An 1836 Chemisette (HSM #3)

The third challenge for the Historical Sew Monthly 2021 is ‘small is beautiful’. Little things can make a big difference to the finished look.  Make something small but perfect. My entry for this challenge is an 1830s chemisette to fill in the neckline of my 1838 bodice (the sister of the 1834 dress I posted details about last year).

Just the facts:

Fabric/Materials: Approximately ½ yd of silky cotton voile from Dharma Trading.

Pattern: Adapted from Janet Arnold’s Patterns of Fashion 1, with adjustments for fit and style.

Year: 1836.

Notions: 1 ½ yds ¼” white cotton twill tape, 1 metal hook, 1 cameo button and thread.

How historically accurate is it?: 90%. The pattern, construction methods, and fabric are all quite good. It is entirely hand sewn. The most modern element is the plastic cameo button.

Hours to complete: 19 ¾.

First worn: August 2021.

Total cost: Approximately $5 for the fabric/shipping (though it is leftover from another project), $1 for the twill tape, and $1 for the button = approximately $7.

The chemisette pattern shape was based on this fashion plate from 1836.

Without a body in it, the chemisette looks like this. It is entirely hand sewn, with small rolled hems and drawstring channels on the bottom edges.

The shoulder seams are sewn with French seams to encase the raw edges. The collar is attached with a flat felled seam for the same reason.

The gathered ruffle on the edge is hemmed on all sides with a tiny rolled hem and then whip gathered to the hemmed collar edge. I haven’t tried whip gathers before and this seemed like it would be a fun project to try them out.

On the underside of the ruffle the whip stitches are more visible.

The inspiration fashion plate doesn’t show the back of the chemisette, so I had to decide on what I wanted. After looking at extant collars and chemisettes, I settled on a rounded point that extends just under halfway down the back.

On a body, it looks like this.

The final touch is a hook and thread loop to close the collar, with the decorative cameo button on top. The plastic is obviously not correct for the 1830s, but it does have the benefit of being lightweight! I was worried that if I used a metal brooch (not that I have one, but if I did…) it would pull the collar down or out.

And that’s it! There was no rushing with this project. I took my time and enjoyed the hours of tiny hems and whip stitching.

An 1890s Outing To Save A Munbax

It’s been awfully quiet here on the blog for awhile. Life has been busy, but the real reason for my lack of posts is that I upgraded my computer. That’s a good thing overall, but it has created multiple issues with storing/moving/accessing my photos as well as needing a new program to edit/watermark/organize them and I’ve only recently found a solution that fits my workflow and needs.

I’ve been sitting on these photos from an event in 2018, thinking that they would be fun to share, but never actually getting to it. But now is the time!  Save The Munbax was a live, interactive game created by Green Door Labs that created a magical, wizarding world set in the 1890s. As guests, we solved puzzles, interacted with magical plants and potions in classes, and followed different trails to attempt to save the rare Northern Crested Dimmoth Munbax from extinction. You can read more about Save The Munbax here.

Since this fantastic world was set in the 1890s, I decided to give my 1899 Elusive Blue Gown a night out of the closet. With no dancing involved it was a great opportunity to wear the trained skirt!

I wanted to make my 1890s outfit a bit more magical and quirky, so I pulled a few accessories together that aren’t my usual for an 1890s dress. For one thing, I wore my subtle-Harry-Potter time-turner necklace, picked up on my trip to trip the Wizarding World Of Harry Potter at Universal Studios in 2018.

I also wore my 1811 Turban Fillet instead of my usual feathers and sparkly hair accessories. Despite not being made to match my 1899 dress, it is actually made from the same fabric since I have an 1811 evening gown made from this elusive blue fabric.


The final bit of quirk was my shoes. I thought silly shoes would be fun, so I wore my 1814 Vernet shoes. The turned up toes and fur weren’t really visible, but I enjoyed knowing that they were there.

I attended this event with Plaid Petticoats, who was also dressed up in her 1890s best, including a cape!

We had fun exploring the different rooms, solving the puzzles, and exclaiming at different oddities.

We enjoyed the floating candles in the stairwell and used them as a backdrop for some our photos and also to give my pygmy puff a subtle chance to pop out of my reticule.

In the end, the guests were able to solve the mysteries necessary to save the Munbax and we were even rewarded with a glimpse of one!

1885 Mantle (HSM #5) & Accessories

Last post was a detailed look at the 1884 Plaid Wool Bustle Dress that I completed last year. This post is going to look at the details of the accessories I made and wore to stay warm while taking photos of the 1884 dress: a mantle, a new muff cover, and a quick mention of the hat.

