1926 Silver Lace Robe de Style

One of my summer sewing projects was a new 1920s robe de style. (And yes, I am clearly delayed in posting about it!) I already have one (my 1924 Golden Robe de Style) but I stumbled across a lovely lace at Joann Fabrics in the spring that called to join my wardrobe as a second dress in this category. I attend enough 1920s evening events that I can never seem to have enough dresses. Doesn’t that sound grand written out? I actually do have plenty of dresses, but it’s nice to have variety and cycle through different styles, types of fabrics, weights, etc.

I’ve enjoyed wearing my first robe de style and wanted to try another one with different characteristics. The 1924 golden one is made of silk taffeta and has an ankle length skirt, but I wanted this one to be much lighter weight and shorter in length. I also wanted a different neckline. After looking through my Robe de Style Pinterest board for inspiration I settled on this dress, a Boué Soeurs robe de style from fall/winter 1925-6. This is where my date of 1926 for my new robe de style comes from.

Obviously the lace is not opaque so as with the original dress I needed a lining. I settled on the icy blue because it was from my stash. (You’ve seen this fabric before, in my 1899 evening gown.) It was great to use a stash fabric for cost saving and stash-diminishing purposes as well as the fact that the colors coordinate. And, I was able to accessorize with a large flower pin in a very similar color that has been in my stash since before I had a fabric stash! Isn’t it wonderful to find good homes for odds and ends like this?

In addition to the flower pin, I also wore my extra long strand of faux pearls, my American Duchess silver Seabury shoes, and vintage silver hair pins. Oh, and earrings. But I can’t remember which ones and I can’t tell from the photos which pair they are. I’ll have to figure that out again next time I wear this dress!

The pattern for this dress is me-made, composed of mostly rectangular shapes based on my measurements. The body of the lining is basically an upside down T shape, where the sides are gathered into a slit that extends into the main body on each side by a few inches. (You can see what I’m talking about in the photo below.) The lining has a straight top edge with rectanglur straps attached. The hem angles down slightly on the sides intentionally. I still wanted an uneven hem as with my 1924 dress, but I wanted a less dramatic difference than with that dress.

The lace layer was a little more complicated. I wanted an uneven hem to match the lining, but I also wanted to keep the hem following the scallops across the fabric. So… I had to keep my hem straight. That means I had to make the tops of the sides curve up since the bottom couldn’t curve down, but that meant I couldn’t cut my lace layers as a T, because the curve up would cut into the sides of the dress.

My solution was to add a seam across the lace pieces at the height of the gathers. To do this I perfectly matched the scallops, carefully layered and stitched them with a narrow zig zag, and then trimmed away the excess fabric to make the seam almost entirely invisible. Can you spot it in this photo?

I also had to trim away the ‘eyelash’ bits left over after cutting along the scalloped pattern along the hem. This photo shows that step in progress. A bit tedious, but worth it!

Unlike the lining with its straight top edge, the lace has a v neck on one side and a scoop on the other. This layer is interchangeable in terms of which is front and back, since they’re the same with no special shaping. The edges of the lining are finished by machine while the neckline and the armholes of the lace are narrow hemmed by hand.

This new dress can be worn with or without panniers, but for the first wearing I went without in order to make the full skirt more subtle and to differentiate the dress from my 1924 Golden Robe de Style (which needs to be worn with panniers).

While this dress could be worn at any time of year, I am particularly enchanted with the idea of it being perfectly suited to a 1920s New Year party. The colors and silver lace seem well suited to that theme.

And on that note, in case I don’t get another post in before 2019… happy new year!

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An Edwardian Island Adventure

Over the summer, my dance group was invited to create a turn-of-the-century atmosphere for a weekend on Bakers Island, off the coast of Salem, MA. Today, the part of the island we were on is managed by Essex Heritage and is home to a lighthouse, but for our visit the idea was that visitors to the island could get a sense of what the island would have been like over 100 years ago when there was a large hotel located there.

We didn’t actually dance, but we played historical games and activities and explained our context to the visitors. They came upon us along various paths during their walking tour.

I wore my 1904 Anne of Green Gables ensemble. This time, though, I had a new belt and I got my hat to behave. It’s supposed to flip up in back, but was misbehaving last time I wore it and was flipped down in back. Boo!

The new belt is green silk covered with the same lace that I used on the skirt. The green isn’t a perfect match to the skirt, but I like that it coordinates without being too match-y. Taking a photo of it also allowed us to capture the subtle lace detail and woven stripe in the fabric of the blouse better than we did last time, which was a bonus outcome.

In between tours, we took some group photos around the lighthouse and the light keeper’s house. The light keeper’s house, in particular, provided us with some really adorable photos. These were provided to us by the light keepers, who keep their own charming blog (currently about their stay on Bakers Island this summer) which you can view here.

Behind the scenes, we needed to arrive before the visitors to set up. Given when boats were available that meant we had to arrive the day before the visitors. There aren’t any indoor accommodations we were able to take advantage of, so it was camping in tents for us. I’m not really a camping kind of person, but thankfully other people had tents to share. Between the modern equipment and food that we needed as well as the historical clothes, games, and amusements, we had quite the pile of luggage for two days and seven people! Here we are waiting for the boat back to the mainland.

A new adventure complete! The croquet set is still in place but the players are gone! Maybe someday there will be others (or maybe us, who knows?) to once again bring history to life on this island.

