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!

Advertisements

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.

 

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.

Plaid, Pleats, and Piping – Making an 1830’s Dress, Part Two

This post is about making the sleeves, skirt, and bonnet for an 1830’s ensemble. I posted about making the bodice for this project a few months ago but didn’t finish the ensemble until last week!

I looked at a lot of sleeve examples from the 1830’s but finally decided on something a little silly that would let the plaid really shine – shirring.

I sketched a few designs but ended up making the the sleeves with four portions – two shirred upper portions separated by piping, a loose puffed portion, and the cuff.

The first step was cutting out four sixty inch wide strips. Then I used the lines in the plaid as a guide for gathering the strips down.

plaid-8702

This was very time consuming to do. Each sleeve had seven rows of gathering – that’s 420″ of fabric that had to be gathered down, and that’s just for one sleeve!

plaid-8703

Then I sewed piping onto the bottom edge of each piece.

plaid-8910

The second shirred panel was sewn on, just below the piping.

plaid-8911

Then I trimmed the top of the sleeves so they would fit the armscye.

plaid-8912

The third portion of the sleeves we large rectangles. I turned the bottom few inches of the side edge inward to hide the raw edges, then gathered the top and bottom edges. The top edge was gathered to the width of the shirred panels, and the bottom edge to the width of the cuffs.

plaid-8925

They were sewn on to the shirred panels.

plaid-8926

Then the top portion of the sleeves were lined with cotton to hide the raw edges.

plaid-8928

The cuffs are interfaced rectangles of cotton with the edges ironed inward. Then I sewed piping onto each edge.

plaid-8929

I used whip stitches for this, so the stitching wouldn’t be visible.

plaid-8930

The cuffs were sewn onto the sleeves by hand, with more whip stitches.

plaid-8931

Then lined with cotton. The fabric is lightweight enough that even when gathered down this densely it doesn’t add much bulk to the seam.

plaid-8932

I did up the side seam, then covered the raw edges with plaid bias tape.

plaid-8933

The final step was sewing two hooks and bars into each cuff.

plaid-8934

I sewed the sleeves on by hand, with slip stitches, and then the bodice was complete! I’m pretty happy with this. At first I thought the plaid was too busy, and the shirring looked odd with the pleating, but I got over that and now I think it’s wonderful.

plaid-8939

plaid-8941

plaid-8942

I didn’t take very many photos of making the skirt since I made it in two hours the night before we photographed this project. But it’s pretty easy to explain since the skirt is just a large rectangle!

I turned the hem inward by a half inch, then inward again by two and a quarter inches. I used a cross/catch stitch for this, and I have a tutorial on the process that can be watched here!

dsc_0563

The top edge was pleated with knife pleats. I originally had the waistline being straight, but after a fitting I realized it was too long in the front. I cut the waistline on an angle so it was two inches shorter in the front than in the back, which leveled the hem.

Then I sewed on the waistband – this was done by machine to save time.

dsc_0561

The back edges were turned inward twice to form a finished edge. Then I sewed hooks and bars in. The back seam was done up with a french seam.

dsc_0562

And that was it for the skirt! I hemmed it to sit nicely over a single cotton and tulle petticoat, along with a weird bum pad I made for an 1880’s dress. This caused it to flare out a bit in the back which wasn’t uncommon in the 1830’s.

dsc_0827

The final piece for this project is a bonnet. I used this as my main reference image and pinned paper onto a wig head until It had the shape I wanted.

dsc_9048

I transferred that onto a new sheet of paper and cleaned up the edges. Then I cut the pattern out from heavyweight interfacing.

dsc_9049

I sewed wire into the edges of each piece, then covered them with velvet.

dsc_9064

The cap portions of the bonnet were lined with scraps of silk taffeta, then sewn together by hand.

dsc_9067

I lined the brim with bright orange silk shantung, which matches the piping on the dress.

dsc_9068

It was sewn in with whip stitches, then sewn onto the cap!

dsc_9097

I’m pretty happy with how the shape turned out, and I love these materials together.

dsc_9096

Since the dress is so wacky I decided to keep the bonnet somewhat simple. It’s decorated with strips of orange silk that form a criss cross pattern with a bow in the back and ends that fall at either side. These can be used as ties, but the bonnet stays in place thanks to a comb pinned into the back of the brim.

hats-and-headdresses-resized-2-of-26

I should have photos of the finished ensemble up soon – we took some in a pumpkin patch, which made a nice backdrop for this fun dress. I just have to finish editing them!