First, the mantle, which qualifies for the Historical Sew Monthly 2021 Challenge #5:

Purple: Make an item in any shade of purple.

Easier to see the color in the next photo! Purple!

Just the facts:

Fabric/Materials: 1 ½ yards purple wool, 2 ¾ yards drab polyester lining, and about 1 yard of faux fur.

Pattern: Adapted from a pattern on page 33 of The National Garment Cutter Book Of Diagrams.

Year: 1888.

Notions: 4 ¼ yards brown braid trim and 4 coat size hook and loops.

How historically accurate is it?: 85%. The pattern and silhouette are good, but the polyester lining and faux fur are not accurate. I’ve also never examined an extant 1880s mantle up close, so the construction methods are guesses that made sense to me.

Hours to complete: 18.5 hours.

First worn: In January, for a ramble and photos!

Total cost: Approximately $40.

Mantle: Beginnings

This accessory adventure started with a passionate desire to make a specifically 1880s shaped mantle to go with my new dress. I don’t remember the details exactly, but it’s possible that I fell in love with the red mantle on the right in the fashion plate below even before I fell in love with the shape of the bustle dress that I’m wearing underneath my mantle.

The shape! The fur! The matching muff! So cute! It seemed like it would go very well with my dress.

Mantle: Patterning

I started the mantle soon after finishing the 1884 dress last year, beginning with the pattern. The pattern is from The National Garment Cutter Book Of Diagrams published in 1888 (the entire book is digitized and available here).

The pattern I started with is on page 33: Ladies’ Wrap. It has the same general shape as my inspiration plate, including the very specific-to-the-1880s outerwear sleeve set into the side back seam. Figuring those out was an eagerly anticipated part of the challenge.

The brief instructions are to use the scale corresponding to the bust measure to enlarge the pattern. I didn’t feel like finding the right scale in the book, so instead I guessed at a scale that generated proportions that made sense for my size. I think it was somewhere in the realm of ⅛” to 1″.

After the pattern was enlarged, life became busy and I put this project on hold. Fast forward to the first days of 2021 and I decided to knock this project off the to-do list so it would be ready at the first sign of snow for photos!

I made a mockup from my pattern, adjusted a few things including the length of the front piece (it was much longer than my inspiration!), then altered the mockup to check the changes. At that point, I was satisfied and ready to move on to real fabric!

Mantle: Sleeve Puzzling

Along the way in this process I had to figure out the sleeves. Below is what the sleeve pattern piece looks like when cut out. It’s not your usual sleeve shape. The top looks mostly reasonable, but what’s with a dart on the bottom edge? And the point at the bottom? Odd! Folding this in half (as you would normally do for a sleeve) would produce a strange sleeve, indeed.

I pondered this… looked up extant garments (there are a number of mantles with sleeves like this on my general 1880s outerwear Pinterest board) and did some searching for other people who had made this type of garment before.

The thing that suddenly made the sleeve click for me was a series of posts from Caroline (who blogs at The Modern Mantua Maker) showing the construction of an 1880s dolman that she made. This post, in particular, contains a photo showing the sleeve before it was set into the body of the garment. Ah ha! I realized that the bottom of my sleeve folds up and the dart goes against the body. That creates the right shape!

This post from Caroline shows her finished dolman. It was also very helpful as I tried to wrap my brain around these unusual sleeves. And, Caroline has another dolman she made as well, which I also looked at as I was figuring out my pattern.

Mantle: Materials

I had the fashion plate to reference for the overall design of the mantle, but I needed a bit more detail to confirm my material choices. Many 1880s mantles are made from fancier fabrics: silks, velvets, brocades… I only had a heavy purple wool in my stash in a quantity I thought would be just the right amount for the mantle and I didn’t want to buy something new (especially something likely to be expensive, as many of those fancier fabrics would be).

After some searching, I found this c. 1880 opera cloak at the Metropolitan Museum of Art that seems to be made of a plain wool. I decided to use some of the details from it, like the braid trim, to upgrade my mantle from plain to more interesting.

I had the braid trim in my stash already, purchased a few years ago from Deb’s Lace and Trims because I liked the look of it and thought it would be useful someday (I love Deb’s Lace and Trims–you absolutely can’t beat the prices and the products are lovely–I’ve been using them for historical projects for the last ten years!). It was great to find a use for this braid.  With just five yards on hand I had to reduce the amount used relative to the Met inspiration mantle, but I think the end result is in keeping with the simple style of the dress. The braid highlights the shape of the mantle but doesn’t distract or seem too gaudy for the plain wool base.

