Finally Finishing My 1831 Bonnet

Many years ago (well, in 2012), I started a bonnet that was intended to match my 1822 Walking Dress. I was making a whole ensemble, with the dress, a muff and tippet, and also a bonnet and chemisette. It was more than I had time to complete for the deadline at the time. The chemisette was not even started, but the bonnet was patterned, cut out, started, and then abandoned.

In the intervening years, the bonnet pieces have sat in my UFO box, patiently waiting for me to come back to them. This year, as I was making my 1834 yellow dress and thinking about how to accessorize it, I remembered the bonnet and wondered if the shape and color might work for the 1830s. It seemed more useful to use something that already existed, and was already partly finished, as opposed to starting something new, so I decided to go for it!

This is the state of the bonnet when I picked this project up again this fall. It’s not bad progress, actually. All the pieces were cut out of buckram, flannel, and slightly slubby silk; the buckram assembly was started; the flannel was basted on; and the edges of the pieces were wired.

All of that turned into this!

In this post, we’ll follow along with my construction process. Future posts will have more finished ensemble photos as well.

Inspiration

First, let’s go back to the inspiration for this bonnet.

The Metropolitan Museum of Art has a bonnet that is dated c. 1820, pictured below. It is silk and appears to be satin edged in velvet. It looks brown to me, but it’s also possible that it is black and that lighting and fading from age cause it to appear brown.

Bonnet, c. 1820, The Met, 2009.300.1615

This is what I was aiming for when I started patterning in 2012. However, after finishing my bonnet, I realized that my brim shape is more open and high, and less forward, than the shape of this bonnet. This surprised me! And actually, it worked out in my favor, as the shape I patterned is more 1830s than 1820s.

Despite the shape not being quite like The Met bonnet (maybe someday I’ll alter the pattern and try again for the 1820s shape), I still took much color and material inspiration from it. I liked the tone on tone silk with velvet trim, the edges trimmed in velvet, and liked the lightweight silk ties (plus, I had all of these materials in the stash in perfectly coordinating purples!).

The trim needed to be different for the 1830s, though. I liked this 1830 bonnet, particularly for the inside of the brim trim, and this 1826-1830 bonnet for the fabric loop trim. There are other inspirational fashion plates showing floral trim inside and outside the brim on my Pinterest board for this project, as well. My bonnet is a melding of all of these sources of inspiration.

Construction

With my half finished pieces in hand, I decided to attach the tip of the bonnet to the side. Here is that step, pinned in place. These pieces were hand sewn together.

I’d decided to baste my flannel in place in order to help it follow the contours of the shapes instead of pulling away. On some bonnets (such as one covered in transparent fabric) these stitches might be seen, but I was confident that my silk would hide these quite well. The alternative would be to use spray adhesive to hold the flannel in place, but I didn’t have that at my fingertips 8 years ago.

In addition to the basting stitches in the middle, I also roughly whip stitched over the outside edge of the brim to hold the flannel in place.

I took this brim piece and basted it to my assembled crown, then stitched those two layers together using a Z stitch. Pinning this was fiddly, as I had to get the buckram seam allowance of the side to slip under the flannel of the brim smoothly.

The next thing to do was cover the brim with my silk, but I still had the problem of getting the fabric to follow the contours of the curves without pulling away. When I started on this step I only had rubber cement on hand. I (smartly!) tried a sample to see if it would show through the silk. It definitely did! The rubber cement sample is on the bottom of the photo below. Not what I wanted! So, I ordered Krylon spray adhesive, which I knew would do the job. When it arrived, I tried another sample. The spray adhesive sample is on the top of the photo below. Success!

I used the spray adhesive for the inner and outer layers of the brim covering. It worked wonderfully, just as I had expected it to. The only exception is that I accidentally left a mark on one of my brim pieces where I’d let too much spray build up and had to recut that piece. So if you try this, make sure to do very light coats with the spray adhesive if your fabric is thin enough for it to show through!

Here is the inside of the brim, with the seam allowance clipped where it meets the crown.

And here is the outside of the brim, with the seam allowance clipped so it can lay along the outside of the side band. You can see the interior of the brim showing on the extreme left of the photo, on the other side of the wired edge of the buckram. You can also see that by this point I’d put the silk covering on the tip of the bonnet. The seam allowances of that piece are clipped and then stitched over onto the side band through all the layers.

