1875 Reception Dress (HSM #10)

~ TheQuintessentialClothesPen ~ 14 Comments

Yay! This project is complete and photographed! I’m so excited to be able to share more finished project photos with you.

This is my 1875 Reception Dress. I’ve been documenting its construction over the last few blog posts and have been documenting the construction of the undergarments and accessories to accompany it since early this year.

To recap, if you would like to learn more about the individual parts of the ensemble you might want to visit the following links to past posts:

This dress qualifies for the Historical Sew Monthly challenge #10: Get Crafty.

Make use of your own skills or learn a new one to make something from scratch rather than buy material. The possibilities for learning and applying new skills and techniques are endless. Lace, pleated self-fabric trim, knotted fly trim, embroidery, dyeing, knitting your own corset laces, hand painting your own fabric

In this case, I spent a bit of time in April learning how to use my antique fluting iron so I could make fluted trim to adorn this dress. I documented my experiment here on the blog in this post: A Practical Experiment: How To Use A Fluting Iron.

Since this dress qualifies for the HSM, here are the facts:

Fabric/Materials: 7 yds pink silk taffeta, 2 ⅜ yds green silk taffeta, 1 yd yellow polyester organza, 3 ½ yds pink polyester organza, 5 ½ yds muslin, 15 ¼ yds ivory lace, 8 ½ yds black rayon soutache, scraps of old green cotton bedding, a bit of polyester batting, and scraps of white cotton.

Pattern: Many of the pieces came from Patterns of Fashion 2, though they were tweaked for fit and style. Other pieces were draped to imitate the inspiration fashion plate.

Year: 1875.

Notions: 2 yds 1″ grosgrain ribbon, ¾ yd ⅜” petersham ribbon, 1 yd ½” twill tape, ¾ yd ⅝” twill tape, 1 ¼ yd ⅝” bone casing, 4 18″ long ⅜” wide plastic zip ties, regular as well as skirt hooks and bars, 8 plastic buttons, and 1 Canadian quarter.

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.

Hours to complete: 80.5 hours.

First worn: In May, for photos!

Total cost: $138.46.

Here are a few more photos. Every time I look at a new angle or view of the dress my eyes are drawn to different details–perhaps you will notice new details, too.

I’m very glad to be finished with this large project, while also being bummed that the event that I was planning to wear it to was cancelled. That just means I need to find a reason in the future to wear the dress, I guess. I’m not sure what that will be, but I’m hoping for a fabulous historical house or museum, or something else suitably grand and indoors, as that seems to be the appropriate setting for a reception dress.

1875 Reception Dress: Skirt Construction

~ TheQuintessentialClothesPen ~ 2 Comments

Today’s post is a continuation of the detailed construction posts documenting the creation of my 1875 reception dress. This post is going to focus on the construction details of the skirt. You can check out past posts to learn more about the construction of the bodice, petticoat, balayeuse, hat, and a post about the finished hat and hairstyle.

This is a rather long post, so I hope you’re ready to settle in and take a close look!

Skirts from this period are often confections crafted from fabrics and trims–and this one is no different. The inspiration came from a fashion plate from L’Elegance Parisienne (June 1875) that is held by the LAPL.

I think I stayed pretty true to the fashion plate for this portion of the project. Slight changes include leaving off the black trim around the bottom apron edge and at the top of the green fluted bands of trim on the skirt base, as well as choosing to stitch one row of soutache in most places instead of two.

(Also …huh… You know what? I just realized, as I am comparing the photo above to the fashion plate, that I sewed the top green bands of trim on upside down. They are supposed to have the black trim at the bottom. Oops! I know I patterned them to follow the fashion plate. Well… they’re probably not changing now.)

So where was I with the skirt construction?

Base Layers

The base of the skirt is cotton muslin, with the bottom front portion covered by silk, as you can see in the photo below. This drastically saves the amount of expensive fabric used and provides a stable base for the following layers.

I started with a pattern I’ve used for my other bustle dresses for the front skirt panels (I think at some point it came from Janet Arnold’s Patterns of Fashion, but I’ve tweaked it since then). It is closer in shape to 1880 than 1870, but I think it works for this particular 1875 dress, since so much of the back fullness is contained in the waterfall of silk underneath the bows and ruffled trim.

