Surrender!

…to the costuming peer pressure…

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The short explanation of the crazy is that Kendra, of Demode Couture, has started an 18th Century Court Ensemble Sew-Along. The longer explanation of the crazy is written by Kendra herself, here on her blog.

I’m talking about it on my blog because I’ve submitted to the indirect costuming peer pressure and joined in! (You should too…) I’ve got my fears about my participation (I spent about two days debating my decision to join in!): I’m unlikely to have a relevant event to wear a court gown to (unless I make one!), I’m not super confident in my ability to get 18th century “right” yet, and I don’t want to spend mounds of money on this project (which you could so easily do!).But… I want to participate! So, I’ve found some cures for my fears and committed, in a thoughtful and careful way, to the crazy.

This is the gown I’ve decided on. It was a hard choice! But it’s a good choice for me, because I’ve already got pink silk in the stash that I bought back in January with the intent of making “an 18th century something” perhaps, so that takes care of the bulk of the materials (and the cost). So I’ve just got to procure the trim materials and accessories. I’ve already found the things I want, but I’m going to wait a bit to purchase them and get started on the sewing, so stay tuned for more posts about that in a few months!

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Grand Duchess Maria Feodorovna by Roslin, wearing the Star and Badge of the Order in 1770. (I’ve also seen this dated as 1777.)
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Slightly different version of same painting. Included in an article about Women’s Imperial Court Costume In Imperial Russia.

I also considered these other gowns, but decided against them in the end.

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Robe de cour from Les Arts Decoratifs

I love this robe de cour! It looks more like fancy dress than a court gown to me. I can imagine it as “Snowflake” or “Winter” or “Snow Queen.” I seriously considered this one… but I don’t have any of the appropriate materials in my stash right now, and the cost of the materials I wanted to use was more than I wanted to spend on this project. So I’ve added this to my list of “things I eventually want to sew.” I can even envision it as fancy dress in the 19th century with a different skirt shape… a bustle gown, perhaps? I just love that the triangles look like icicles, and the diagonal trim looks like snowflakes… It’s pretty ridiculous!

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1795 – Caroline, Princess of Wales

Then there’s this absurd looking court gown from the very end of the 18th century. I love the periwinkle color, the tassels, and what looks like chain (wouldn’t that be fun to figure out!) edging the poofs. It’s pretty silly. But again, I don’t have any appropriate fabrics in my stash…

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Robe de cour from Les Arts Decoratifs

I like this last one, too, although not as much as the first two. I feel like this would be a great use of an iridescent shot silk, at least for the green part. I like the fur trim, and the gold, but I’m just not overwhelmed by awesome-ness.

The choice was made more difficult by the fact that other people have already “claimed” certain court gowns they want to make, and the idea is that no two dresses are the same. (So I might have had more options, but they’d already been claimed!) You can see what other people have picked and keep track of all the court ensembles being made on Kendra’s blog: Demode Couture. There are at least 30 people participating so far and lots of pretties have been chosen! These are my favorite gowns from among the ones that are already claimed.

18th century court gown. It’s so cute!
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18th century robe de cour. How to achieve those fantastic waves? But I do love this one!
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18th century robe de cour. This one has great waves as well! Lovely.

Kendra already did a post on 18th Century Court Gown Basics that’s a great introduction to this oddly specifc class of garments, and I’m sure more information will be coming over the next year from all of the participants.

1815 Tree Bonnet (HSF #7)

You know how sometimes the best laid plans are waylaid by life? I had every intention of finishing this bonnet before the HSF deadline of yesterday, but along the way got side tracked by life and made conscious choices to do other things with my time instead of bonnet-ing. Oh well, it happens to the best of us!

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1815 bonnet (the more interesting side).

I made this bonnet to coordinate with my new Regency Tree Gown (which is why I’m calling it the Tree Bonnet). Lucky for me, it also fulfills the HSF Challenge #7: Accessorize and will coordinate with other items already in my closet (such as my 1819 brown spencer). I’ll be wearing the new gown, the spencer, and the bonnet this weekend for the Regency Dance Intensive, along with a lot of other Regency things, so be prepared for lots of pictures next week!