This photo shows the Z stitches holding the silk tip piece in place a little better than the last photo. It also shows the side band. For this piece, I pressed under the brim side seam allowance ahead of time, pinned it in place, and then turned the top edge under as I went along, so it would be just the right width. Stitching this piece on covered all of the seam allowances you can see in this photo.

In the next photo ,a few more steps have been completed. The side band was sewn on, the silk edges were trimmed and bound with bias velvet, I cut bavolet pieces (out of my glue stained brim piece!), edged the bavolet with bias velvet, and attached the bavolet. The great thing about the spray adhesive is that it’s not so glue-y that it gums up a needle or makes things hard to sew through, so I had no problem with any of these sewing steps.

As a side note, what is a bavolet? Interestingly, my go-to source for definitions, the Oxford English Dictionary, does not have an entry for this word! I believe that is because it is actually French, not English. I would define bavolet as ‘the curtain piece at the back of the bonnet’. There is more information about this word, including examples of the word in use from the 19th century, in this French Vocabulary Illustrated blog post. If you know of other good places to find a definition or etymology of the word bavolet I would love for you to share!

Back to the photos! All the long purple stitches around the side band are from attaching trim. I find that double thread makes it much easier to attach trimmings such as feathers and flowers, as you can double back through your looped thread to hold things in place and it makes it a little extra sturdy. The nice thing about doing all of that before lining the hat is that it makes for a really elegant interior when all is finished!

Below, you can see what that trim looks like from the exterior. I used some scraps of velvet to make loops and a variety of vintage paper and velvet millinery flowers and leaves in white, pink, and gold.

I’m super pleased with how it turned out, but it took hours to decide on the placement and then sew everything in place. It was finicky… The trim kept causing the bonnet to fall over as I was trying to place it and when sewing it the thread kept getting wrapped around the different elements and getting stuck. Plus, to make the stitches on the brim invisible they had to catch just one layer of the silk (as opposed to being stitched all the way through all of the layers) without pulling the silk away from the flannel.

Finally, it was time to make a lining! This used the same pattern pieces as the tip and side band and was cut from scraps of ivory shantung. The seams for the lining were machine sewn.

After I put the lining inside the crown of the bonnet, I covered most of the raw edges of the purple and ivory silk with a band of brown cotton velvet. This blends with my hair and provides a bit of a velcro effect to help keep the bonnet in place, in addition to providing nice finishing! This is the same process that I used when making my 1875 hat earlier this year.

At the bavolet edge, where there is no brown velvet, the ivory silk was turned under and sewn in place. I also added lightweight silk ribbon ties as a finishing step.

Finished!

Here is the finished bonnet, being worn with my 1834 yellow dress! I love that the purple coordinates with my yellow print dress fabric without directly matching any of the colors in the print. It was also fun to choose white, pink, and gold floral trimmings for the bonnet to echo the colors in the print. I think the combination is anchored well while still being distinctive parts.

This photo clearly shows that the ties are purely decorative. I left them hanging free so that they could elegantly (usually!) move around. So what keeps this giant sail in place on my head? (Because I can say with certainty that a bonnet this big is basically just a wind catcher on the top of your head!) It will stay on its own… until moving around. I used the back section of my hair to make a bun, at just the right height so it would sit in the crown of the bonnet, and then used two hat pins at different angles to anchor the hat in place through the bun

I found that I placed the curl bunches too far back on the sides of my head when I tried to put on the bonnet and had to push them forward to get it to sit in the right place. It was unexpected how far forward the curls needed to be. As I’ve done in the past for 1830s side curls (explained here in 2016 and again in 2019), I used my own hair on top of mesh poufs to create the side curls. The combination of my hair getting very long and the curls needing to sit in front of the bonnet means that these curls are larger looking vertically than what I’ve had in the past. It seems to fill in the shape of the bonnet well, so I guess it’s good!

The other thing that the above photo does a good job of showing is the trim on the inside of the bonnet, which was also finicky to place. I had to get it in the right location so that it would organically grow out of my planned side curls hairstyle. The bonnet looks quite silly without the 1830s hair to go with it (and one might argue that it looks silly, in scale at least, even with 1830s hair!).