The back panel was draped as opposed to flat patterned. I started as double width of muslin with no shaping, but as I tried to figure out how to pleat or gather the top into the waist I realized I should add some shaping along the center back seam. I think I took out about 16″ at the top, tapering to nothing at the hem.

This next photo shows my silk panels on top of the base as I tried to figure out what they were doing. Since this was an entirely draped process it’s not likely to ever be repeated in exactly the same way. I have notes documenting what I was up to, but no actual pattern.

It was important to me to achieve both the gathered look at the top of the skirt and the wonderfully waterfall-ing pleats at the bottom, just as you see in the fashion plate. It turns out that was easier said than done–one of those things that’s easy to draw but not thought out in terms of actually being made up.

After getting a little farther with the back of the skirt, I moved on to the apron. Here, we have a (very wrinkly) old sheet being draped to create the apron pattern. My apron is not quite as long as the one in the fashion plate because I had limited silk fabric to work with.

Waistband & Closures

Many dresses from this period have the skirt base on one waistband and the apron and/or back draping layer on a second waistband. Essentially they are two separate skirts. I decided that I didn’t want to have to arrange the layers separately so I put them all on one waistband. This is a little bulky at the back, where both the muslin base layer and silk drape are gathered, but that’s all hidden by the point on the back of the bodice. The other thing (I realized later) is that this decision made the closures extra complicated. Let’s start there.

First, the muslin base edges hook together at the waistband (that hook is done up in the photo below). The apron layer then hooks onto the loops on the muslin layer (this layer is open in the photo below so you can see the hooks and loops).

After that, the skirt drape hooks forward, covering the muslin layer completely (this is not done up in the photo below). This completely hides all of the previous closures. To help keep this layer of closures invisible, the hooks attach to thread bars instead of metal loops. You can make them out below if you take a close look.

Pretty neat! It took a waistband extend-o to make it work, and a few brain somersaults, but we got there in the end.

In order to be sturdy enough to attach all of the skirt layers, the waistband is flat lined with muslin and also encases a grosgrain ribbon. That adds a bit of bulk, but it also creates a very sturdy finished product and, again, you can’t see the bulk under the bodice.

Flat Lining & Apron Folds

In the photo above, you might have noticed the rather bold pink organza showing on the back drape panel. That’s just a small portion of what’s actually back there–the entirety of the back panels are flat lined with this pink polyester organza. Polyester organza is not what they would have used in 1875. But other stiff, lightweight fabrics such as silk organza or cotton organdy would have been used to help the silk maintain pouf. I chose the pink because I had the perfect amount in my stash (and both it and the dress are shades of pink, so… it’s not that far off?).

Similarly, I used up some light yellow polyester organza from my stash to flat line the apron. The color was harmonious with the silk and again, I had the perfect amount sitting around, so I think it was meant to be. The polyester organza is springy enough that it keeps the silk from creating tight creases, which helps to maintain the apron folds and the back drape pouf. It’s really quite magical! Both the pink and yellow organzas were left over from old projects and I was happy to be able to use them up. You can see the yellow organza at the top of the next photo.

The next photo is also showing you the quarter bag that is hidden under the apron. You see, I wanted to make sure that all of those folds I took the time to drape for the apron would stay in place and not need to be fussed with to lay nicely with each wearing. My solution was to run a length of twill tape down from the waistband to just above the hem of the apron. The silk is tacked to the twill tape to help keep the folds just so, and the bottom of the twill tape has this small pocket of silk, containing a Canadian quarter (perfect, because I’m not in Canada so it’s not very useful as currency) to help weight it and keep the folds from springing up.

Secret Pocket

Next, I want to share a hidden detail I added to this skirt. A pocket! This is stitched into the muslin base layer at the left side opening. It’s only accessible when the skirt is partially or completely unhooked, but that makes it a perfect place to stash a phone, keys, etc. if I wear this and don’t want to carry a purse or bag.

I made the size quite generous and placed the pocket low enough that anything in it hides under the skirt without adding a bulge.

Hems

There are multiple hems and hem finishing methods used in this skirt. The next photo shows most of the layers of the skirt and their varying hem methods.

Top in this photo is the front base layer of the skirt (that’s the pink with green trim). The pink silk is hemmed with bias strips of muslin that are machine sewn, pressed to the inside, and then hand stitched to the muslin base. This creates an invisible finish. (The apron, though not pictured here, is finished in the same manner, with the bias facing hand stitched to the yellow organza flat lining.)