Thanks for reading!

The Grecian Costume : Making a Chiton, Crown, and Girdle

It’s time for a new project – and it’s a bit different than what I usually make!

 I bought fabric for this back and December, but i’ve wanted to make something similar for more than a year. Last May I went on a trip to The Metropolitan Museum of Art and was fascinated by the statues. Though the medieval european ones were my favorite, I spent a lot of time looking at the Grecian sculptures and came home with dozens of pictures of them.

I didn’t settle on an exact style until months later, after seeing this picture. Even though you can’t see what she’s wearing, something about the hairstyle and the novelty of grapes IN a hairstyle motivated me to sit down and come up with a design (that also incorporated grapes in the hair because how cool is that).

I used a few of the sculptures I saw as references and finally came up with something simple: A chiton that is paired with a beaded belt and matching crown.

I chose to use satin faced chiffon for this project – not the most accurate choice, but it drapes beautifully. Since that can be quite sheer I also purchased linen, which will be used to make a simple rectangle skirt worn underneath it. And since i’m bad at keeping things simple I also bought a ton of beads and sequins for the accessories.

I went with a purple color scheme for everything since I wanted the dress to match the grapes – which sounds really silly now that i’m writing this!

DSC_5205

I decided to start by making the crown first. I chose to go with a floral pattern – partially because I found this embellished garment with a floral pattern to it that i’m in love with. And also because my inspiration picture linked above is of Persephone, a vegetation goddess who is associated with spring, so it seemed fitting!

I tried sketching my own floral design but it looked pretty rough. So I ended up tracing the design from the capelet onto my crown pattern. Then I drew some filigree and flowers around it to nicely fill the pattern. I scanned the design into photoshop, adjusted the contrast, then mirrored the image and printed it out.

DSC_5716

I traced the design onto interfacing, then fused it onto the back of the satin faced chiffon.

DSC_5728

I used embroidery floss to stitch through the design and transfer it to the front side of the fabric. This turned out pretty poorly even though it took me forever to do. I’d guess each panel took four hours or something ridiculous. It’s hard embroidering from the back of the material!

DSC_5866

Once both panels were done I ironed them thoroughly to remove the puckers, then sewed them together at the center front.

Then I cut out the crown base from felt weight fusible interfacing. I ironed the satin panels onto the interfacing as best I could, then sewed the raw edges to the wrong side.

Now it was time for beading! Er, that was the plan at least. I didn’t really like how the beads looked on the crown, so I mostly used sequins.

DSC_5944

This was also very time consuming, but it was fun to see it come together. I used sequins to define the vine patterns, add sparkle to the leaves, and to trim the edges of the crown.

DSC_5945

The end result is a bit uneven, but super pretty and sparkly! I’m really happy with how it turned out.

DSC_7135

DSC_7134

I lined the crown with more satin faced chiffon. And shortly after taking these pictures I sewed pieces of ribbon to each end so it can tie around my head.

DSC_7137

Onto the next piece – which is equally sparkly – the belt! These were usually referred to as girdles, a zone, or a zoster (which is also a medical term for a type of rash, so I wouldn’t recommend googling it).

I decided to make the belt from two strips of felt weight interfacing. I covered the strips with satin faced chiffon, then sewed sequins around each edge. When that was done I sewed the strips together and lined the belt.

The belt closes with two metal clasps that are from Jo-anns. I found these a year or two ago and bought a bunch of sets since I liked them so much.

DSC_6997

DSC_7001

DSC_7000

Now for the skirt. This isn’t a historical choice at all, I just made it for the sake of modesty. I originally purchased a plain off white linen for it, but on a recent trip to Jo-anns I found a striped sparkly linen in the red tag section for $4 a yard, so I ended up using that instead.

DSC_5924

I cut the three yards I purchased into two pieces that were each fifty four inches long. Then I sewed the selvedge edges together with a ten inch gap left open on one side. I turned the edges of the opening inward and sewed them down.

DSC_6897

DSC_6898

I turned the bottom edge inward by a half inch and sewed it down. Then I turned the hem inward by three inches and stitched it down by hand with whip stitches.

DSC_6899

But after trying the skirt on I realized it was weirdly long. So I hemmed it once again, this time with running stitches.