After creating my first mockup I did have a very justified fear that my purple wool would not be enough for the mantle. Thankfully, after altering the pattern to suit my taste and size I was just able to eke out all of the pieces. Whew!

I love the quilted lining of the Met opera cloak and I considered quilting silk myself to do it. My stash didn’t have any appropriately colored silk, though, so that idea was out if I was to stay on the stash busting course. I thought of buying pre-quilted silk (completely abandoning my stash busting idea), but the colors I could find were bland and the dark brown I eventually decided on after months of indecision was sold out.

In the end, I decided I just wanted the project to be finished, so I would go the low-cost route of purchasing a polyester lining from the $3 per yard store. It helped me use other stash materials, so it seemed a reasonable trade off.

Mantle: Construction

Here’s that polyester lining. It’s unintentionally the same greyish-brown drab color as the cotton lining of the 1884 bustle dress. The mantle is fully lined, as you can see.

In order to make the lining of my mantle tidy, the sleeves were fully lined before being set into the side back seams. Here is one sleeve assembled and ready to be set in.

The assembled/lined sleeves were set into the exterior wool side back seams while the lining side back seams were sewn plain. After attaching the sleeves around the armsceyes in the exterior wool, the lining was turned under and whip stitched to finish the edges.

All of the braid trim is machine sewn on using a zipper foot. I was able to sew it in place on the wool before setting in the lining, so none of the attaching sew lines are visible.

The lining was machine sewn around the edges with the neck left open to turn right sides out. After that was completed, I machine sewed the collar lining (interfaced with cotton) to the neck edge by machine. Then I sewed the exterior fur collar on the neck edge by hand (shown in the next photo).

After that I flipped the lining up, turned all of the seam allowances in, and whip stitched the lining to the fur edge. It seemed easier to do it this way rather than machine sewing the fur.

The faux fur trim around the bottom edge is pieced where there are seams in the wool. This allows the fur to have the exact same shape as the wool underneath. These edges have no seam allowance. The edges are just butted together and then (roughly) whip stitched, as in the photo below. From the right side of the fur the seams are completely invisible.

The top and bottom edges of the fur trim have seam allowances that are turned in and hand sewn along both edges. The outer (bottom) edges are sewn right sides together with the bottom of the purple wool. Then, the inner (top) edges are turned under and stitched. Here is that process in progress.

The mantle closes with 4 coat weight hook and loops spaced down the front edges. They kept popping open while being worn, so when I got home I pinched them with a pair of pliers to make the hooks grab onto the loops better. I haven’t been out wearing this again since then, but I’m confident this solves the problem, as I’ve used this trick in the past.

New Muff (Cover)

Next, I want to share a bit about the muff I have in these photos.

Despite having a number of muffs, none of them are the right size and material to match my new mantle. I have a dark muff that matches the hat I wound up wearing and I have a muff made from the same fur I used to trim the mantle, but the dark muff didn’t match my mantle and the one that does match is an intentionally oversized early 19th century muff. Neither would do!

But I didn’t want to make an entirely new muff. Instead, I decided to make a new cover for a muff I’ve had since 2012 (you can see it in this post from 2019, when I used it with an early 19th century outfit). The muff is from a workshop I took with LadyDetalle. (She has an Etsy shop that often stocks muffs like this as well as many other beautiful and historically inclined goodies.)

The base is essentially a pillow (stuffed with real down–quite luxurious!) that can be rolled into a tube and have a cover put on. The idea is that the muff cover can be changed out so that you can have all sorts of beautiful muffs and only need to store the one base. The muff is sized for the 18th century, but I thought it just might work for my 1880s look, too.

Accordingly, I measured my existing muff cover and cut a rectangle of faux fur that size. I butted my edge to make a tube and whip stitched it, in the same way as I whip stitched the mantle trim. Next, I machine sewed twill tape on the tube ends. (I had no worries about the fur getting caught in the machine sewing because that whole edge turns into the muff in the end anyway, so none of that will show.)

Once whip stitched in place the twill tape covers the raw edge of the fur and also provides a casing for the ribbons at each end. I used tobacco brown polyester ribbon that was gifted to me. By way of justification for the polyester ribbon, I’d already used polyester for the mantle lining and this seemed like a good use for this particular ribbon.

Below is the muff cover after those steps were completed.