The middle layer in this photo is the back skirt base. This muslin layer is also finished with bias strips of muslin, but in this case I’ve sewn the bias up by machine since it is always covered by the back drape and will not be seen. I amused myself by using a small stitch length to mimic the machine stitching I’ve seen on extant late 19th century clothing as well as the same bronze thread that I used on the silk.

The bottom hem layer you can see is pretty fabulous and the most involved to make in terms of research and sewing.

The back drape hem is finished with a muslin facing that ranges from about 12″ high at the sides to 20″ high at center back. This completely covers the portion of the train that drags on the ground, effectively keeping dirt off of the silk and organza layers. After piecing the muslin, but before attaching it to the skirt, I machine sewed the three rows of lace to the facing. I didn’t bother gathering, inside I just eyeballed tucks in the lace as I went along to create fullness.

This creates another form of a balayeuse. Remember that word, from May? I have a whole post about the amazing detachable balayeuse I made for my petticoat for this dress, but a balayeuse can also be an inside frill on the hem of a skirt.

I’ve had fun reading a series of blog posts by Natalie at A Frolic Through Time about creating an 1895 ensemble and her research about the support structures and methods that help maintain the fashionable silhouette. Along the way there have been mentions of the balayeuse! I’m going to include them here, because I am intrigued by them, even though their time period is a little later than this 1875 dress.

1 – In the post 1895 Outfit: Period Methods To Add Skirt Fullness, Part 1, Fullness and Flare, Natalie includes a mention under the heading What Books and Magazines Said About Fullness and Flare in Mid-decade Skirts.
2 – Later in the series, in the post 1895 Outfit: Period Methods To Add Skirt Fullness, Part 5, Steels, Rattan, Candlewicking, and Dust Ruffles, Natalie includes more information under the heading A Balayeuse or Dust Ruffle, Fixed Inside the Outer Skirt.

The lace balayeuse extends past the finished hem by just a little bit, so that it peeps out while the dress is being worn, as you can see in the photo below.

This particular detail is not from my inspiration fashion plate, but it’s a feature often seen on extant garments, such as this cream dress dated c. 1879 and this red dress dated 1879, both from the Met Museum.

In addition to being pretty, trailing white garments on the ground show off that you have the resources to keep the garments clean and also that you have the resources to pay for the extra materials to make them. More practically speaking, the lace helps grip the balayeuse that is attached to my petticoat, which helps to keep the skirt folds in place even with movement. I found that moving forward, backward, sideways, and turning all caused no disruptions to the folds of my skirt while being worn.

Trimmings

The final step of making this dress was trimming! Lots of it!

The first bit of trim I tackled was the trim on the front base section of the skirt. In the inspiration fashion plate this looks like knife pleats, but I was inspired to use my antique fluting iron instead. You can read all about making the fluted trim in this past post.

Here is the fluted trim pinned in place on the skirt base.

After sewing the fluted trim on, it was time to consider the back trim–all those gathers and the massive bows.

The gathers are strips of silk, some shaped, that are hemmed by hand along one edge. Here are my six pieces of green silk: hemmed, gathered, and ready to go.

The non-hemmed edge was pressed under but not stitched: it was stitched down as I attached to the green cotton bands you can see in the photo below. These are made from old bedding (not the perfect color, but green, and you can’t see them, so I’m pleased to be able to re-use old fabric). The cotton bands are shaped and the ruffles sewn to them so that they can float on top of the gathered pink silk.

The gathering threads in the green panels were sewn my machine. After the green cotton bands were hand tacked in place, the gathering threads were covered by the black soutache trim, which was also hand sewn in place. This image shows this part of the process in progress.

The end result looks like this. It reminds me of heirloom lettuce. Not in terms of color (hopefully!) but in terms of the ruffle-y ness. The edges are all nicely finished, the gathers are covered by black soutache, and the whole thing is invisibly held in place.

Then there are the bows. I love these massive bows! Here’s a photo showing the wonderful acid green color of the silk. The bow pieces were cut out, hemmed, and assembled by hand. The bottom edges of the bow ends have the edges pressed under (but not hemmed) and finished with self fabric fringe.