Exploring The Crane Estate Gardens

I recently shared photos of my 1925 Blue Coral Day Dress and Lace Cloche, both of which I wore to the Crane Estate Gatsby themed lawn party in August. I wanted to share a few more photos from the day that didn’t fit into posts about the construction of the clothes I made for the event. To start, here’s our elegant, shade-proving picnic setup. This lawn party is always hot, so parasols and umbrellas are essential to stay comfortable.

After sitting for awhile we decided to explore the gardens. Every year I’ve been they’ve been a lovely and cool respite during the hot afternoon.

This year we were excited to find that an area that has previously been closed off behind a locked gate was open! (Check out this post to see the closed gate!) There were lovely flowers in this area and fun spots to take photos, too!

I enjoyed looking at the interesting, new sights as well as the columns. It felt like a grand adventure and was easy to imagine we were in the (mostly well-manicured) ruins of some ancient civilization.

Our walk also included a stroll around the main house, where there were antique car rides. We didn’t take a ride, but it was fun to capture one of the cars in our photos.

All in all, I had a nice day and enjoyed adding new memories to those I already have from this event.

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!

1925 Blue Coral Day Dress (HSM #8)

The summer has been very busy and I don’t feel like I’ve completed very many sewing projects for myself. Really the only reason I’ve completed anything is because I’ve been live streaming my sewing, which forces me to make things from the list of the-things-I-want-to-make-that-I-never-make-time-for. Do you have a list like that? Mine is lengthy!

One of the first of these things-I-don’t-usually-make-time-for projects was a dress made out of one of the fabrics I bought earlier this year. I really wanted to have it for events this month as they are generally quite hot and the fabric I found is nice and lightweight while still being opaque. I found this fabric at a local discount store for the awesome price of $2.99/yard and then later saw it at a regular price store for somewhere closer to $10/yard, which really made me feel like I got a deal!

The pattern for this dress is a Quinnpen special (ie. made by me). I took my inspiration directly from this extant dress at All The Pretty Dresses. Due to that, it qualifies for the HSM Challenge #8 Extant Originals (copy an extant historical garment as closely as possible)!

To start, just the facts:

Fabric: 2.5 yards cotton lawn.

Pattern: My own.

Year: 1925.

Notions: Small bits of contrasting fabric for bias binding, thread.

How historically accurate is it?: I’d say this one is about as close as I can get to 100%!

Hours to complete: Approximately 8 hours.

First worn: August 5, 2018.

Total cost: $10.50 (including the fabrics I used for decorative sash options).

For the bodice of this new dress, I started with my 1927 Blush Sparkle dress (that dress started life as a tube before I added a head hole, armholes, and side seams/darts to about the hip level). For the skirt, I made a circular pattern that had the zig zag top edges that are featured in the extant dress. It was a bit of trial and error process to get the zig zags just right, but I made it in the end! You can see the topstitched zig zag detail on the extant inspiration if you look at the pictures carefully.

The zig zag top edge of the skirt is pressed under and topstitched onto the bodice. On both my dress and the extant dress that detail gets lost in the pattern, but it allows the skirt to have a lovely drape and fullness while the top can stay that straight 1920s shape that is so iconic. Here’s a closeup of my topstitching. Not bad on the pattern matching!

I finished my dress armholes and neck hole using bias, as I believe the original did based on looking at the photos. My only changes here were to use a contrasting color so I could actually see where the openings are (before I put on the orange binding the blue on blue pattern just made a big indistinguishable pile!) and to turn the bias binding to the inside of the openings (given that I was using a contrasting color). Aside from that the only other detail I omitted was a center back seam on the bodice since I had enough fabric not to need it when I was cutting out the pieces.

The photo above shows the dress with two different sash options that I made for it: pink and orange. I bought the orange when I bought the blue, but when I got home I thought it might be too bold and decided I might like the pink better. But I really couldn’t decide, so in the end, I made both!

When I wore the dress, I was still undecided… so I took pictures with all three options: no sash, pink sash, and orange sash. See each look below!

The idea behind a sash was this inspiration: Wilton Williams, The Bystander, August 12th 1925, though after wearing it my preference is no sash! I think that the bold, large scale patterns in the fabrics of the inspiration dresses lend themselves better to a sash than this blue dress.  The bonus part of not having a sash is that the dress is easy to wear, there’s no fussing with keeping a sash in place, and the dress really does have a nice 1920s shape to it even though the detail of the zig zag is lost from more than a foot or two away. What do you think? Does one style of sash (or no sash) speak most to you?

It’s fun to have a new dress to wear, discuss, and document! There are more dresses in the live stream queue, so if you want to stay in touch with what I’m making I would love to have you join me for one of my virtual sewing circles. You can join me on Wednesdays and Fridays from 9-10:30pm EST!

Eleanor ‘On The Continent’

When I was in Denmark last year, we got some lovely show-off-the-dress shots of Eleanor (my 1862 plaid ballgown) that I haven’t shared yet. This is the gown that I wore to the grand ball at the end of the week. I decided on it because I appreciate its simplicity and understated elegance: the only real decorations, aside from the interest provided by the large scale plaid, are the coordinating brooches on the neckline and belt.

I absolutely love how this gown looks wonderfully historical without being flashy. Don’t get me wrong, I am all for flash in some instances, but for traveling on a plane and being squashed into a suitcase, this seemed like an option that would travel well and still look elegant, especially when paired with my coordinating necklace and earrings.

Before the ball we took a short walking tour during which were able to capture these cooler-toned photos in addition to the warmer first photo (that first one was taken in the ballroom).

Looking at these photos reminds of the trip, which brings smiles. It was fun to attend a ball ‘on the continent!’

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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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