And here is a closeup of the twill tape with machine stitching on one side and whip stitching on the other. The ends of the twill tape are just turned under and butted together, leaving an opening for the ribbon ends to come through.

And ta da! A muff that is the right size and perfectly matched to the mantle! The additional muff cover takes up hardly any storage space and now I have more versatility in my wardrobe.

Hat Baubles

While making my mantle and debating how to stay warm, I figured I would need something to keep my head warm. I’d already made the dress and the mantle and I didn’t feel like creating something all new for my head, as well. And I loved this image from the McCord Museum of 1880s ladies curling in the cold with their hats.

I thought I could repurpose my 1917 faux fur hat to suit the purpose, as it has a generally similar tall, straight shape. That hat is nice and warm, being lined in flannel and interlined with layers of batting to insulate the head.

The look of it was a little bland with this outfit, though, and not really coordinated with everything else.  I liked the idea of bringing in some of the mantle fur to make the hat look like it belonged. After fussing with various ideas I decided on fur poms, or baubles.

The baubles are sort of like large-scale cloth stuffed buttons. They are a circle that is gathered, the edges turned into provide stuffing, and the backs sewn together to close up the opening. (This tutorial shows how to make these types of buttons, though I started with a circle of fabric rather than a square.)

I like that the finished baubles pull in the look of the tan fur, that they are silly and amusing, and that they are easily removable. In fact, they are attached with safety pins on the inside of the hat! You can’t get much more easily removable than that!

I’m very pleased with my stash-busting-and-using-things-I-have-on-hand winter bustle ensemble. It’s warm. It was a great patterning challenge. It’s really fun to wear (it feels super elegant!). And it (mostly) reduced my fabric stash.

Thanks for sticking with me through this second detailed (and rather long) post! Next post will be further photos of the bustle dress in action on a woodland adventure.

More Of The 1834 Yellow Dress (HSM #9)

Today’s post is going to share more details about and photos of my new 1834 yellow dress. If you missed my last post about this dress, it was a lengthy one sharing oodles of construction details and photos. You can read that past post here.

Here is a reminder image of the fully accessorized dress!

The biggest accessory is my newly completed 1831 bonnet. There is a recent (lengthy) post about the construction of that here, if you want to learn more about it.

I also added smaller accessories, in the form of a petersham belt and brand new reproduction buckle. The wide petersham is a length of ribbon I purchased from The Sewing Place–I highly recommend their many colors and widths! The buckle is a fabulous reproduction buckle from Ensembles of the Past. It’s a bit hard to see the wonderful detail in this photo, but there’s a photo later in the post that shows the detail much better! The Ensembles of the Past blog also has a post sharing how to easily use ribbon to make an endlessly (and easily) adjustable belt out of ribbon! I highly recommend both the buckles and a read through the blog post!

Back to the dress itself. Let’s start off with the Historical Sew Monthly details. Challenge #9 is Sewing Secrets:

Hide something in your sewing, whether it is an almost invisible mend, a make-do or unexpected material, a secret pocket, a false fastening or front, or a concealed message (such as a political or moral allegiance).

In this dress, I have two secrets, both of which I mentioned in the dress construction details post. One is pockets in the skirt and the other is that the bodice of this dress is detachable.

First, the pockets. Yay! My pockets are made from the dress fabric. They are French seamed and set into the side front seams of the skirt. On the inside, they look like this.

On the outside, they look like this. They’re a secret because they camouflage so well that you really can’t see them at all unless I pull them open or my hand is disappearing inside!

Second, the bodice detaches. This is very unusual (and possibly unheard of) for the 1830s, though it becomes common practice by the 1850s and 1860s. This system allows me to attach the current bodice, which I’ve dated 1834, or a second bodice that I have in the works which is dated 1838. That opens a whole world of possibilities in terms of showing changing bodice and sleeve styles without needing to create an entire second dress!

A bit closer up, you can just barely make out a loop on the skirt waistband that connects to a hook at center front. There are hooks and loops all around the skirt and bodice waistbands to connect them together.

Now that we’ve seen the relevant dress features, let’s look at the other HSM facts:

Fabric/Materials: 7 ¼ yds of reproduction print cotton, 1 yd muslin, a scrap of canvas for the waistband of the bodice, and a scrap of flannel for the cartridge pleats.

Pattern: Adapted from Janet Arnold’s Patterns of Fashion 1, with adjustments for fit and style, as well as The Workwoman’s Guide.

Year: 1834.

