted the hem more – I’m so, so glad I tried it on during this stage, since it was an inch shorter than I wanted!

I marked my desired hemline with pencil, then measured three inches away from that and marked another line. This left me plenty of room for a pretty hem.

I folded the dress in half and pinned all the seams together, then laid it flat. I did this because the hemline was only marked on one side and I wanted it to be symmetrical.

This is before trimming…

And after!

I transferred all my markings onto the other side of the skirt.

Then turned the raw edge inward by an inch, and inward once again at the line I drew. This left me with a 2″ deep hem.

It was sewn with whip stitches as well.

Now it was time for buttons. I spent a long time searching for suitable buttons on etsy but couldn’t find anything in my price range in the size I wanted.

So I decided to use coverable buttons. I was trying to decide between making them maroon or white when I realized another fabric I purchased in the garment district matched the stripes perfectly. I ended up using it and I really love how they look.

Before sewing them on I tried the dress on again, and marked where the snaps/hooks/bars should be. I sewed these on first, then used the buttons to cover the threads used to securing the closures to the fabric.

I also lined the waistband – here you can see some of the hooks, along with pencil markings for snaps.

In total there are seven hooks and six snaps. Hooks are placed where more support is needed – like at the collar and waistline. Snaps were used for the rest.

There are three snaps and one hook further down which keeps the skirt together – I used three more buttons to cover that stitching as well.

Here is the finished bodice. I’m really happy with how the closures for this turned out, front closures can be hit or miss but everything lines up nicely and it’s really easy to get into!

Now onto the hat! I based this on fashion plates in the catalogues I looked through when visiting McCalls. There were a lot of hats that were covered in flowers to the point where you could barely see the crown. I usually put flowers on hats, but this inspired me to go all out.

First came the paper pattern – I made a few of these before I got the “perfect” size. My original pattern is laid on top of the one I ended up using.

It was cut out of felt weight interfacing.

Then wire was sewn into the pieces.

I covered all the panels with white cotton sateen, and lined them with the striped material. For the brim I gathered the striped fabric at two points to create ruched lining, which I didn’t realize would need to be secured at the gathering point in the middle to sit properly – which left with these ugly dents in the material.

My solution to this was covering it with bias tape. Which just so happened to match the bias tape I made to bind the brim of the hat.

Here is the bias tape sewn on. In the photo above you might be able to see pencil dots, which were used as a guide when sewing it in place.

I also sewed together the crown of the hat, then sewed it to the brim.

At this point I liked the lining better than the front!

But after piling it with flowers the outer layer of the hat grew on me a lot! I wish I had only used pink flowers, and not brought in the small yellow ones. But I still really like it. I used an entire bunch of fake roses, a few sprigs of fake paisleys, fake ivy, and fake ferns.  Along with a sash of silk and an ostrich feather.

I think there may be room left for a few more roses, but I haven’t decided how high I want them to go up the sides of the hat. For now I’m calling it finished.

And that’s it for this project! I’m hoping we’ll have some nice weather soon and I can photograph it against a backdrop of spring flowers. I think it would suit that environment nicely.

Overall I’m really happy with this dress. I think the silhouette turned out very nicely – slim but still obviously historical (that’s more prominent when it’s worn by a person, not a dress form). I like how easy it is to get on, and how comfortable it is to wear. I also have a ton of mobility in it – I can raise my arms all the way above my head without any snaps popping or seams ripping! So if I get attacked by bees when photographing it in front of flowers I’ll have a chance to swat them away.

(or if I ever get invited to a historical event at a theme park I’ll know which dress to bring)

Another cool thing: This dress has maybe $35 of material in it. And that’s including the hat. But I’m really tempted to buy a pair of white shoes to go with it, which would nearly double that total.

And that’s it! Thanks for reading, I should have a fabric haul with the other materials I picked up on my recent shopping trip up soon!

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 a Green Edwardian Gown

This weeks project is one I’ve had roughly planned ever since I saw the first season of Downton Abbey and fell in love with this dress. I love the deep green color, and how elaborate it is while still being simple in design. Back in April I bought four yards of green satin faced chiffon with plans to make something similar.

Unfortunately I couldn’t find an eleborate lace in a matching color, so I decide to make my dress a bit simpler. After some more research I came across this dress, which I really like (especially the lace undershirt and use of black netting), along with these dresses.

The finished dress takes inspiration from all of them – plus some stuff I made up!

dsc_1133-2

I didn’t take any pictures of the drafting process, but the bodice is a simple three panel pattern with darts to shape the back and front. The skirt is also three pieces, with a straight front, flared sides and a bit of gathering at the back.

dsc_0860-2

I cut all the pieces out from a light green polyester charmeuse that I picked up for $4/yd during my shopping trip in Pennsylvania. It was a tight fit, but I managed to get all the pieces cut from the three yards I had.

