I have seen so many other recaps of 2011 projects and plans for 2012 that I feel compelled to make my lists as well. It is amazing how much a person can create and then manage to remember it as such a small accomplishment, until taking the time to step back and really look at the work that was completed. And that is why I am going to take the time, now, to look at what I completed in 2011 and list what I plan to build in 2012.
Completed in 2011:
In May: 1883 chemise, corset, bustle, petticoat, and corset coverIn May: 1883 tailored skirt and jacket with matching hatIn May: 1903 combinations, corset, bum pad, petticoat, and corset coverIn May: 1903 tailored skirt, blouse, and jacket with matching hatIn May: 1913 chemise, corset, underskirt, and corset (oh no! painted toes aren’t correct!)In May: 1913 tailored skirt, blouse, and jacket with matching hatIn September: 1780 shift and staysIn September: 1780 bum pad, petticoat, and open gown with matching hatIn October: 1860 gown and hair wreath (as well as chemise and drawers)In November: 1860 hair crescent (here is the picture I promised you, courtesy of a friend)In November: 1819 corsetIn December: 1819 spencer, bonnet, and muff
Not pictured: 1860 wool cape (completed in November)
Plans for 2012:
Before April: 1912 beaded afternoon gown and matching hat (far right)Before April: 1912 evening gown (From the Met (although I can’t find the link in the collections right now… sigh))Before August: 1900 organdy blouse, cotton skirt, and boaterBefore August: 1894 ball gown (using many of the details on the gown in the middle)
As well as the following items:
In January: 1780 pockets
Before March: quilt 1819 corset
Before April, possibly: 1912 day dress and matching hat
Before June: 1860 child’s corset
Before August: 1903 cotton skirt and matching hat
Before December, possibly: 1830s or 1840s ball gown
And so, I pat myself on the back for a year well spent. Congratulations to you, also, for what you accomplished in 2011, clothing related or otherwise! Finally, blessings for all of us, for what we will accomplish in 2012.
I am leaving the Regency period for now to focus on preparing dresses from 1912 to wear to Titantic-themed events in April. I’m hoping that by starting early I will be able to spread the workload out and include lots of beautiful details.
I am making the dress on the right side (the black one) and I plan to include beaded panels (this is why I am getting an early start!)… I can see a beaded pattern: the top and mid beaded sections appear to have an inner outlined area that mimics the exterior shape of the beaded panel and the remaining space appears to be filled in by zig zags. Similarly, the bottom panel appears to also be filled in with a zig zag pattern. (Or is it a pattern more curvy than a zig zag?)
(From Vol. 59 of the magazine Bon Ton)
I feel like I have a clear idea and can move forward with the beading, but at the same time I am doubting myself and thinking that perhaps I need to do more research on 1912 beading motifs. Do you think I can take creative license and go forward with the information I can glean from the Bon Ton image? I did find this example of an extant 1912 beaded dress that is similar on the one from Bon Ton.
1912 Beaded Ball Gown1912 Beaded Ball Gown
I don’t own any books that are specific enough to assist me in this search and various online searches have been generally disappointing. And yet it seems that someone out there must have some good information! Do you know of any sources for information on Edwardian beading motifs? I hope to hear from you, if you do have any ideas!
Despite the long name of this post… Here it is! My (almost) finished 1819 Regency Ensemble! The ensemble includes an early 19th century white linen chemise, 1815-1820 pink cotton corset, 1815-1825 ivory cotton gown, 1819 brown velvet Spencer, 1819 straw bonnet, and mid-19th century fur muff (ok, so it’s not quite as giant and droopy as a Regency muff… but it was cold outside!). You can click on the links to see more about each piece. There is more to come on the gown and bonnet.
Right now I want to focus on the completed Spencer and its details. Please click on the link above to see my research for the Spencer: it is based off a Spencer at the Metropolitan Museum of Art. You can see pictures of the mockup Spencer here. The Spencer is constructed of brown cotton velvet that is flatlined with white cotton. It is trimmed with green cotton cording, vintage brown lace, and green tassels to match (Aren’t the tassels so adorable?).
1819 SpencerBack of the 1819 Spencer
I wore this Spencer to the Massachusetts Costumers annual Regency Holiday Tea. This year, in addition to having tea, we visited the Lyman Estates Greenhouses, which were built in 1804 and added to in 1820, 1840, and 1930.
On to see more of the greenhousesOrnaments hanging from a tree!Picture time!Admiring the decorSo many beautiful things to look at
The tea was lovely and I do believe that my Spencer turned out wonderfully! Spencers are so adorable and varied. I hope to make more in the future… but there are other things to do before I go back to Spencers. The next big push is going to be Edwardian outfits for Titantic evens in April!
I recently shared with you my research for a Regency Spencer! I found many inspiring images, but below is the one that I chose to reproduce, with some creative license, of course. 1819 is the specific year much of my Regency ensemble is aimed at, so this Spencer fits in perfectly! Aren’t the tassels adorable?