Speaking of scale, this bonnet is quite large. With the trim, it stands more than 8″ high on top of my head. I had to hold the brim when wind picked up while wearing it–the hat pins kept it in place but it would pull at my hair which wasn’t comfortable. Also, it required a pretty severe slouch in the car in order to not hit the roof! Thankfully, I was able to be a passenger while wearing the bonnet, so that I could arrange it, with the hat pins, in front of a mirror and then not need to sit up or look around while driving. Pretty silly! A carriage would have made so much more sense!

Just The Facts

While this bonnet does not qualify for any of the remaining challenges of the Historical Sew Monthly this year, I would still like to share the facts about this bonnet in the format I would use for an HSM garment. So, without further ado, the facts!

Fabric/Materials: ½ to ¾ yard each of floral cotton flannel and purple silk shantung, scraps of purple polyester velvet and ivory silk shantung, about ½ yard of buckram, about 3 yards of millinery wire, and a small piece of brown cotton velvet.

Pattern: My own.

Year: 1831.

Notions: Vintage millinery flowers, thread, and about 1 ½ yards lightweight silk ribbon.

How historically accurate is it?: 90%. Pretty good in terms of silhouette, construction methods, and materials; however, there are a few modern materials mixed in (such as spray adhesive).

Hours to complete: 15.75 hours to finish, plus maybe 6-8 from years ago.

First worn: In early October, 2020.

Total cost: Approximately $35.

Thanks for sticking with me through another long construction post! I have one final photo that also hints at an upcoming post… 1830s apple picking adventure photos! Happy autumn!

1904 Anne Ensemble Photo Shoot

Last fall, I had the opportunity to take part in a presentation focused on the clothing of middle and upper class African Americans in Providence, RI around the turn of the 20th century (you can see photos of and information about this event here). In order to generate some promotional materials that incorporated both of the presenters (as opposed to having separate photos of each of us), my co-presenter, Lady Estelle Barada, suggested that we schedule a photo shoot together and so we spent a beautiful, sunny summer morning traipsing around a state park, accompanied by photographer David Cruz.

The outfit I chose to wear, my 1904 Anne of Green Gables Ensemble, has been a difficult outfit to photograph in the past, especially the blouse with its white-on-white lace trim and the subtle changes in the direction of the stripes. Given that challenge, I was extra excited when I saw the results of David’s work. He clearly captured the small details of our clothing, including the blouse details!

There are many wonderful photos from our shoot and I enjoy the captivating liveliness that each photo shares–you can just image that movement will continue as soon as you blink or look away.

On the outfit front, I love how comfortable my ‘Anne Ensemble’ is. I had no difficulty tromping through tall grass, climbing over rock walls, sitting on a picnic blanket, and more!

I was also pleased with how my hair turned out. I was able to achieve Edwardian volume around the face while maintaining a side part that gave me two separate poufs on the top/side of my face.

I’m very grateful that David graciously gave permission for me to share these photos with you. As always, please do not share these photos without appropriate photographer credit and a link back to this source.

Photography: David Cruz

1875 Hair & Finished Hat (HSM #7)

Last post, I shared details about the style I decided on for the hat to accompany my 1875 reception dress, as well as how I made the hat.

Today, we get to see the finished hat being worn and take a look at the hairstyle I created to support the it!

This hat qualifies for the Historical Sew Monthly challenge #7: No-Buy! I was pleased that I had everything I needed for this hat on hand and it was a bonus that I was even able to use scraps in a lot of places!

Make something without buying anything.  Whether it’s finishing off a UFO, using up scraps of fabric from earlier challenges in the year, sewing entirely from stash, or finding the perfect project for those small balls of yarn, this is your opportunity to get creative without acquiring more stuff.

Just the facts:

Fabric/Materials:  Scraps of buckram, scraps of cotton flannel, scraps of pink, green, and ivory silk, 2 green-ish/brown ostrich feathers, 9 vintage silk millinery flowers, and a bit of cotton velvet.

Pattern: My own.

Year: c. 1875.

Notions: Millinery wire and thread.