Notions: 2 ½ yds narrow cotton yarn for cording, 2 ½ yds of narrow white lace, and about 23 hooks and loops.

How historically accurate is it?: 95%. The pattern, silhouette, construction methods, and fabric are all quite good, but there is machine sewing on the interior seams.

Hours to complete: 25.75 hours.

First worn: In early October, for an apple picking outing, picnic, and photos!

Total cost: Approximately $60.

In addition to the HSM details, I want to share some more photos as well. These photos were taken during an all day outing in October. There’s still a post coming that will share apple picking photos from the outing, but there were many good ones from our later in the day photo shoot as well.

These next photos were taken in a neat conservation area that has beautiful, varied scenery that includes a pond area, open fields, wooded paths, huge rhododendrons, a meandering river, and this lovely row of pine trees.

I enjoy the line of trees and the interesting perspective they provide. So here you go, a front and back view of this ensemble.

Farther along our walk through this beautiful area we stopped to take some artistic detail shots of the sleeves of this dress. First up, the mancheron on the shoulder of the dress. There’s some pretty good pattern matching to admire and it’s fun to see the gathers up close, too.

Here’s another view of the mancheron and sleeve puff, with the zig zag cuff trim in the background.

I can’t decide if I like that photo or this next one best! The next one is similar, but the focus of the photo is on the zig zag cuff trim instead of the mancheron.

The last detail photo shows the cuff trim in even greater detail, as well as my new belt buckle from Ensembles of the Past!

I purchased the ‘antique gold’ color. I love it! It’s substantial in weight, has precise and delicate details, and will probably outlast me in terms of durability. (This is just my opinion–I’m not paid to say these nice things!)

The last photos I have to show you are a bit of a teaser for the apple picking photos that are still to come. We had the most gorgeous autumn New England day!

The sky was a brilliant blue. The temperature was wonderfully comfortable–neither hot nor cold. The leaves were changing and were starting to crown the trees in vibrant red, yellow, and orange.

And a fresh breeze lifted our spirits and our bonnet ribbons! I’ve so missed events and outings. This was much needed (socially distanced) relief for weary souls. I hope that you have also found relief and joy in these trying times!

1817 Duchess Gown In Three Stylings

A few years ago, I made my 1817 Duchess Gown. I started out wearing it rather plainly (if wearing a tiara count as a plain ensemble…), but since then I’ve worn it multiple times and accessorized it different ways. I thought it would be fun to pull some of these wearings together in one place, to look at how accessories can change the look and feel of a dress.

First, a side by side comparison. Do you have a favorite amongst these?

The first year I made the dress I was furiously sewing the hem trim on the night before the ball, so I didn’t have too much time to think about accessories. I wanted the dress to be regal looking and so I decided on the tiara to wear with it, as well as a pearl necklace and earrings.

 

Fast forward to February 2019, when I’d worn the dress a few times and wanted to change it up with more color than just white and gold. For this wearing, I added a green sash as well as new sparkly jewelry from In The Long Run Designs.

I loved the green sash look, but wearing the dress just a few months later in April 2019 I wanted something different. I decided to pull out some older accessories, purple shoe clips and purple hair flowers, and pair them with a white sash.

You really can’t see the white sash much, but the purple accessories give the dress a different feel than the previous wearings, I think. (This might be a stronger statement with a purple sash. Hm… But I don’t have wide purple organza ribbon, as I did with the green and white. Maybe that’s something to keep my eyes open for!)

The neat thing is that this dress is also captured on video! At the Regency ball last February, The Commonwealth Vintage Dancers (CVD) did a performance of the type of advanced dancing taught at CVD’s Regency Weekend every April. Check out this blog post by another CVD member showing the Duchess Gown in action as well as great information about the dance we are performing, Paine’s First Set.

Are you ever able to wear the same outfit (modern, vintage, or historical) styled in different ways and with different accessories? I choose to do this with some of my modern clothes in addition to my historical ones and I can think of a few of you who are definitely subscribers to this idea, too!

A New Faux Hair Braid (HSM #12)

December’s HSM challenge was On a Shoestring. The description is as follows: 

It’s an expensive time of year, so make an item on a tight budget (say, under $15, or less than you’d spend on a reasonable priced takeaway meal for one person in your country – and no ‘stash’ doesn’t count as free: you still have to count what you would have originally paid for those items)

I haven’t been sewing much in the past month and so I was having trouble coming up with any ideas for this challenge. Then I remembered that I had, in fact, sewn a small item that fits this challenge–a new faux hair braid to add to my 1830s hairstyle for the annual Christmas ball!