Yes, self fabric fringe. I cut strips of the silk and spent a few hours watching Netflix and shredding the silk to remove the black threads, leaving only the green. Here’s my test piece.

On each fringed piece of silk I left a border of non-fringed fabric at the top. I used this to attach the fringe pieces to the pressed under edges of each bow end. It keeps the fringe looking organic and part of the fabric, without any stitches showing.

Here is one of the bows pinned in place. The bows are tacked at multiple points to keep them permanently in place.

And here is the skirt with all those layers of trim added on!

As I made my dress, I also referenced Caroline’s post on The Modern Mantua Maker about how she made her 1875 Autumn Plaid Dress.

Whew! That was a long post. There are lots of details in this skirt. Next time, I have more finished ensemble photos for you as well as the HSM facts–quantity of materials used, time spent, etc. Thanks for sticking with me through the details of this construction post!

1875 Reception Dress: Bodice Construction

~ TheQuintessentialClothesPen ~ 13 Comments

Recently, I’ve been hinting about my new 1875 reception dress. We’ve looked at the hat that I made to accompany it as well as how the hat was made. Now, I’d like to share focused details about the construction of the bodice of the dress.

Here is the finished bodice!

I did a lot of Pinterest scanning to choose a style for the dress (as one does, of course!). There are a number of dresses from 1875/76 that appeal to me, with their swags of fabric, elaborate trimmings, and sweeping trains, but I decided on the fashion plate below partly because I had fabrics in my stash that I thought would work in terms of yardage as well as complementing each other in terms of colors.

L’Elegance Parisienne, June 1875, LAPL

If you’re looking carefully, I imagine you’ll notice pretty quickly that my finished bodice does not have the pleated sleeve trim and large cuff shown in the fashion plate. I ran out of fabric! Oops. So I decided to eliminate these details and focus on all the other trimmings on the dress. For example, if you look at the neckline and hem of the finished bodice you will notice that those two edges have similar treatments as in the fashion plate. However, not using the sleeve style in the inspiration fashion plate left me with a style decision to make. How to trim, or finish, the sleeves? Back to Pinterest!

I settled on the sleeve style of the fabulous burgundy and tan dress on the right. This would use less fabric but maintain a similar feeling as other parts of the dress.

Revue de la Mode, c. 1875

Below are my partially finished sleeves.

I started by cutting them off at a length that made sense with the addition of the pleats and hemming them. The pleats are pressed in the center so that no hemming is needed and the top edges are left raw. These raw edges are then covered by the green pleated bands. The lace is actually two rows of lace (to make the lace twice as wide) that are gathered and then sewn into sleeves. The final step that you can’t see here is a green bow to finish off the back sleeve seam area. The bow covers the raw edges of the green pleated band.

The bodice pieces of silk are flat lined with muslin. The seam allowances are whip stitched to keep them tidy. The bottom edge of the bodice is finished with self bias. The bodice is boned–at the point of this photo only the center back seam has a bone stitched in.

In addition to the center back, I added bones to the side back seams as well. I also added a waist stay. That is the grosgrain ribbon that is stitched to the boning channels. This helps to keep the bodice anchored around the waist if I raise my arms and to keep the back tight against my body. It also takes some strain off of the buttons.

At this point you can also see the green ruffle has been added to the bottom of the bodice. Like the pleats on the sleeves, the ruffle is pressed in half so that no hemming is needed. The top raw edge is hidden by the twill tape.

Here’s another view of the inside of the bodice that shows the green ruffle a little bit more. It also shows the bones on the side seams and a hint of the lace around the neck opening, the edge of which is also covered with ribbon–in this case, petersham. I found the lace too scratchy against my neck on it’s own, even though it feels relatively soft against my hand.

The photo below also shows the bust pads. These are graduated crescents of batting that are stitched together and then covered with cotton. They help to fill out the area just in front of the arm, which often has a natural dip without assistance of this sort. Filling the dip in creates a fashionable rounded shape. Adding the pads is an experiment I was trying out. (Here is an example of a c. 1885 extant dress that has bust pads.)

Here’s an up close shot of the seam allowances of the bodice, also showing the lace and petersham around the neck a little more. You can just barely see the armsceye seam allowances, which are trimmed and whip stitched to keep them tidy.

Finally, here is a view of the front of the bodice in a half finished state.