How historically accurate is it?: Let’s say 85%. It’s pretty good on shape, materials, and methods, I believe, and it would be recognizable in its time.

Hours to complete: 10 ¾ hours.

First worn: In May, for photos with my 1875 ensemble!

Total cost: This was a stash project, so I count it as free; however, not counting fabric scraps I think I spent about $12 on the other materials at some point in the past.

Hairstyle Possibilities

When I was deciding on the style of hat I would be making, I also had to consider what my hairstyle might be, as the two support and complement each other. The post showing how I made this hat also shows a variety of hat styles popular at this time.

Along those same lines, let’s look at possible hairstyles from the years around 1875. Hairstyles changed throughout the 1870s, sometimes in subtle ways… and sometimes in not subtle ways! Here is not subtle for you.

Guy Little Theatrical Photograph, V & A, S.145:535-2007

I love this look (though I can see why you might chose to have a differing opinion), with ginormous braids and twists that use much more hair than most people naturally have on their heads. However, this style (with all of the additional hair at the back of the head) does not coordinate with the type of hat I chose–one that would sit on the back of my head, creating a crown effect.

Looking at the years right around 1875 (the year of my reception dress), I found hairstyles with lots of curls and twists hanging down. 1875 is the part of the decade when the fashionable silhouette of dresses changes from the very round styles of 1870-1874 (like this, for example, from 1870) to the styles from 1875-1877 that have fabric starting to slide down the backs of skirts (like this, for example, from 1875).

As if in sympathy with the dresses, I notice that hairstyles start to slide down, too. It is these years when I see curls and twists hanging down the back, while the top parts of the hair are still sculptural, decorative, and large. Here is another example showing both the cascading fabric and the sympathetic hanging curls.

La Mode Artistique, 1875, via Yesterday’s Thimble

Interestingly, there are lots of advertisements for hair pieces to help achieve these styles–for ready-made curls, twists, braids… we know that women were not achieving this with only their own hair!

Ten illustrations of different types of wigs and hair pieces, May 1875, via Hats From History

Another hairstyle option is much more subdued and most popular starting in 1878. This is the Natural Form period, when skirts are quite narrow by comparison with earlier years (like this, for example, from 1880). In keeping with the streamlined silhouette, the hair is now generally swept up, but with much less ornamentation and volume than we see in the previous years. Here is an example. No hanging curls or twists and no masses of faux hair.

1880, Le Journal des Modes, via the LAPL

Hairstyle Decision

I settled on the mid-century hairstyle of decorative bits hanging down the back with sculptural hair on the top of my head, to complement the hat. This style provided a solid base that helped visually and physically balance and anchor the hat. Indeed, without all the extra volume on top of my head the hat just looks out of place.

As you can see in the front view photo (above), I used a giant braid for the top/front of my style. There’s a whole blog post about how I created the braid here. Behind that, there is a bun form to help create volume on top of my head. This worked wonderfully for anchoring my hat pin, which you can just see poking out on the right side of the photo below–it’s tipped in a green glass leaf.

I attempted to create loops and swirls of hair around and below the bun, but I’m afraid that part of the style wasn’t as successful as I was hoping for. It’s difficult to do on the back of your own head and it’s hard to make the loops distinct, especially with my hair texture. I suspect it would be easier with smoother hair and definitely easier to do on someone else instead of yourself. I’ll have to try this style again some day. For this first attempt the back of my head was completely covered by my hat, so it doesn’t really matter what it looks like!

Below the loopy/swoopy bit I left curls hanging down at a few different lengths, as I saw in many fashion plates. This part turned out well!

That’s it, really. Massive hair, some hanging curls, plop the trimmed hat on top, secure it with a hat pin, and suddenly my head is about double the size it normally is! Here is another photo showing the hat and a sneak peak at more of the dress. Lots of details are coming up about the dress in future posts!

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!

 

Project Journal: 1863 Apricot Evening Gown Part VIII: ‘Of Apricot Silk With Cream Lace And Red Velvet Bows’ (HSM #10)

DONE! I am so glad to be done. I’m also excited to have a new dress (and, despite the challenges and worries along the way, one I like the look of! YAY!).