Just the facts:

Fabric (we’ll call this ‘materials’, for this entry):  1 pack of Kanekalon faux hair in dark brown.

Pattern: None.

Year: 1830s, but it can be used for most of the 19th century.

Notions: 3 black hair nets, 2 black hair ties, and thread.

How historically accurate is it?: 95%. Adding faux hair to make complicated styles was a popular practice in the late 18th century and through most of the 19th century, but of course my braid is made of modern materials.

Hours to complete: 3.

First worn: December 14, 2019.

Total cost: Approximately $9.

The wonderful thing about covering the braid in hair nets is that it stays super smooth and not frizzy. Sometimes I like the frizz (to match my own) so I also have a braid that does not have the hair nets on it. And, I’ve decided that it’s fun to have a sleek braid, too. You can see (and read about) my method for covering the braid with the hair nets in this post.

This braid is 40″ long. It is simple and ready to be styled in any way I can think of!

Project Journal: 1863 Apricot Evening Gown Part IX: Braided Crown Hairstyle Details

I am very pleased with how my hairstyle turned out for the first wearing of Genevieve, the 1863 dress I’ve been blogging about for the last few months. I took the idea directly from my inspiration drawing, though I changed the hair decoration that accompanied the style.

I’ve used false hair to have braided crown styles before (here’s an example of the same braid used for a Regency hairstyle), but that old braid is only about 1 ½” wide, which is a bit subtle for the look I wanted for this dress. It’s also long enough to wrap around my head about 1.5 times, which is longer than what I wanted for the new hairstyle.

So I decided to buy some new false hair and make a new, fatter braid. I used this hair in dark brown. It’s intended for African style braid extensions, so it has a texture that’s great for matching my curly hair–I don’t think it would work well for someone with straight hair. I also bought these black hair nets.

I used one bundle of the false hair for this braid. The hair comes braided already, but I took it out and re-braided it a little tighter than how it was originally. Then I cut the elastic on one of the hair nets so that it would stretch out to be as long as my braid.

I laid the braid on top of the hair net and wrapped the hair net around to the back side of the braid. Then I used large whip stitches to secure the net to the braid. You can see one of those stitches mostly centered in the next photo. Covering the braid with a hair net helps keep all the frizzies from making the braid look messy. (My old braid isn’t covered in a hair net, so it looks very organic, like my real hair… nice and frizzy!)

The final step was to go back and stitch the hair net down in the dips between each section of the braid. In the photo above you can see the hair net traveling between braid bumps, but in the finished photo below those are mostly sewn down and much less visible.

For the actual hairstyle, I secured the braid to my head behind the sections near my face that get swept back over my ears. (I also pinned the braid to the top of my head to keep it in place while dancing. Those pins were put into the back side of the braid (to keep them hidden) and secured into the roots of my hair.) After securing the braid I was able to arrange the front sweep sections on either side of my face. I made sure to cover the ends of the braid with these sections.

Then I arranged the back of my hair. I wanted to keep it simple to showcase the braid and the velvet bow, so I arranged the back of my hair into a low puff. It continues the ring of the braid around my head while being more unobtrusive than the braid itself.

The final step was the bit of lace and the velvet bow. I opted for those instead of the lace framing the braid in the inspiration image. I wasn’t sure how I would accomplish that without essentially creating a cap… and that’s not the look I wanted. So I made up something else!

The bow is one I was able to make after my bow disaster. I think it adds a nice touch of color on my dark hair. I wasn’t sure what I was going to do with it and the lace until the ball, so I bobby pinned each piece in place for that first wearing. Then one of my after-the-ball tasks before I could put this away was to sew these two pieces together and add a comb so that it is now an official accessory that will be easier to put in my hair the next time I wear this dress.

Here’s a side view of what all of that amounts to. I intentionally placed the bow and lace off-center on my head in order to pick up on the asymmetrical bow on the skirt of the dress.

When I did a quick trial with the braid in modern clothes it felt very large and I was worried it would be too big, but once dressed in Genevieve I think the scale of this new braid is great–an excellent hair crown size and length, and the hair net keeps it looking super tidy and frizz free!

 

Regency Intensive Dance Weekend 2019

It’s been two years since I last did a post covering the entirety of one of the Commonwealth Vintage Dancers’ annual Regency Intensive Dance Weekends. I thought this year would be a good year to bring back that tradition, so I made sure to capture moments throughout the weekend (or I helped friends make that goal happen!). So… prepare for a long post with lots of photos!