The facts:

Fabric: Silk twill, changeable silk taffeta for trim, and china silk for lining.

Pattern: Created by me.

Year: 1815.

Notions: Four approximately 8″ pieces of sage green polyester ribbon, a spray of wired millinery flowers, about 1 1/2 yds of navy silk ribbon for ties, about 3/4 yd of navy grosgrain ribbon for inner band, buckram for the base, millinery wire, cotton flannel for mulling, tacky glue, and thread.

How historically accurate?: 95% I’d say. There are a few polyester things, but the overall shape, impression, and majority of materials are accurate.

Hours to complete: 28? Hand finishing and trimming takes a long time, especially on hats, because the angles are weird, so it’s a slow process.

First worn: Not yet, but will be worn this weekend!

Total cost: $6ish for the silk twill bit, the green silk and china silk are remnants from other projects, the polyester bits are old and from the stash, the millinery flowers were from the stash, the buckram was maybe $4, the wire was probably $2… so about $12? I didn’t buy anything special for this bonnet, it’s all from the stash! Yay! Go me!

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Close-up of the pleated silk trim and rosette-like decoration. You can also see the pleats on the side band of the bonnet.
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The millinery flowers on the front of the bonnet.
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The more plain side.
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Inside of the brim, looking into the lining and hat band.

This week marks the end of the MpRSW (though I still have one more post to go about that), with the final goal aimed at yesterday, #5: Anything Left! I’d already completed some packing for this goal, and procurement of kite making supplies (yes, there will be a future mention of kites!), but this bonnet also qualifies!

Now let me share some of my inspiration for this bonnet. There are more bonnet images on my 1810s Pinterest page as well.

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From 1815. 
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La Belle Assemblee, Parisian Promenade Hats, July 1816.
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Costume Parisien from 1814.
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Costume Parisien from 1815.

In trying to determine length of ties for the bonnet, I looked to some fashion plates that included people in them. Here are some of the best examples I found.

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1813 afternoon promenade dress.
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Ackermann’s Repository, Walking Dress, April 1817.
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Ackermann’s Repository, Walking Dress, November 1817.
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Walking dress 1815
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EKDuncan – My Fanciful Muse: Regency Era Fashions – Ackermann’s Repository 1819
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Ackermann’s Repository, Walking Dress, February 1818.
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Robe de Marcelline, 1812 Costume Parisien

Well, there we are. I just finished sewing that pleated brim trim tonight, and I am glad to be done! It’s slow and slightly painful on the fingers. But pretty, so totally worth it!

Reminder, The MpRSW Is Upon Us!

My push to complete my new 1864 green ball gown is complete (more on that soon), and that means a shift in focus to the Regency! It also means that the Mar-pril Regency Sew Weekly goals are upon me. I’ve already completed my project for the first goal, the 1812 blue under dress. Have you been working on a project for Goal #1? This is a reminder to get going, because the due date is tomorrow!

Goal #1 (due March 18): Under Wear Ideas to complete this goal: make from scratch, finish, or trim something worn under another garment, a petticoat, underdress, shirt, or waistcoat could fall into that category, or maybe this is a great opportunity to trim a finished garment already in your closet.

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Don’t forget about me!

This is also your reminder for…

Goal #2 (due March 25): Evening Wear Ideas to complete this goal: an all new garment (gown, breeches, waistcoat, or tailcoat, for example), finishing a garment in progress, trimming an already finished garment, sewing something to keep you warm while on your way to an evening event, or maybe completing accessories to wear or take with you to an evening event.

I’m planning to use this goal as encouragement to fix the rip in my red 1813 evening gown. What progress are you planning?