I’ve kept you waiting to see photos of the finished dress. Life got a bit busy after the ball and then I wanted to share my final sewing details with you. But now it’s time to introduce you to Genevieve, my 1863 Apricot Evening Gown, also known as the Orange Monster for the last few months. Here she is!

I’m excited that this dress qualifies for the October HSM challenge.

Details: Sometimes the little things really make something fabulous. Focus on the details of your garment, to create something that just gets better the closer you look.

This dress is definitely one of those garments! I’ll explain and show you lots of reasons why in these finished photos, but there are currently seven other posts in this series sharing tons of details about the planning, patterning, sewing, and trimming process as well.

First, the facts:

Fabric:  6 ⅔ yards of apricot silk, ½ yard of dark red silk velvet, approximately ½ yard of ivory tulle, muslin scraps for hem facing, a scrap of canvas for stiffening the waistband, and about ½ yard of drab cotton for flat lining.

Pattern: It originally came from Janet Arnold’s Patterns of Fashion 2 but has been adapted over the course of a few dresses.

Year: 1864.

Notions: 25 yards of 3 ¾” lace, 2 brooches, 3 yards of ⅜” polyester ribbon, a few plastic cable ties, about 1 yard of bone casing, a variety of hooks and bars, and thread.

How historically accurate is it?: 95%. A few substitutions of modern materials exist but aside from that it’s pretty much as close as I can get.

Hours to complete: 57.

First worn: September 28, 2019.

Total cost: $112.78

The cost breakdown is as follows: $66 for the silk (local discount store in 2016), $12.50 for the velvet (WM Booth Draper in 2011), ~$2 for the tulle (local discount store in 2011),~$1 for the drab cotton (local discount store in 2018), ~$15 for the lace (Debs Lace and Trims in 2019), $6.28 for the brooches (Etsy in 2019), ~$6 for the ribbon (Farmhouse Fabrics in 2019), and we’ll say $4 for the scraps and other notions since they’re from the stash, reused from other projects/mockups, or used in very small quantities.)

Visible details, you ask? Well, in addition to sharing so many other details along the way, the finished dress has many visible layers of details. The most time consuming detail is the hand sewn 3 tiers of lace ruffle/silk scalloped & pleated trim around the skirt. This detail alone took 17.5 hours. There is a whole post dedicated to this aspect and the details that went into it.

That form of decoration is continued on the bodice sleeve caps. Here’s a closeup where you can see the pleated silk. It is meticulously hand stitched with tiny stitches everywhere it is used.

Another layer of detail is the bertha and sleeve caps. Those have tulle, gathered tulle, and lots of velvet details. My last post explains how these are made.

I found the sleeve caps to be rather unusual amongst dresses from this period, so I was pleased to find this fashion plate which has a similar look.

(This next one is a great ‘I’m plopped and tired of standing’ photo!)

And as for details, let’s not forget the velvet bows in addition the velvet trim. Especially that oversized skirt bow! I also spent quite a bit of time looking for the gold brooches to go on the velvet bows.

Aside from the photo above I don’t have many directly front facing photos of this dress–I guess I did a lot of my posing at an angle–but here is one that is slightly less angled and gives the full effect of all the trimmings.

I was super pleased to wear my American Duchess burgundy satin Amelie shoes with this dress! They matched my velvet trim quite well and were fun to have peeking out from under the giant skirt. It’s such a fun piece of history to have contrasting shoes that actually match your dress! Yay! You can see them in this next photo.

The venue we were in for the ball not only had a number of fabulous staircases leading to the ballroom but also many photos of generals and other military figures from the Civil War. It seemed fitting for this period of dress even if they do occasionally seem to be ‘photo-bombing’! Here’s an example. I love this photo! But does the painting look amused, or disapproving? Hm…


I’ve got a post coming up specifically about my grand crown hairstyle as well as a few photos of the ball in general. For now though, thanks very much for bearing with me through this project! I’ve appreciated your encouraging words and excitement about seeing the finished product!

 

1817 Gold Stripes And Face Framing Curls

Back in February, I was able to re-wear my 1817 Gold Stripe Duchess Gown to The Commonwealth Vintage Dancers’ annual Regency Ball.