DSC_7131

I gathered the top edge down by hand. After doing this I covered the raw edge with home made bias tape.

DSC_6900

I made a waistband from the tiny amount of fabric I had leftover. Then I trimmed the bottom edge with more bias tape.

DSC_6903

I sewed the waistband to the skirt with the right sides facing each other, then sewed two hook/eye closures in place.This isn’t very pretty when you look at it closely, but the only visible part is the hem so i’m not too bothered!

DSC_6905

The final part is the chiton. I looked online for tutorials since i’m terrible at making garments without an understructure, but I couldn’t find any. I think that’s because they are really easy, and the only “tutorial” you need to make one is a simple diagram like this. I was following that originally but ended up making mine without the fold at the neckline, since the satin faced chiffon has a different texture on one side that would have been visible if I did that.

My “pattern” looked like this (well, it was supposed to). I measured from my shoulder to the floor, then added a couple inches (which I regret doing- more about that down below) and that became the panel length. My fabric wasn’t quite wide enough for my arm span, but the sixty inch width that it had looked find so I went with it.

The two panels are sewn together at one edge. (The other edge is left open, even when it’s worn)

DSC_7006

Then I turned the top and bottom edges inward by a half inch and basted them in place. Then the edges were turned inward once again and whip stitched down to hide the raw edge.

DSC_7004

I turned the side edges inward by an inch and whip stitched them down. Since these are selvedge edges I didn’t worry about fraying.

DSC_7003

I folded the material at the seam line, then measured eighteen and a half inches away from the folded edge. This is where I pinned one side of the neckline. Then I measured twelve inches away from that point on the back panel, and twenty one inches away on the front panel.

Once pinned together the front panel will have a cowl neck effect, but the back will be narrow enough that it doesn’t slip off the shoulder. It does make the edges uneven on one side, but I kind of like how it looks that way.

DSC_7007

Here you can see how it looks on the fabric~

DSC_7005

I sewed the pieces together at these points.

DSC_7138

Then I sewed a whole bunch of sequins onto fabric buttons. These were sewn overtop of the stitching shown above.

DSC_7132

 The note I wanted to make about the length of this garment (and why I regret adding a few inches to mine) is that the hem of women’s chiton should touch the ankle. I made mine with that in mind but I made it five inches longer than that length since all the sites I looked at said chitons were longer than the wearer and excess fabric was pulled thorough the belt. What those sites don’t say is that that makes them really  unflattering. I looked like a purple blob of material. And since I used such a flowy fabric it drooped over the belt and covered a piece I spent a really long time making.

So I pulled the material so it sits below the waistband, and left fabric dragging on the floor. I’ll probably end up hemming it shorter since this makes it difficult to move in, but I kind of like how it looks in photos. It makes me feel more statuesque!

And I think that’s it! Here are some pictures of it worn!

Angela Clayton Grecian 4

When I first tried this on I realized the belt prevented the fabric from flowing. To (kind of) fix that I put the belt over the front panel of fabric and tucked it underneath the back panel. This leaves the back panel flowing from the shoulder to the ground almost like a cape. It probably isn’t how they were actually worn, but I like it better this way.

Angela Clayton Grecian 2

Angela Clayton Grecian 1

Angela Clayton Grecian 5

It isn’t perfect but I really like how it turned out and it was a lot of fun to make! I think I might try making a peplos next, and maybe some sort of beaded aegis.

Thanks for reading!

 

The Making of ‘Royal Milk Tea’ – Sakizou Artwork – Part 1 Conquering the Bustle

So I have a new project, a huge project really, that is finally deep enough in progress share with you guys! But first I want to mention that the next convention I’m attending is Katsucon, which takes place in February. Since I am an ambitious bugger, I have really huge plans for this convention and have a half dozen things to make before the con, including a ball gown (I get excited just typing that omg).

I should be pretty active in the blogosphere (allegedly) since lots of sewing will be going on. I’ll do my best to keep you guys updated!

For this project since it’s so…elaborate, I’m going to make the first few posts limited to one part of the costume. I will have a post devoted to the sleeves, a separate one for the corset, one for the tights, one for the wig and headpiece, and of course a part relating to the bustle (this one!).  In total this costume should be posted in seven…or maybe eight parts, depending on how things go.Hopefully this format will allow (and force) me to update more frequently.