The skirt panels were sewn together with one inch seam allowances. I left the edges raw, and facing outward since the satin faced chiffon will cover them.

dsc_0870-2

I leveled the hem since it was a bit wonky, then sewed horsehair braid into it to give the skirt a bit more body. I also sewed the darts into the bodice, and the waist seam.

dsc_0873-2

Then I repeated the process with the bodice – here you can see it on the dress form, along with some matching appliques I found on etsy. The darts on this didn’t turn out very well since satin faced chiffon is a pain to sew with, but luckily it wasn’t too noticeable in the end.

dsc_0875-2

I cut the skirt out of satin faced chiffon too, then sewed the pieces together. I trimmed the hem and turned it inward by a half inch, then inward by another half inch to create a rolled hem that was whip stitched in place by hand.

dsc_0897-2

I sewed the chiffon to the charmeuse around the neckline, with the right side of the satin facing the wrong side of the charmeuse. Then I basted the layers together around the arm openings and waistline.

I sewed some black lace around the neckline by hand, then placed the appliques. It took me longer than I would like to admit to get these symmetrical, but I’m happy with the end result.

dsc_0970-2

I should mention that the appliques match the fabric perfectly, but something about the sheen of the chiffon makes it look teal in photos rather than the emerald green it actually is.

(I made sure to confirm this with every member of my family so I know I’m not crazy)

I’ll edit the color balance in worn photos of it if it becomes necessary, but I couldn’t be bothered for the progress photos.

dsc_0971-2

I sewed the appliques on and now it was time for sequins. A couple years ago a follower of my blog (I’m not sure if she would want her name mentioned) was kind enough to send me some beautiful vintage sequins. I’ve used the clear ones on a few projects, but this was the first time I had a project suitable for the black ones.

I can’t even tell you how excited I was to finally work with these – look at all those colors! They are black but shine purple and green, almost like an oil slick effect.

dsc_0975-2

I started off with just a few around the neckline, and some on the sides of the waistband (which is just a gathered rectangle of mesh).

dsc_0976-2

But I quickly came to my senses and realized it needed way more sequins, which led to this!

dsc_1112-2

This shows the sheen of the fabric (and the sequins) a bit better. I think it’s a pretty dreamy combo!

dsc_1094-2

After a fitting I realized the lining was visible below the hem of the satin faced chiffon, so I raised the hem with a horizontal dart a few inches below the waistline. This way I didn’t have to mess with the horsehair braid in the hem.

dsc_0991-2

Speaking of the hem, I decorated it with some green lace that was stitched on by hand (which once again, matches the fabric but doesn’t look that way in photos) and more sequins. The trim had little swirls that were perfect for embellishments.

dsc_1102-2

I sewed the back seam of the charmeuse and satin faced chiffon separately, and left the top eight inches of the skirt open. Then I turned that edge, along with the back edge of the bodice inward by an inch. Then I turned it inward again and whip stitched it down.

The back closes with hooks and bars. I sewed the waistband down to either side of the closure point, and when it’s worn the waistband ties in a bow.

dsc_1100-2

It isn’t the prettiest bow, but it’s still a bow!

dsc_1113-2

Now it was time for sleeves! These are just simple straight sleeves I drafted, then cut from the satin faced chiffon and charmeuse. The hem is finished with black lace, and a doubled band of netting. I embellished the hem with some sequins and finished the top edge with lace binding.

dsc_1116-2

The arm openings of the dress were finished with lace binding too, then the sleeves were sewn on by machine.

dsc_1132-2

There are a few pulls in the sleeves that I’ll have to steam out, but other than that the dress is finished! I really love how it turned out. It’s the elegant, sparkly, simple, edwardian gown I’ve always wanted, and I can’t wait to get photos of it!

dsc_1118-2

The construction isn’t my best, but I don’t think you can tell from the finished dress. I think it’s pretty lovely for a week and a half of work and less than fifty dollars of material!

dsc_1131-2

I intend to wear that dress over a blouse, as inspired by this dress. I don’t think it’s necessary for modesty like it is with that gown, but high lace collars are a big part of the early 1900’s, so I wanted to have the option.

I made this from scraps of silk satin I had leftover from a chemise, and a piece of lace that was slightly larger than a fat quarter. Since I didn’t have enough lace for the whole blouse, I made half of it from muslin, and used lace trim down the center of the sleeves and back.

dsc_1127-2

I don’t think I took any progress photos of this, but it was pretty easy to make. There was just a lot of hand sewing since the lace was sewn to lace trim, then basted to satin.

I used another lace around the cuffs, and added a few sequins for a bit of interest.
dsc_1128-2

The back closes with snaps.

dsc_1130-2

I think they look very pretty together!

dsc_1133-2

To finish off the ensemble I made a headband. I started with a strip of black mesh, then chopped the lace trim I had leftover from the hem into tiny appliques. These were sewn on by hand, with gaps left in between.

dsc_1108-2

I covered the gaps and edges with sequins, then whip stitched the visible netting inward.

dsc_1135-2

And the final touch were some dyed feathers I got in the garment district last year. I glued most of these onto the underside of the headband with E6000.

dsc_1153-2

dsc_1155-2

And that’s it! I haven’t tried all the pieces on together, but I plan to this weekend so I can get photographs of it. It’s so different from the other projects I’ve been working on recently and I adore the end result. Though part of that probably has to do with the materials – emerald green satin faced chiffon and vintage sequins do a lot of the work for you!

Thanks for reading!