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.

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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.

Shortcut Dickey Report

When ordering things from the internet sometimes you just don’t know if what you pull out of the shipping envelope will be what you hope for… but I’m pleased to report that my dickey and bowtie shortcut was successful!

The dickey has a neck size that fits me perfectly (I measure 14 ¾” around the neck), is a nice plain cotton material (not polyester-y at all), has a nice collar shape, and has reasonable stitching (some of the reviews said it was horribly stitched, but the one that I received was just fine). The bow tie’s fabric has a nice texture and body, is also not polyester-y (even though it probably is made of polyester), and has solid bow tie hardware.

(For the record, polyester-y means shiny, thin, slippery, or generally wrinkle-your-nose and hard-to-deal with-y. I’m not saying all polyester is bad. Just the bad stuff!)

Bow tie!

Merriam-Webster’s defines dickey (also spelled dickie and dicky) thus:

1: any of various articles of clothing: such as
a: a man’s separate or detachable shirtfront
b: a small fabric insert worn to fill in the neckline

In this case, the dickey I am referring to falls under definition B.

The one thing about the dickey that was ridiculous are the supposedly under the arm elastics that come attached. There is no way they would have sat under my arms and been comfortable! They were only about half the distance from the shoulder they would need to be to even go under my arms! Luckily, a seam ripper easily took them off. Since I’m using this dickey for historical purposes I decided on a more complicated system of vertical tapes and a waist tie to keep my dickey in place under my clothes. Here it is!

The tapes keep the dickey pulled down in the front and back so that I can get dressed without the shirt parts flapping around and looking disheveled.

The only other change I made was to change the angle of the shoulders so they would slope a bit more towards the arm sides. That’s a detail that would be best to customize on each body wearing this garment, so I can’t fault the makers too much–they made a general pattern and it just happens to not have my shoulder angle. No problem!

Yay! Now all of the accessories for my 1890s cycling ensemble are assembled and ready to go. Soon there will be photos of the finished ensemble!

Making A 1933 Summer Hat

Last post, I shared my 1933 Sunshine Stripes dress with you. One of the accessories that I loved wearing with that dress was a modern sun hat that I remade into a 1930s shaped hat. Now I’d like to share how easy this process was. I hope it inspires you to try remaking something yourself!

I started with this modern ‘straw’ hat from eBay. I say ‘straw’ because the fiber is really plastic rather than any sort of natural material… but I digress. The price was good and I thought white would be a nice neutral for my 1920s summer wardrobe. But the crown on this hat was soooo tall! 5″! It came way down over my eyebrows and combined with the floppy brim it was not a great look nor was it historical. I think I tried to wear it a few years ago but was displeased with the shape. The only bonus is that it squishes well and pops right back into shape–that’s great for packing! (As a side note, in trying to find the link for the hat I realized I ordered this back in 2015… it only took me a few years to make it something I was really pleased with!)

While trying to decide what to accessorize my 1933 dress with, I looked at the hat in my closet and wondered if there was anything to be done to make it better. I figured the white would coordinate well with the white stripes in the dress fabric. I looked for hat inspiration on my 1930s sportswear Pinterest board and 1930s day wear Pinterest board and decided that the main problem with my hat was the tall crown. I wanted a hat that just perched on my head, so I needed to shorten the crown.

I started by ripping out the stitching on the lower part of the crown just above where it connected to the brim. Here’s the hat at this point with the shallower crown and brim still technically attached.

After determining that I liked the new crown height, I cut away the extra braid. Then I wrapped the loose ends around the crown and brim and stitched them down so I had two nicely finished parts.

Then I reassembled the two parts, carefully stitching them together while avoiding the inner hat band. I matched the stitch length to what was already on the hat (rather long, by my usual standards). Because the hat is so malleable it was easy to squash onto the sewing machine.

After stitching, the join blends right in! The only thing left was trim!