I love this dress! The sheer fabric is unusual to see in modern recreation settings and has lots of body, making for a lovely shape that is fun to dance in. It turns out that the gold stripe is rather neutral, so I’ve had fun accessorizing it in different ways this spring. We’ll start with this wearing, but there’s another one to blog about as well!

This time I decided to add a bit of color to the dress by adding a wide chartreuse organza sash with a simple bow in the back and rather long ends. (I’m all for variation in ribbon sashes for Regency dresses. In fact, I wrote a post detailing different sash styles a number of years ago!)

I also added lovely new jewelry from In The Long Run Designs. The color I chose, jonquil, is a light yellow color . It compliments my skin tone and adds quite a bit of neutral-toned sparkle to my ensembles (the goal was to match as many dresses as possible so I can get the most use out of the set).

The day of the ball I thought I had lots of time and so I decided on a whim to do a complicated hair style with face curls. It turns out I was off by an hour but I didn’t realize it until I was in the car! Thankfully I arrived in time and didn’t cause anyone else issues with my lateness. Oops! But I was very pleased with my hair (and the fact that it was done before I arrived to get dressed definitely helped offset the fact that I was late).

The hairstyle is directly inspired by the following image of Maria Leopoldine of Austria from 1815 (source). I have a note that it was painted by Friedrich Johann Gottlieb Lieder but I can’t find documentation for that detail outside of my note-to-self. Maria Leopoldine caught my eye because I love big braid buns (my hair does volume so well!) and I thought it was high time to try face curls again (see my 2014 attempt and a different narrower circumference of curl in 2016 to see other attempts I’ve posted about).

So off I went with a curling iron to try and reproduce this hairstyle. Given that I thought I had lots of time, I even took photos of the process so I could share it with you!

Let me start by saying that yes, even though my hair is curly I still use a curling iron (or other curling method) to get precise curls. To show the difference, here’s my hair at a partially done stage. You can see the curling iron curls to the left of my forehead and chin with my natural curls being held sideways in between them and on the right side of my face.

How did I get to that point? I’ve determined that great looking historical hairstyles are often styled in many parts. The complicated thing about face framing curls with my hair is that it’s all quite long: past my shoulders when it’s curly and almost to the middle of my back when it’s straight. I don’t have short lengths around my face to curl, so I have to fake it with long lengths that are pinned up to be shorter.

To begin, I split each half of my hair into sections–a front top section, a back top section, a section behind my ear, and the rest of the hair on the back of my head. In the photo above, I’ve already used the curling iron to curl the top back section of hair, pinned up some of the length, and used the front top section of hair to smooth out and cover up the pinned up length. I’ve also curled the back section behind my ear and pinned the curls up to shorten them as well. The rest of the hair is being held out to the side so you can see the different sections I’m referring to.

I realized after taking that photo that I should show a better example of what all of those words mean. So in the next photo I’ve let go of the back section and put a loose hair tie around it to keep it separate from my nicely curled sections. And I’ve curled the back top section of the other side of my hair, but I haven’t pinned those curls up to shorten or arrange them. I’m holding the front top section up in the air so you can see how untamed the curling iron curls look before being arranged.

The curls are the hard part. After arranging the top front sections and pinning them down around the back of my head it was a matter of wrapping and pinning up the back sections to look nice and make a big bun on the top of my head. I’m pretty sure I used a big bun form under there (the medium one from my Versailles hair in 2016–and for reference that post pretty clearly shows how long my hair is–it’s great for volume but can be a lot to wrangle), but it’s hard to remember as that was now almost three months ago and I didn’t take photos of those steps!

The final step was to wrap and pin my trusty (and yikes, 15 years old!) faux braid around the bun and give the whole thing a liberal dose of hairspray!

I love that I’ve found a new look for this dress and a new historical hairstyle. Looking at the photos, it doesn’t look like my braid bun is quite as large or wide as Maria Leopoldine’s (I’ll have to try again someday!). Despite that, I was very pleased with the face framing curls and the bouncing curls behind my ears. The style felt very regal!

1925 Lace Cloche

I knew I wanted a cloche to go with my 1925 Blue Coral Dress from early on in the process of making it. It was going to be hot when I wore the dress, so I knew I wanted something that would both look and feel lightweight. Turns out any hat was warmer than a bare head (well, one with hair on it!), but that being said, I think this was on the right track with a lightweight hat.