Project Journal: 1864 Ball Gown Part I: The Plan And The Trim

It’s time. I’ve been wearing Annabelle, my flounced not-so-new-anymore white 1860 ball gown, to all Civil War events for about a year straight, with no relief on the horizon. Not that I dislike Annabelle, I just want options, and a change. I have Belle, a dark blue 1860 ball gown, as well, but I haven’t worn her since 2011, and since most of the women in our dance troupe have blue dresses it’s not likely that I’ll get to wear her soon, and anyway, she’s too heavy for summer, and summer is coming up. So it’s time. Time for a new 1860s gown! Yay!

This gown was included back in autumn of 2012, when I made my 9 month sewing plan. It’s my goal to have it finished by mid-March, for the annual Commonwealth Vintage Dancers Returning Heroes Ball. My inspiration is this fashion plate from 1864 (pictured below).

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From The Bartos Collection. 1864.

Specifically, I’m going to be making the dress on the left. Or one inspired by/sort of like it. As I’ve been working on it I’ve made changes to my plan, as you’ll soon see. My dress will be green silk shot with gold and with gold silk trim. I bought the silk remnants for the project months ago, so I have had to make my plan work with the yardage I have. The green isn’t an issue, but the gold had to be carefully considered to make sure I have enough for all the trimmings. After lots of math, I realized I didn’t have enough to do all the trim, so I thought about what was visually most important and decided to eliminate the vertical lines of trim, as well as the waist trim. Here is the same fashion plate, with my changes:

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Of course, me being me, I’ve decided to hand sew the entire gown! Yes, sometimes I like my big projects. But I’ve got time (I think). I’ve sewn the skirt and the polished cotton lining and hemmed them, though the skirt isn’t attached to a waistband yet. I’ve sewn the bodice seams, so now it needs boning, and cording, and trim, and closures in the back. And, most importantly, I’ve cut and hemmed the MANY yards of gold trim for the skirt.

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Skirt trim: on top is the zig zag, in the middle is the rosettes, and on the bottom is the ruffle. Not gathered yet, but all hemmed!

Did I mention I’m hand sewing all of this? All of these trim bits on the skirt will be gathered to a ratio of just over 1 1/2 to 1 (that was all that my yardage would accommodate). The zig zag is hemmed on both sides and will be sewn onto the skirt with a band of green silk running down the middle. The rosettes will be gathered in the middle and the raw edges hidden, which is why that bit is hemmed on only one side. The ruffle at the bottom will be bound at the top, which is why only one edge is hemmed.

Hem-age: 13 1/2 yds of zig zag, hemmed on both sides equals 27 yds of hem; 10 1/2 yds of rosette hem (there will be 18 finished rosettes on the skirt, if all goes according to plan); and 7 1/2 yds of ruffle hem. Total hem-age: 45 yds, and that’s just the skirt trim!

I love hand sewing, which makes me excited about that total, rather than bored. And I really enjoy the sense of satisfaction I have when I’ve completed the different pieces of this project, so I can only imagine how great it will be when the entire gown is complete!

An Excuse For Colored Shoes In The Regency

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Evening Dress. 1812. UK.

Isn’t this a cute fashion plate??? My favorite thing about it is her bright red shoes! My second favorite thing is that her bright red shoes match her red bodice! So cute!

First, this makes me want to wear colored shoes to a Regency ball. Often you see black or white in fashion plates, and our dance troupe tends to wear white to perform and also to balls out of habit, so without even thinking about it I usually pull out the neutral colored shoes… BUT! Extant shoes come in all sorts of colors, although maybe not quite as bright as these red ones. You can see some of them on my pinterest page here: Shoes: 1790-1829.

Second, that red bodice reminds me of this one that Natalie Garbett made for the HSF. Is it possible that this red one, like Natalie’s, is a separate piece from the dress? That would allow for more wardrobe options, certainly. I’m going to go on the assumption that it is, and congratulate this young lady in the fashion plate for being so coordinated and versatile in her wardrobe.

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Separate bodice by Natalie Garbett. Lots of research information about this style on her blog: here.

So… I’ve got a new dress to wear to an upcoming Regency ball that doesn’t really need a separate bodice to jazz it up. Do we think I can wear I can wear fun colored shoes without a separate bodice? I think probably yes, given that there are lots of extant colored shoes and I know of other images that show colored shoes. And now I have an excuse to wear colored shoes with a white dress! Fun! Maybe I need to make a separate bodice, too?