I decided on a simple brown band to trim the hat. I had the brown cotton in my stash and it matched my shoes well. It is nicely complimentary for the outfit without being match-y and it’s neutral enough that I can easily wear this with other outfits as well. The brown is carefully hand sewn around the crown with the ends spreading over the brim of the hat. Ta da! Elegant sun protection!

Sometimes A Shortcut

…is ok. This is a moment of shortcut-ing for me.

I was going to call this post ‘Sometimes A Cheat’, but then I realized that ‘cheat’ isn’t the right word. It’s too unfair and generally harsh. What I wanted to communicate is that it can be ok to start somewhere other than at the very beginning with uncut fabric waiting to be turned into a project.

You see, I need to have the 1896 cycling outfit I’ve been hinting at and sharing accessories for done by early February. This is a project that started at the very beginning. I made my own pattern and started with an uncut pile of fabric. I’ve already put a lot of time into tailoring the jacket (a progress photo is above–it fits!), making the bloomers, and making gaiters to accessorize the ensemble… all from the very beginning. One of the finishing touches that my ensemble needs is a shirt collar and some sort of neck tie to finish it off. I don’t need a full shirt under the jacket and I don’t want the bulk, so I debated about making a dickie (from the beginning…). I also thought about making a neck tie (from the beginning…).

After a bit of deliberation, I decided that I want a shortcut for these pieces and I’m ok with that. Accordingly, I’ve ordered a ready-made dickie on Amazon, re-confirmed that neckties look stupid on me (a thought I’ve had since I needed to wear one 13 years ago, though I thought that might have changed, haha), followed the necktie-looking-stupid-on-me thought with the decision to go with a bow tie, and ordered a knit bow tie, also on Amazon. (I’m hoping the quality of these items is acceptable. Thankfully they come via Prime and have free returns, so if I don’t like them there’s still time to come up with Plan B. If I’d thought of this a month ago I could have saved at least half the price and purchased these exact items on eBay. Now that I’ve made up my mind the shipping would take too long. Oh well!)

Do you ever take shortcuts like this? How do you feel about them? I feel rather relieved that I don’t need to cut, sew, and finish a collared dickie and a bow tie!

1896 Black Gaiters For A Sporting Look

Five years ago (yikes, where did the time go?!?), I made ivory gaiters. They were made to wear over heeled shoes, giving the look of two tone boots. Unfortunately, the ivory gaiters I already have don’t work for the the 1896 cycling ensemble on my sewing table! Ivory gaiters would show dirt and be rather impractical for the sporting look, so I decided to make utilitarian black ones for this outfit.

I used the same pattern as for the ivory gaiters with only a few modifications: the top edge curves in a bit more over my calf and the back heel is longer so it stays on top of my shoe (in my blog post about the ivory gaiters I share about how they were riding up over my shoe–I solved this with a little piece I added in after the photos were taken, but for the new pair the pattern was cut longer instead). It was lovely to have a pattern ready to go!

I’m pleased that I squeezed this small project into 2018. I can count it for the HSM Challenge #12: Neglected! This challenge is sort of a catch-all for making something that fits into a previous challenge either from this year or a previous year. I chose the September 2018 challenge, Hands and Feet, for this December challenge.

Just the facts:

Fabric: About ¼ yard slightly stretchy black cotton.

Pattern: Created by me.

Year: 1896.

Notions: Thread, ¼” and ½” cotton twill tape in various widths, and plastic buttons.

How historically accurate?: 90%. The look is right but the materials are a mix and match of right and modern.

Hours to complete: Approximately 5.

First worn: Not yet!

Total cost: $5 for the buttons. The fabric and twill tapes were in my stash!

These are constructed in the same way as my previous pair. The seams are covered with ½” twill tape, the edges are bound with ¼” twill tape, there is a strap (in this case made of the exterior fabric), and then buttons and buttonholes finish it off.

The great thing about my gaiter pattern is that they work for a few different decades. The ivory pair was made for a 1917 outfit, but I feel perfectly confidant that the pattern works for the 1890s and 1900s as well. I’m looking forward to trying these on with my cycling ensemble once that is far enough along to put all the pieces together!