Saturday is a day full of dance classes. The name of the weekend does include the word ‘intensive’, right? The level of dancing achieved at this event is quite a step above a stand alone ball and I love how special that is. Here we are in the morning, learning the special steps that are particular to Regency dancing.

Saturday evening brings a ball to practice all the dance steps learned throughout the day. This year I decided to wear my red and gold 1813 evening gown and red and gold tiara with my red and gold reticule. I enjoy how well these different pieces coordinate with each other!

Amusingly, two other ladies were also wearing red and gold dresses. With cross fronts! Isn’t it neat how a description such as ‘red cross front short sleeve gown with gold trimming‘ can be the same but each dress is unique?

I find it pleasant to observe lovely clothing on elegant people during the course of ball. New dresses and accessories add a bit of excitement to a gathering! I enjoyed seeing this dress because I also have a dress made from the same Ikea curtain fabric.

Sunday morning we have more dance classes followed by a mixture of tea, promenade, and games in the afternoon. The activities have varied over the last seven years but we’ve always had an afternoon of non-dance fun incorporating at least a few of these activities each year. This year we started with a promenade. Thankfully we had good weather: a reasonable temperature with just a little bit of sun that accommodated pelisses, shawls, and spencers.

We ended on the town common and stopped for photos. Isn’t this one lovely?

On our return stroll, I might have become distracted by one of the historic houses owned by one of the museums in town… The property had a fabulous wrought iron fence that I insisted we take photos with. Lots of photos… These are just a few!

As you can see, I wore my 1815 tree gown, 1819 spencer, and 1815 bonnet. Plus, I finally made use of a muff I made back in 2012 at Dress U! The scale of this muff is generally for the 18th century so I really haven’t used it since I made it, but the color matched my accessories so well that I decided to wear it with this outfit and I love the result. It’s super cozy and warm and the cover is completely separate from the down stuffed pillow inside so that in theory I can make other covers for it someday. This lovely item is the result of a class I took with LadyDetalle. (She has an Etsy shop that often stocks muffs like this as well as many other beautiful and historically inclined goodies.)

Back at the hall, tea was well underway. This year’s group really enjoyed chatting with each other and playing games. It was charming to observe such enjoyment.

Not too long after tea comes the grand ball across town. We have always started this ball with a reception that includes champagne sabering in a little park just near the hall.

Arriving back at the hall, guests are greeted with sparkling cider.

We took a few minutes out of the evening to document our clothing, as one does. I wore my 1817 Gold Stripe Duchess evening gown again (I just wore it in February as well), but with different accessories. I love how these accessories changed up the dress to have a different feel. This wearing included my 1819 purple hair flowers, purple shoe clips, the new necklace and earring set from the wearing of this dress in February that is from In The Long Run Designs and a white organza sash just like the green one I wore in February. The white really didn’t show on this dress except for a hint of fluff at the bow, but the two purple accessories stood out and of course the jewelry was sparkly and wonderful!

Purple and gold seemed to be a theme at this ball, just as red and gold was the night before! Raven of Plaid Petticoats had a new dress that fit the theme very well. She and lots of helping hands were working on the dress all weekend in order to finish it for the ball!

It’s quite grand, seeing everyone dressed in their Regency best for this ball. And I think many people are surprised by how well the dancing goes! It’s a special treat to have such advanced dancing.

This ball is always accompanied by lavish refreshments carefully arranged to impress.

And at the end of two wonderfully long days of dancing I’m always exhausted! I hope that reading through this post was exciting and not exhausting! If you’d like to read more about the magic of previous years, I posted about the Regency Intensive Dance Weekend in 2013, 2014, 2016, and 2017 as well.

1926 Silver Robe de Style Second Styling

Today I have a new dress adventure to share with you: the second wearing of my 1926 Silver Lace Robe de Style to a Gatsby Ball in January. The last time I wore this dress was last August, so it was fun to bring it out again. I thought it fit in nicely with the idea of blue and silver for the new year, even though it wasn’t technically a new year themed event.

The robe de style dress was popularized during the 1920s particularly by the designer Lanvin. This alternative to the popular straight silhouette dresses of the 1920s is characterized by a dropped waist with wide skirts. Many of these dresses have panniers in them that are borrowed from the style of 18th century court dresses. Here is a little more information about the robe de style from the FIDM museum if you’d like to read more.

I have another more dramatic robe de style already, so this lace one is more of a nod to the robe de style, with softly gathered sections at the hips and no panniers or other understructure.