Oh, Making Decisions is Hard!

As I mentioned in my look back at 2012 post, one of early 2013’s projects will be to paint and decorate my recently purchased American Duchess Kensingtons.

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.
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Kensingtons, yay! And the buckles came in that cute little bag. Love it!

When I first thought of buying Kensingtons, I was set on painting them yellow, either a lightish shade of yellow or medium yellow, like the images below.

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1775-1785. Colonial Williamsburg.
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Mid-18th Century. Bata Shoe Museum. (Those buckles are so pretty!)

But then I started looking at fashion plates… Some of them had very cute yellow shoes, but there were also some that had pink shoes that caught my eye. I love pink things… so I started thinking about painting the shoes pink.

First, fashion plates with cute pink shoes from the 1770s and 1780s.

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PINK shoes. 1778.
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PINK shoes. Gallerie des Modes, 1778.
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PINK shoes. 1778-1787.
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PINK shoes. Magasin des Modes, June 1787.
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PINK shoes. Magasin des Modes, March 1789.

Second, fashion plates with cute yellow shoes from the 1770s and 1780s.

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YELLOW shoes. c. 1776.
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YELLOW shoes. c. 1776.
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YELLOW shoes. Gallerie des Modes, 1779.
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YELLOW shoes. Magasin des Modes, April 1787.

Then I went back to looking at extant shoes and thought “perhaps two-tone shoes?” Either yellow with pink accents or pink with yellow accents… perhaps like the ones below? Here’s a fashion plate showing two-tone shoes, and there are more extant examples a little farther down in the post.

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Two-tone pink shoes. The Dress of the Year 1775 by Ann Frankland Lewis.

Another thing, I’ve noticed that many of the extant shoes I see are cloth, not leather. Well, the Kensingtons are leather, so that’s what I’ve got to work with (and I like it in a way, because the shoes will be much more durable). So then I started thinking about what I need to do to capture the 18th century in leather shoes that already have the right 18th century shape. I took a close look at the details in these next photos and analyzed what I saw.

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Light blue satin shoes with silver braid. c. 1770. The Charleston Museum. STUNNING!
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Silk. 1770s. Met.
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Silk and leather. 1770-1789. Met.
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Silk and leather. c. 1775-1785. Shoe Icons.
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Silk. 1780s. Met.

If that isn’t enough examples, you can see more on my pinterest board: Shoes: 1770-1789. The details that strike me are: the binding around the ankle opening and latchets (often in a contrasting color) and the 3D quality of the trim and fabric of the shoes… the decorations are not simply painted on, but sewn on. That’s hard with leather, but glue is a good alternative to stitching.

I’ve seen other styles of painted and decorated historic shoes on my costuming friends. And at American Duchess, Lauren has done multiple posts and tutorials about 18th century shoes that she has painted and decorated.

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Two-tone painted and bound Devonshires, from American Duchess.
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Two-tone painted and bound Devonshires, from American Duchess.

What materials to use for decorations? Lauren used what looks like cotton bias tape, and on later Regency shoes narrow grosgrain which comes in a wide variety of colors. But the extant shoes look like they are bound with silk, so that’s what I’m going to aim for.

“What will I wear these shoes with?” is an important question I asked myself. “Well, everything I own from the 18th century until I buy another pair of 18th century shoes,” I answered. In the works right now are a taupey-brown silk petticoat, blue wool petticoat, Waverly mineral felicite jacket, and creamy quilted petticoat (you can see most of these fabrics in this previous post). In the future, I’m inspired by a purple and yellow color combination, as well as green and pinkish/red (these colors all in the fashion plates above!).