I considered making the cloche from fabric, but couldn’t decide on a style with seams that I liked. However, as I was browsing my Pinterest board, my eyes kept settling on straw, horsehair, and lace hats. It seemed like that was the way to go.

I didn’t have any particular materials on hand or in mind for that type of hat but I had come across a modern cotton lace cloche on Amazon for $14 that seemed like a good starting point. It’s no longer available, but I’m sure a careful search could find something similar. To the right is what it looked like before I started changing it up.

Generally, modern cloches have such a deep crown that they don’t leave any space for hair arranged on the back of the head. I have long hair, so that just doesn’t work for me. Cloches from the 1920s frequently have a cutout in the back to allow for your neck… or hair! They also have more interesting brims than modern cloches often do. Perfect. That’s what I wanted. An interesting brim and a cutout for my hair.

With my design plan in place, I started disassembling the modern cloche. First, I removed the braided band and flower. Then, I started unwrapping the lace on the brim, taking out the stitching that held one circumference to the next. I stopped at the bottom of the crown. I removed the inner hat band for most of the way around the hat, so I could stitch the new brim shape and the back cutout without stitching through the hat band.

Next, I played with the lace I had unwrapped for the brim to decide on a new shape. Once I made some decisions I had to make a few shorter pieces out of the lace, but most of it I tried to keep intact. In the back, I decided where I wanted my cut out to be… and cut it! Then I bound the edge using the lace and topstitched it down to encase the edges.

It was a bit tricky to find an acceptable shape for the new brim. The first few tries were so similar in shape to the crown of the hat that they hardly showed when I put it on my head. I ended up with a brim that flares out a bit so it stands away from the crown of the hat, especially in the front. I had to be careful to cover the ends of the plastic horsehair braid that backs the cotton lace, as it is very poky when cut. I covered the ends either by turning them under or having the inner hat band cover them.

After sorting out the brim and back cutout it was time to reattach the inner hat band. Then I sewed on my trim. Here’s what the hat looked like on the inside after all that.

I’ve loved Leimomi’s cloche decoration in this post since she posted about it in 2014. Having that in mind, I thought of what bits of trim I already had in my stash and what might work for this hat. I decided on a random yard of navy grosgrain ribbon, which I cut into thirds, pleated, and attached in imitation of this hat.

When I styled my hair, I tried to have hair come down to my jawline more than I usually do. I think cloches look less silly if there is some hair showing around them. My hair didn’t really look like a bob, but at least there was some hair showing in the front. In the back, it was pinned into a low twist-y mass of curls.

The great thing about the materials of this hat is that they are intended to be flexible for packing and traveling. Not only is it easy to store this hat but it’s also easy to remove it at a picnic and leave it on the blanket or put it in a bag without worrying that it will be damaged. It can get crushed and bounce back into shape!

In the end, I continue to think my head looks like an egg when I wear a cloche. I like styles that don’t hug my head better! That’s my own feeling–other people don’t think it’s nearly as egg-like as I do! But as egg-heads go, this was better than some attempts, so I think we’ll call it a success! It certainly looks cute on the fence!

The Simple, The Complicated, & The Continent Part II

In Part I of The Simple, The Complicated, & The Continent, I shared casual pictures from the mid-19th century dance week I attended last August. Now it’s time for the (mostly) more elegant pictures of the formal balls from the week. You’ll see why I say mostly elegant… there are some silly pictures, too!

On the Wednesday of the dance week we had an informal ball at the school. In terms of dancing, it went generally well. We’d had two days of dance classes and we weren’t completed exhausted yet. Everyone looked lovely so it was fun, as always, to admire other people’s ensembles. We were informed that the social custom of Denmark is to only post photos of other people if you have their permission, so I don’t have too many photos I can share of the informal ball, in particular. It’s a reasonable custom, I think, just quite different from what we’re used to in America. It really is the Wild West of willy-nilly picture posting here! Maybe the Wild West village on the grounds of the school made more sense than I thought…

So here I am dressed for the informal ball. My hair was frizzy and big by the evening of the day so I decided to run with it! Big round hair is perfect for the 1858 anyway. I wore Georgina, with her evening bodice. Actually, all of the Americans wore our mid-19th century cotton ballgowns (many of which you can see in this past post), which quite impressed many of the other attendees. We were told that fabrics like these are difficult to find in and around Denmark.