1819-1822 Spencer at the Metropolitan Museum of Art1819-1822 Spencer Back
First of all, let me share pictures of the mock-up of this garment!
I draped the pattern and left seam allowance on the draped pieces (to eliminate the step of creating a paper pattern from my muslin) so I could move straight to the mock-up stage. In this case especially, I felt the mock-up to be essential to the fit of the spencer (especially the seams in the back) as well as to reaffirm the scale and placement of the decorative elements. Only after I had fit the Spencer and marked the necessary alterations did I rip open the seams and use the muslin to create a paper pattern.
1819 Spencer Mock-up1819 Spencer MockupBack: close upSleeve: close up
Coming soon will be pictures of the finished garment!
When American Duchess announced the Pemberley Regency style shoe around Thanksgiving I was super excited… but I am even more excited about the most recently announced shoe that is nearing the end of production.
Yes, an Edwardian shoe! It will be for sale before April, when I know we will all be attending Titanic-themed events. I have plans to make Edwardian clothes for some of these events and I have been looking for modern shoes with a historic aesthetic to match; however, it is quite challenging to find a modern shoe with the right heel shape, top detailing, and heel height, just to name a few features of this Edwardian shoe. I am so excited!
New “Astoria” Edwardian shoe from American Duchess
This link contains an affiliate code, which provides a small benefit to my shoe fund. This does not affect my impressions and reviews of this product.
American Duchess has other shoes in development as well: a 1920s t-strap (super cute) and court heels c. 1680-1740. You can check out the designs here, just scroll down.
I say Christmas wishes (almost) come true because when I posted about the Pemberley Regency shoe I wished for a late Victorian shoe from American Duchess. Well, Edwardian is not quite late Victorian, but it is just as exciting! And such perfect, well-planned timing! SO EXCITED!
Let me start by explaining my reasoning about adding to my Regency wardrobe. You see, I had two events in mind for which I needed two different Regency looks: the Massachusetts Costumers annual Regency Holiday Tea and the Commonwealth Vintage Dancers 1812 Ball. What to wear???
“Well,” I thought, “I have an 1819 dress that I built last year for the Sense and Sensibility Ball… but I don’t have the right corset to wear under it. Nor do I have any way to make the ball gown into day wear… And, now that I think of it, what will I do with my hair for a day style???”
The first and most foundational step was to build a corset to provide the proper support and shape for the Regency period. You can see my research and construction of the corset in previous posts.
The next step was to turn my ball gown into day wear! Well, Spencers are a classic Regency garment that can perfectly disguise my ball gown by hiding the short sleeves and low neckline, thus turning it into day wear. Perfect! After the Spencer will come the adventure of finding a suitable hair/hat solution.
What is a Spencer? It is a short, waist length jacket from the 18th and 19th centuries first worn by men but quickly adapted into women’s wear. The garment is named after George John, the 2nd Earl of Spencer who was an English politician during the last quarter of the 18th century and the first quarter of the 19th century.
Early 19th Century Fashion Plate at LACMA (Spencer on the right)Fashion Plate, 1807 at LACMA (Spencer on the right)
Right now I am interested in the Regency style Spencers, since that is what I will be making, so I will focus my research on that period. Here are some of the Spencers I found most inspirational for my reproduction. These garments are from the Metropolitan Museum of Art’s collection.
1819-1822 SpencerEarly 19th Century SpencerEarly 19th Century Spencerc. 1815 Spencer1814-1820 Spencerc. 1816 Spencerc. 1818 Spencer1804-1818 Spencer (That is a lot of tassels!)c. 1820 Spencer
Let’s leave the Spencer here, in the research stage, for today. More will be coming soon with mock-up pictures of my reproduction!
While looking for research images I did come across this blog post that shows a reproduction of an 1815 Spencer at the LACMA. The post (and her other posts as well) have great commentary about the research and construction of reproduction garments with lots of pictures included!
Well, it’s been a little bit of time since I shared with you my research and plan to build a Regency corset to accompany my 1819 gown. I’m excited to say that I was successful! The corset is complete, although I still plan to quilt a diamond pattern along front rib section within the next few months (I’ll share photos of that once it is complete). You can see the diamond quilting in the photos in the link, above.
The dummy isn't quite the right shape for this corset, but here it is!Corset back
This corset is constructed of two layers of pink cotton twill with a layer of coutil sandwiched between them to provide stability and support. I began construction by flatlining the coutil to the outer layer of twill. I sewed the non-gusset seams (the front and back pieces) together in these flat lined pieces, leaving the inside twill layer for later. Each gusset had all three layers flatlined together and sewn into place with the seam allowances pressed away from the gussets themselves. Then I went back and basted the inner twill pieces into place that had been left aside. I turned under the seams on these pieces and hand sewed them over the seam allowance of the gussets so that no seam allowance was showing.