I’ve been ruminating over this decision for months so I make a choice I’m really happy with. I had all these options to think about: pink, yellow, both… It was tough. But I finally made a decision to go simple: yellow with champagne silk binding and champagne heels (saving pink for later, or removable ribbons, or other accessories). The latchets might also get pained champagne, I’m undecided on that point. Do you have thoughts about that? (More opinions is always better in these situations, you know!) I’ve got the paint from my Astorias, so that was easy… and the silk ribbon has been ordered! More to come soon!

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Project Journal: 1822-1824 Ensemble Part VI: Muff and Tippet

One thing I actually did finish for the recent ball was the muff and tippet. For visual reference, the picture below shows the garments I’m discussing.

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1822 walking dress with muff and tippet (and a bit of the 1824 ball gown peeking out).

What is tippet, exactly? Merriam-Webster defines it, thus:

1: a long hanging end of cloth attached to a sleeve, cap, or hood
2: a shoulder cape of fur or cloth often with hanging ends

 

So, how did I make my tippet? First, I cut a piece of high loft polyester batting the length and width that I wanted. (I know they didn’t have poly batting  in the 19th century… but it’s super warm and sometimes just worth it!) Then I cut a piece of my faux fur that was double the width of the batting plus an extra 3/4″ or so on each side as well as about 1″ longer on each end. I centered the batting on the wrong side of the fur, wrapped the fur around to the back, turned one edge under, and pinned. The ends of the fur I just turned up and under the other pinned bits. Then I whip stitched that folded edge down using pretty large stitches. The stitches disappeared in the fur… and voila, tippet! Too bad I didn’t take pictures of the construction!

The muff was slightly more tricky, not because of construction details, but because I agonized over what color lining to use! (To construct the muff, I made two tubes, one out of fur and one out of silk lining. I stitched one end of each tube to the other, turned the whole thing right sides out, inserted a tube of poly batting (warm!), pulled the lining through the middle, and pinned the open side of the fur to the silk, with the fur edge turned under. Then I simply whip stitched it like I did the tippet.

But before I could make the muff, I had to pick the lining color! Did I want it to match my walking dress trim (and be lavender?) Did I want to pick a color from a fashion plate? What colors were used in fashion plates? So many questions! I determined that of the muff linings I could see in fashion plates from that general period, there were three recurring colors: pink, blue, and white. Here’s what I came up with, image-wise:

PINK

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January 1823 Walking Dress. La Belle Assemblee.
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December 1822 Promenade Dress. Ackerman’s Repository.
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January 1826 Promenade Dress. Ackerman’s Repository.

BLUE

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March 1823 Walking Dress. Ackerman’s Repository.
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December 1825 Carriage Dress. Lady’s Magazine.

WHITE

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1825 Promenade Dress.
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1829 Walking Dress. Ackerman’s Repository.

UNKNOWN/OTHER

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c. 1810 Redingote (and muff!). KCI. (Also a tippet, though they call it a “palantine”: which M-W defines as a fur cape or stole covering the neck and shoulders.)
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November 1814. La Belle Assemblee.
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November 1817 Walking Dress. Ackerman’s Repository.
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1823 Carriage Dress

So pink came in with 3, blue and white tied with 2 each, and then there were an assortment of unknown/other. But I didn’t like the idea of pink with my dark pinkish wool (you can see what that would look like in the December 1822 fashion plate: that’s the inspiration for my walking dress), so I settled for the light blue, which I think is delicate and softly Regency. Also, I had just a small amount of that color silk, and it’s a color that doesn’t really complement my skin, so I wasn’t likely to use it for a bonnet or something similar… but with a muff most of my skin is hidden! You can see the predominance of white fur for the muffs in these fashion plates (one of the reasons I chose white fur for the muff and tippet). There are brown, too, but a lot of white! 7 out of the 11 I included are white. Well, there you go. That’s my rationale for the muff and tippet.

All of these images are on my Pinterest pages with lots of other beautiful garments. Specifically, these are on the 1810s Inspiration1820-1824 Inspiration, and 1825-1829 Inspiration pages.