The character is “Royal Milk Tea” from the Tea Time artbook, and is designed by the amazing artist Sakizo, who is infamous for her ruffly food inspired designs.

Now…this is a dream costume of mine. It’s also something horribly out of my skill range. I know it’s stupid to take on something so elaborate when I’ve only been sewing for a few months…but i’m a little bit insane, so it makes sense.

The design:

God it’s so pretty. 

If you are reading this with the intention of making this ridiculous beast of a bustle, I want to tell you it requires over 220 yards (yes YARDS) of hemming. And if you are sitting there thinking, “Oh, she’s just exaggerating”  I am not. It takes a ridiculous amount of time, effort, thread, and patience. I can’t really recommend that you attempt this, but if you do – I wish you great luck.

This project takes six and a half yards of taffeta, seven yards of tulle, and a couple yards of muslin, along with regular sewing tools (machine, thread, needles, scissors, etc.) Good luck!

///

I started out with the cheapest crappiest muslin I own,  made a pillow case shaped thing, and stuffed it with polyester filling. I safety pinned my home made rectangular pillow to the pair of shorts I was wearing and drew on the rough shape I wanted  on with a sharpie.

Then I added more filling and refined/evened out the sharpie line, tried it on again, and repeated until I like how it looked. I pinned around my line and sewed across it, and then cut off the excess material.

At this point it wasn’t very pretty, but I liked the shape it gave.

When I decided I was pleased, I took a 40” long strip of plastic boning (the length of my hip measurement) and covered it with a scalloped lace trim to make it look a bit nicer (this becomes the band holding it up). I also cut a piece of white muslin and sewed a cover for the pillow portion, which I hand sewed into place.

Now it looks much better!

And when worn:

Once the pillow portion was finished I started trying to figure out how I wanted the top skirt to look. After a few attempts I realized the bustle I had made – although a good base was never going to give me the shape and poof I really wanted. This is how it looked with a skirt base over it, can you say awkward?

I wanted lots of slightly visible ruffles and a ridiculous explosion of delicious poof – not a shelf coming out of my ass.

Though at this point I didn’t really have a clue what to do,  I went ahead and decided the only way to have a ruffly explosion was to create ruffles. Aren’t I smart? 

.

.

.

So now we can move onto the serious stuff – the art and science behind making ruffles. My “method” (which isn’t really mine, i’m sure thousands of people do it this way, but I did discover it myself) requires a silly amount of machine sewing and is very time consuming, so it’s probably not the best method…but it makes super fluffy ruffles and you have a lot of control over the gathers (which I like). It’s also pretty easy once you get the hang of it….and I like things that are easy.

///

Please note, unless specified elsewhere, this is the method I’ll be using to make ALL the ruffles on this costume. So it’s something I will probably refer back to in later posts.

///

Sadly, when it comes to ruffle making, you have to start with math. (The horror) To keep it simple, a finished ruffle will be 1/3 the length of the material you started with. Twelve inches of fabric = a four inch ruffle, 36 inches of fabric = 12 inch ruffle. Decide on the ruffle length you want, multiply it by three, and that’s the strip length you will need to start with.

I wanted to make each of my ruffles 120 inches long, which means each length I was working with was 360 inches long (I’m going to refer to it as 10 yards from now on). Since my fabric is 60 inches wide I needed six strips sewn together to get the required 10 yard length.

Once that is figured out, decide the width you want, then add on one inch for the hem and half an inch for a seam allowance. I wanted two inch ruffles, which means I cut the strips 3 1/2 inches wide.

At this point I didn’t know it yet, but I ended up wanted 11 tiers of ruffles, which means I cut out 66, 3 ½ inch wide and 60 inch long strips. In total it took six-something yards of material to cut out all the strips I wanted.

Okay, icky math stuff is over.

To save myself -some- sanity on this project, I only worked with four 10 yard lengths at a time, so that’s all you’ll see here.

So here is the first batch of strips. Aquatint yourselves well, you will be seeing a lot of each other. 

 I sorted them out into piles of six.

And got them all sewed together. Having four 10 yard lengths is much easier to manage than 24 strips.

Now it’s time for hemming. Hemming isn’t something I hate…but it isn’t something I enjoy, especially when there is so much of it. I like to get my headphones on, turn a CD on reply, prepare four bobbins and speed through the whole process as quickly as possible. It makes it -slightly- less tedious.