(My 1924 Golden Robe de Style is the more dramatic one. I made that dress in 2015 and posted about the construction of it this past post. Since then I have updated the trim on it to be much better suited to the dress. You can see the new trimming in these two past posts: in 2016 and in 2017.)

Last August I wore this dress with silver accessories: silver American Duchess Seaburys and silver hairpins. This time I decided to try my black Seaburys with silver rhinestone shoe clips, an ostrich feather/rhinestone hairpin (this is the same decoration I had in my hair for my 2016 Versailles look–how fitting to wear it again with a dress that has a nod to the shape of the gown I wore that night!), and my newly made black velvet handbag. It’s a bit hard to see the handbag in these photos, but if you look for it you can spot it in one hand or the other in most photos. Trying to show it off and not look ridiculous was a bit of a challenge.

(As a another side note, that same hairpin works really well for the 1890s, too! Who knew it could so easily shift between not only decades, but centuries!)

While packing and getting dressed, I couldn’t decide which dress to wear to the ball: this silver robe de style or my 1927 Blush Sparkle Dress. I brought both of them with me to the event and only made a decision when I realized that a friend hadn’t brought a sparkly dress to wear. (Never fear, she had a dress, just not a sparkly one!) The fabulous architecture of the The Fairmont Copley Plaza Hotel really called for some sparkle, so I wore the robe de style and loaned her the blush sparkle dress. It was fun to see it sparkling around the ballroom!

Showing off two different styles of 1920s dresses. Blush Sparkle on the left and Silver Robe de Style on the right. It’s hard to lounge and not look silly. This was one of the best we got!

After the second wearing, I am still pleased with this dress. It’s fun to dance in and a bit unusual in style: qualities that suit me perfectly.

I think I like this dramatic black and ostrich styling best so far. Do you have a preference between the first styling with silver accessories and this second wearing?

 

1890s Women’s Bicycling Clothing: Patents & Advertisements

There’s still a post coming soon about the construction details of my 1896 Cycling Ensemble, but I have quite a bit to say so it’s taking a bit of time to write. While working on it I found some great examples of other ingenious bicycling clothing for women patented and advertised around this time.

I mentioned the skirt variations in the introduction post for the cycling ensemble:

“Most women in the 1890s stuck to the traditional, socially acceptable silhouette of an ankle length skirt for bicycling, but this could be dangerous as the skirt could become entangled in the spokes and chain while riding. Solutions to this problem included adaptations to the bicycle, such as a ‘skirt guard’ that sat over the rear wheel and kept the skirt from entangling itself, and adaptations to the clothing, including skirts with cords that could allow them to be raised while riding and skirts that were one piece in the front but split into legs in the back, as with a modern ‘skort’ (a skirt/short combination garment).” 

I thought it would be fun to share the patents I found that illustrate these other styles of skirts!

First, an example of a bicycle ‘skirt guard.’ The ‘skirt guard’ is visible on the back wheel on the bicycle. Here is a patent from 1898 showing a skirt guard, as well.

Next, I have a patent from 1896 for a skirt with an ‘elevator’ which would allow the skirt to be raised with cords to make cycling safer. You can see the bloomers she is wearing underneath when her skirt is raised. This would allow the cyclist to be appropriately clothed while not riding and safely clothed while on the bicycle.

The next patent from 1895 shows the ‘skort’ style. This looks like a skirt in the front but is split in the back. The back is quite full, so that the appearance is that of a skirt.

Then I also came across this unusual method of a skirt with pieces that button on and off in front and back to reveal a bifurcated style underneath from 1895. It looks like this was designed so that the folded up pieces will hang from the front of your bicycle so you have them handy when you arrive at your destination. But I wonder how hard it would be to twist and bend in your corset to button and unbutton all of these connection points? My guess based on personal experience twist and bending in a corset is that it would be quite a challenge to do by yourself!

Here’s another interesting patent from 1896. These very full ankle length trousers that look like a skirt can be buttoned up around the knees to turn into knee length bloomers.

This image shows a women clearly wearing bloomers, but with a knee length skirt on top to still give a nod to the 19th century aversion to women opening wearing trousers (or bloomers).

I love that most of these women are shown wearing their gaiters! It’s justification for my own pair. I came across this advertisement for ‘bicycle leggings’ as well. Neat!

Finally, here’s an example of a corset intended specifically for sportswear and athletic pursuits. It makes use of some stiffness as well as some elastic and is expressly made for activities such as bicycling.