Project Journal: 1822-1824 Ensemble Part III: Green Dress Hem Appliqués

Well, I’ve got the green silk ball gown sewn together. That’s good, because the ball is fast approaching. There’s only a week to go! Eep!!! I’ve finished the padded hem, but I still need to have someone mark center back for me so I can put closures on. And I haven’t set the neckline yet, either, because I’m waiting to see how it looks with the back actually closed… So far every time I’ve tried it on the back has just been hanging open, because I can’t actually reach that part of my back by myself. Never fear, though, I’ll be seeing friends this weekend who can help with marking the back for me! Yay!

You’ll remember from my overview of this early 1820s ensemble that the fashion plate below is my inspiration for this gown.

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May 1824. Ackerman’s Repository.

I’ve been furiously hand sewing, working on the skirt appliqués on the ball gown. These are my first priority. In part this is because they’re already started (and it would look silly to have only a fraction of them done) and in part this is because the hem decoration is pretty essential for 1820s dresses. This is how I’m making the appliqués.

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After cutting out literally hundreds of pieces… I pin the blue canvas bases to the silk of the gown. The pinning allows me to make sure everything is symmetrical before sewing the bases down. Once I’m satisfied, I baste the bases to the silk, leaving 1/4″ around all the edges unsewn, so I can tuck seam allowance under later.
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Whew! Finished basting that repeat of the pattern. The blue canvas is tightly woven and hardly frays, even at the points and in the curves! And even after being manipulated and folded while I’m basting all the pieces down, which is important because it keeps the shape accurate for the layers that go over the base.
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The next step is to take the two top layers (a layer of the green silk and a layer of white silk organza) and sew them over the base. The base provides sturdy edges so that I keep all those nice curves when turning under my seam allowance. This piece is just about done, except for the last corner. I used the technique in this great quilting appliqué blog post to make my sharp corners as sharp as possible.
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And here’s what the motif looks like when all the bases are covered! The silk organza is pretty tricky for making sharp points, so I think these turned out pretty well! The motifs are still missing their center sections. I’m focusing on all the pointy bits first. Right now I’ve got 3 out of 7 motifs done.
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This is what the inside of the skirt looks like after the appliquéing is finished. It’s kind of neat, I think, to see the relief of the front shapes.
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Most recently, I’ve just finished basting on the bases where they meet at the back. You can see in this picture there was only one more motif to go!

Right now the motifs really remind me of pineapples, a common motif in appliqué quilts (as a quilter as well, I appreciate the overlap between related interests). I’m sure once the centers are added they will look more like flowers and much more like the fashion plate. Each motif is 11″ tall and the repeat is 12″.

As I continue to sew these, I’m thinking about the sleeve appliqués. Currently, I’m stumped. I was going to sew my motifs on in the same way as the skirt, but I also made my sleeves pretty gathered… so I’m not sure how to nicely hide my seam allowances while also keeping the gathers looking un-squashed. I want the sleeve appliqués to sort of float on the gathered sleeves… I’m still brainstorming on how to make that happen. Perhaps I’ll stitch the seam allowance to the back of the base and then hope that the gathers mean you won’t see the base past the 1/4″ seam allowance that gets turned? If you have ideas, I’d love to hear them!

Project Journal: 1822-1824 Ensemble Part I: Overview

Well, as you recently read, I have a 9 month sewing plan to get me through May of 2013. It’s not set in stone (which means that mostly I keep adding to it, not taking things away…), but it gives me a great overview of what I need to accomplish and by what month. Deadlines really help in getting things completed!

The first major portion of the sewing plan is an ensemble of clothing from about the year 1823. I’ve been doing lots of looking at fashion plates and extant clothing from the early 1820s, in books and online. Here’s a link to my pinterest board: 1820-1824. I had so many pins in the 1820-1829 board that I had to separate the decade, so I also have a separate pin board of 1825-1829.

The 9 month plan includes the following pieces: petticoat, ball gown, walking dress, muff, bonnet, and chemisette. I’ve added one more thing since the plan was created: a tippet to match the muff! Before I explain why I want these items (ie, where I plan to wear them!), let’s look at my inspiration for the items themselves!