I think hemming is something every seamstress has done before, so I won’t give anything more then the very basic explanation which is: Flip over half an inch of the material and sew it with a running stitch. I would highly, highly, suggest you guesstimate the half inch as you go. If you can, save yourself the hours and hours that pinning and marking require.

Also, if your ruffles aren’t going to be touching the ground, set the stitch length to something a bit longer (like a three) and lower your tension. This will make the process go slightly faster.

Once that is done, flip the hem over another half inch and sew it again. This will give you a rolled (or ‘double’) hem, which traps the unfinished edge inside, preventing it from fraying.

Once that is done congratulate yourself and prepare for the next, far more grueling step. (Mostly joking, it isn’t quite that bad)

///

Okay, time for gathering, the whole bit that actually turns a strip of material into ruffle.

I’m using what I guess could be called the “zig zag” method. For this you are sewing a zig zag stitch over a piece of thread*, (creating a tunnel for the thread*) and then pulling it, thus creating gathers. Now the problem with using thread is that it breaks if it catches on something, then you have to start over again. It can get frustrating really quickly when you keep having to restart.

So I would not recommend using thread*.

*For alternatives you could use embroidery floss, string,  (thin) yarn, or even fishing line.

I’m not sure what I use would be called (if you have the ‘proper’ name please comment with it), I originally purchased it to use as piping, but it’s actually what fine fringe trimming is made of, and you can buy 500yd spools for $20 in NYC. It’s slippery, doesn’t break easily, comes in lots of colors, and is a really nice width for the task.

Cut the piece of thread/string/twine/floss to the length you want your ruffle to be + a few extra inches for wiggle room.

Set your sewing machines stitch length to something very small, then secure the twine, string, thread, or whatever you have decided to use to one end of your fabric strip.

For the actual zig-zag part you’ll probably want to significantly up your stitch width, I usually sew with a four. Which I find works really well, anything larger then that becomes a bit too wide for such a tiny ruffle (at least in my opinion). But play around a bit and figure out what works for you!

Once your settings are done, go ahead and begin zig-zagging over the piece of filament, make sure to pull steadily on the filament well you sew, well guiding the material along with your left hand.

You can rearrange these ruffles later, make them tighter, looser, whatever. Don’t worry about keeping them even while your sewing. The reason you need to pull on the filament is to keep it moving and out of the way so you don’t sew over it.

Hopefully all that made sense, the tricky stuff is over now!

Congratulations, you now have made ruffles!

Once that was finished I sewed five of the ruffles onto a piece of tulle that was 4 1/2 inches wide and 120 inches long. I used a zig-zag stitch to avoid fraying. The other 6 ruffles were sewn onto 6 1/2″ wide tulle that is the same length.

 Then I folded each 4 1/2″ strip in half, giving me a 60 inch long double layer of tulle, with the two layers of ruffles pressed against each other (right sides facing out).

I stitched across the tops of the ruffles, holding the ruffles and tulle together.

Volia, the pile has changed (slightly)!

Once you have made the amount of ruffles you need [In this case I made 40 yards] and attached them to tulle,  you can start sewing things together.

So, the ruffles attached to 4 1/2″ tulle are the ones you’ll actually see- since they are at the back of the garment. They are stacked on top of each other, offset by two inches.

[how it looked when three of them were pinned together]

Now, the problem with this (once it’s sewn on) is that the ruffles actually cave the bottom inward instead of outward.

Front:

It’s more obvious in the back – I should have taken a side shot.

So now we have delicious ruffles, but lack the poofy part.

To combat this, I took the six ruffles that had been attached to 6 1/2″ tulle and sewed all of them together in one long strip which was then folded it in half. I sewed across the ruffle tops, and then gathered the top of the tulle with the method I showed earlier,  resulting in a ruffled 70 inch strip.

Needless to say, it was super dense and poofy. Just perfect for what I wanted.

In these pictures it’s the strip is just pinned, but I think the difference is pretty incredible.

And how it looks when worn!

And that is IT! I still have some hand sewing and tacking down to do, but for the most part this piece of my costume is complete. I am so ridiculously happy with the results..I can’t even get it out into words. There were a few points where I wasn’t sure this would work out…so, yeah, I’m thrilled.

I hope you are as fond of it as I am, if you have any questions, feel free to ask.

Part two will talk about the sleeves and should be up in the next few days, it’s already written.