After completing the inside construction I bound the edges with purple bias silk taffeta, scraps from another project. The final step was to create eyelets. I decided to do these by hand in purple cotton embroidery floss. Each eyelet is reinforced with a metal jump ring that is caught under the thread on the inside of each eyelet. This reinforces the edge of each eyelet and keeps them from stretching out of shape when laced. The jump rings are only visible on the inside of the eyelets, where the stitching is bulkier because it passes over the rings.
Hand sewn eyelets, on the outside
The corset is lightly boned at center front and center back. I struggled over what material would be best to create the 2″ wide center front bone. Eventually I remembered a suggestion from a friend, Carly, who had used a creative option for boning that I decided would be perfect for this project. Home supply stores such as Home Depot and Loew’s sell plastic wire ties that are about 3/8″ wide and which come in lengths up to about 20″. The ties are a good 1/8″ thick, strong, but still bendable. They have a similar tension to a steel bone, but are a little thicker. And the nice thing is that you can cut and shape them easily with scissors! Of course, plastic boning is not historically accurate, but it is functional and affordable (a pack of these wire ties is about $5, and there are about 12 per pack) and creates a boned garment that feels similar to one boned with steel bones (and once you finish the garment, who would know?).
In this corset, each side of center back has a single bone. The 2″ wide center front bone is actually 5 wire ties attached to one other with (shhh!!!) masking tape! This is an experiment that I hope will work (I have slight fears that body heat might one day cause the tape to lose its grip and the bones to start to move around in funny ways, or worse, that the tape will leech sitcky goo onto the fabric that will stain the exterior). I put the center front bone in between the layer of coutil and the inside twill, so even if the masking tape does one day create stains, it is unlikely that the stains will make it to the outside of the corset.
Well, I promised you pictures of my new hair crescent in place… and I did wear it with Belle, my dark blue ball gown, to Fezziwig’s Ball recently… but I was so caught up in the fun of the evening I forgot to stop and have someone take a still picture of the crescent! (I’m sure I will wear it again, though, so hopefully I’ll remember at that time.) This post about last year’s Fezziwig’s Ball gives you background on the theme and title of the ball.
Ready to whirl away on a dancing adventure? Look on!
As a final note, let me just say that the evening was wonderful. My favorite moment: the Grand March proceeding up and down stairs, twice! The room was so full that the leaders ran out of options and marched down the stairs!
Over the summer I built Annabelle, a white flounced 1860 ball gown, in order to have an alternative to my dark blue 1860 ball gown. My intention was to adorn Annabelle with flowers, as in my inspiration fashion plate from Godey’s Lady’s Book (Annabelle is based off of the gown on the far right); however, I did not have time over the summer to add the flowers.
September 1860 "Dressed for a party" (Fitting title, don't you think?)
I decided to wear a be-flowered Annabelle to the Commonwealth Vintage Dancer’s German Cotillion last week. My original plan was to hand make the flowers from hand painted pink silk organza. I started on that endeavor, but the process was time consuming and so I have only made perhaps 100 flowers (first: cut 5 rounded point shapes, second: fray check the edge all around, third: gather the center of each flower). Each flower is about 1 1/2″ across. When I went to sew the flowers on the dress I realized two things that made me change my mind about using them: the flowers were too small for the scale of the dress and I would need so many more hundreds to make the look work. In the end I used purple millinery flowers, from the fantastic stash I mentioned in the post about my 1860 hair crescent, to adorn the dress. I actually really enjoy the purple flowers and the scale is far better for the overall look as well.
Annabelle with flowers!
I used matching flowers plus a few others in the pink family to create a wreath for my hair to match the dress.
Annabelle backMatching hair wreath
If you would like to see what Annabelle looked like without the flowers, you can visit the following posts and see pictures: Of Flounces and Dance Cards: Part I and Ochre Court 1860s Ball 2011. And, to finish off this post, here are a few pictures of Annabelle in action at the German!
Playing dance games at the German CotillionPlaying dance games at the German Cotillion
I was recently able to purchase a fantastic stash of millinery flowers for a great price (they were basically being given away) and it is some of these flowers that will become a new hair decoaration to match Belle, my blue 1860s ball gown. I hesitate to call this piece of decoration a wreath, because I do not plan for it to encircle my head entirely; however, “hair decoration” and “hair ornamentation” are cumbersome, while “hair piece” sounds like it should be made of hair, which it is not…
There are two sprays of flowers that are sewn together and softly bent into a crescent shape. (Millinery flowers are so much easier to work with than stiff, plastic flowers from the craft store!) Maybe I should call this a hair crescent? I think that is the best name I have come up with so far…
The finishing touch is a comb that is sewn to the back, to help hold it in my hair while I am dancing (I plan to use bobby pins to attach the points of the crescent to my head). Here’s a picture of the finished crescent. I plan to wear it to a ball in December and I’ll make sure to get pictures of it in place.