Petticoat. Manchester City Galleries. (I’m making a petticoat out of white cotton. It is entirely hand sewn.)
Actually a Dinner Dress (but I’ll use it as a ball gown). Ackerman’s Repository. May 1824. (I guess I lied about the year… I’ve been looking at the images so much I haven’t even glanced at the date in ages! Anyway… I’m making this in apple green silk with hand sewn silk organza appliqués.)
Promenade Dress. Ackerman’s Repository. December 1822. (I am making this out of deep, rich pinkish burgundy wool with hand sewn lavender silk trim.) This is also my inspiration for the tippet. (I’m making the tippet out of white faux fur.)
Walking Dress. Ackerman’s Repository. March 1823. (I think this is where I got the year 1823 from… This is another influence on my walking dress design, especially at the collar.) This is also my inspiration for my muff. (The muff will be the same fur as the tippet, lined with pale blue silk shantung.)
Bonnet. C. 1820. The Met. (I plan to make this in lavender to match the walking dress.)
Chemisette. c. 1810-1825. Snowshill Collection. (Yes, this is one of the ones in Janet Arnold. I plan to make this out of lightweight cotton and use my fluting iron! However, I have to say that if one thing in my December-to-do doesn’t make the cut, this would be it. I really want to take my time on this and play with my fluting iron, and I’m not sure I’ll have the time on this one…)

What is all of this for, you ask? I plan to wear the whole ensemble in December when I attend Fezziwig’s Ball, a 19th century ball hosted by the Commonwealth Vintage Dancers in Salem, MA. Since it’s a ball, I’m sure you understand why the petticoat and ball gown are required! But why the outerwear? Before the ball begins, ball-goers have the opportunity to go caroling around the streets! It’s really fun, and usually pretty cold. I need to stay warm, hence the wool walking dress, tippet, and muff. The chemisette is to fill in the collar of the walking dress, and the bonnet is really icing on the cake to help pull the whole ensemble together! As an added bonus, later this winter my friends and I hope to go ice skating in 19th century dress, so this will also be my ice skating outfit!

“Vintage in Vogue” Finds

In August for each of the last eight years, I have been blessed to be able to enjoy an annual trip to Cape Cod. By this point the trip feels just like going home: I know the places I like to go, that I like to eat (and they recognize me, even though I’m only there one week out of the year!), that I like to shop… and I only deviate from these things when I want something new–a sense of adventure.

Well, a few years ago I was encouraged to visit a new store, which I did, and since then I have returned on every visit to the Cape. What store, you ask? Vintage In Vogue. This unique vintage clothing store is run by the wonderfully passionate Maureen Leavenworth. Truly, Vintage In Vogue is a unique vintage store. Maureen really cares about the stories behind the items for sale and she takes the time to share those stories with you when you are interested in an object.

The store is full of fun things like shoes, hats, jewelry, furs, patterns, fashion plates, and of course, dresses. There are some pieces from the 19th century, as well as many items from the 20th century. There is also has a whole area devoted to vintage wedding gowns and accessories. This year as I was poking around looking at the fun things… I found a few things I decided to take home with me.

First, a 1950s vintage Vogue pattern!

Useful for when I find time to make a Mad Men inspired dress. The ruching on the shoulders is an interesting detail in this pattern.
Back of the pattern envelope.

Then, a fur collar, separate from any garment that it once adorned.

I have a vision of turning the collar into a fur trimmed 1860s hat one day.

And, lastly, a framed fashion plate from 1894!

“La Bon Ton Et Le Moniteur De La Mode United” Published by S. T. Taylor Co., New York, October 1894.
A close up of the fashionable lady.
And of the back view of her dress.

I was very pleased with my finds. The pattern and fur collar have been put on the far back burner, but the 1894 lady enjoys a place of prominence on top of my dresser. I  know that doesn’t sound very glamorous, but she has a light above her that I can turn on so it looks like she’s in a spot light, and she’s in a place where I see her every day as I’m getting dressed. It’s kind of perfect for me and my interests, actually, to see an image like this each morning.