After another two days of classes, the week ended with a formal dinner and ball. We were bussed to the town where these events were to be held (and it was quite an adventure, getting all the large dresses onto the tour buses and into the seats!) and then did a small walking tour of the town before dinner. A new friend snapped this photo of me traipsing across the street after getting some photos taken. I chose my matching crocs to wear around the town before going into dinner and the ball, but I didn’t think anyone would see them!

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Dinner was lovely and then it was time for the ball. It was quite exciting to be attending a formal ball on ‘the continent!’ It sounds so fashionable in a 19th century way!

The ballroom contained actual candles! These are forbidden in many of the halls I normally get to dance in, so that was a nice novelty. They were especially lovely as the light faded outside.

Our hosts provided us with dance cards, which had a convenient hook for hanging the dance card off of a belt or waistband. In my case, the belt on my dress was perfect!

The ballroom was rather small for the number of people we squashed into it, but I suppose that is probably rather accurate for some events in the 19th century. It did mean that the room became quite hot, so I spent a fair bit of time enjoying the lovely garden outside.

As you can see, I wore Eleanor, my plaid silk ball gown. It was a good choice for traveling and it was fun to be elegantly simple in my clothing choice.

Capturing the photographer in a photo! Isn’t it lovely how well their dresses coordinate with the colors in the garden?

Why was I lifting my skirt so scandalously? I think to see how high I could easily lift my leg in my dress. Or perhaps to check my balance? Doesn’t really matter, does it? Silly photos are fun!

I did get permission to share this photo of me with two new friends. Our colors coordinated so well and that uniform was absolutely stunning! And it had fur on the cuffs. Such soft fur! I bet it was boiling hot, but it was also quite dashing!

Unfortunately, by this point in the week we were all brain-dead, so the room in general didn’t do a great job of executing all the dancing we had been working on without many mistakes. That felt like rather a let down, sadly, as it would have been nice to dance at a ball on ‘the continent’ with perfect execution. I guess this gives me another reason to go back and try again some day!

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1864 Evie Hair (Returning Heroes Ball 2018)

In March, I again had the pleasure of attending The Commonwealth Vintage Dancers‘ annual Returning Heroes Ball (you can read about other years I’ve attended here). I decided to wear Evie, my 1864 ballgown, simply because it had been a year or so since the last time I wore that particular gown.

In order to change things up I did two things differently with this wearing: I wore different earrings and did my hair differently. Small changes, but it makes wearing an old dress feel new and exciting!

I don’t think I’ve ever worn these earrings for mid-19th century events before (only for things later and earlier than this period), though now that I’ve tried it I think they work quite well. I made them from triple drop earrings that I bought from a modern store (I forget now, but I think it was New York and Company). I just took off the bottom drop and attached them to clip hardware. They catch the light and sparkle nicely.

1860s and earrings together reminds me of the scene in Gone With The Wind in which a straggling soldier try to steal ‘ear bobs’ from the house. Not that these look at all similar (and luckily my story ends on a happier note than that scene), but a GWTW reference generally makes me smile.

I was going to do a simple hairstyle (my usual go-to c.1860 style with a center part and the hair in a low mass at the back of my head), but as I was getting ready I chanced a look at Pinterest and got excited about trying a more complicated style than I usually do. In particular, I liked the puffed fronts on some of these styles from 1864 and the curls on the sides like some of these from 1861.

I sort of mashed these two looks together, using small rats to puff the front sections of hair and a curling iron to get smooth curls for the sides. My hair is getting to be so long that I had to pin the hanging curls up to shorten them! The rest of my hair was just twisted and pinned on my neck without too much attention paid to it. I was running out of time and knew I’d be adding my hair piece on top, which would cover most of the back of my hair anyway.

I really like the end result for this particular dress of mine. I feel it compliments the hair piece and the silk dress nicely. Isn’t it lovely when all these little details come together to create one cohesive end result? Yay!

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