The two front darts have boning channels stitched into them. All of the ‘bones’ in this bodice are plastic zip ties. The front zip ties are split in half to make them narrower.

This photo also shows the pleats around the neck opening (finished as with the sleeves and bottom ruffle). There are facings on the front edges. This photo was taken before I stitched the buttonholes. They were eventually machine sewn.

After all the internal construction was complete, I added the buttons (they are rubbed bronze looking plastic shank buttons) and the green trim around the neck. The neck trim is a strip of silk that has the long edges pressed under and gathered. The long edges are tacked to the neckline and then black soutache is sewn on top to cover the machine stitching lines. The finishing touch is the bow at center front.

Ta da! Next time, I’ll do an in depth post about the skirt construction, including back views that show off the giant bows, which are probably my favorite part of the skirt.

1875 Hair & Finished Hat (HSM #7)

~ TheQuintessentialClothesPen ~ 6 Comments

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!

Style Decisions & Making A 1875 Hat

~ TheQuintessentialClothesPen ~ 4 Comments

A reception ensemble would not have been complete in the late 19th century without headwear. To that end, I needed a hat to complete my 1875 reception dress. Despite having a number of hats in my historic closet, I’ve never needed one for this particular section of history, so… not finding anything suitable, I decided to make a new one!

I started by carefully observing hat styles from the 1870s to decide what would be appropriate and pleasing for my 1875 reception look.

Hat Style Possibilities

There were a variety of styles a lady could choose for her headwear in the 1870s. Here are some of the large categories I identified. All of these images are from about 1875-1877.

  • Forward perching hats: these sit upon masses of hair at the back and tilt down towards the face
via historicaltidbits.blogspot.com
  • Hats crowning the back of the head: these sit upon masses of hair, but tilt up in the front and have trim starting to drip off the back, mimicking the look of the hairstyles and dresses from the middle part of the 1870s
Journal des Demoiselles, 1875 via Guy RIVIERE
  • Bonnets: tiny little things with basically no brim, sitting upon the back of the head
MFA Boston ACCESSION NUMBER46.324

And then there are a variety of hats and bonnets that fall in between these categories. Fashion doesn’t always fit firmly within categories!

Journal des Demoiselles, 1877 via Guy RIVIERE

My Hat Choice

I decided to make the type of hat that crowns the back of the head. This seemed like an appropriate choice for an 1875 reception dress while also providing some new challenges in terms of patterning and hairstyling (and I do have a soft spot for crown-like hairstyles, be it in the 1810s, mid-19th century, or, apparently, the 1870s).

Making My Hat

I decided that this hat would have a buckram base covered in silk. It’s pretty wonderful that I had all of the materials on hand, including remnants of my fluted trim, scraps of the silks used for my dress, greenish/brown ostrich feathers that just happened to perfectly match the unusual shades of my silks, millinery flowers, buckram, millinery wire, and flannel for mulling the pieces.

I started by spending a bit of time with paper, scissors, and scotch tape, creating my pattern. Getting the brim to be the right shape and proportion took a few tries.

Once I had a pattern, I cut out my pieces from buckram and flannel (and was able to use up some scrap pieces, yay!). I used my machine to zig zag millinery wire around the inner and outer edges of the brim and the edge of the tip.

Then I used my machine (and a little bit of glue on the concave curves) to attach my flannel. Normally I would use a less brightly patterned flannel, but this is what was easily available and it doesn’t show through my silk. (I love that this fun patterned dot flannel is left over from a pair of pajama pants I made about 15 years ago! Yay for keeping things and eventually using them!)

After being sufficiently amused by my colorful dot choice, I cut out my silk pieces. I had very little pink silk left after my dress was done, so I had to piece the tip and both of the brim covering pieces. Thankfully, there is enough trim on the finished hat that the seams are not noticeable!

Here you can see the silk seam allowance clipped, curved over the edges, and tacked to the flannel with hand sewing stitches.

And here is what the brim looked like flipped over at this stage. I also hand tacked the silk around the head opening, to keep the tension even across the curves of the brim.

This is the crown of the hat, showing off my center seam and those hand sewing stitches that hold the clipped seam allowance in place.

Next, I covered the top of the brim. To do this, I clipped and turned under the outer edge seam allowance, pinning it in place. The head opening was also pinned in place. Then both edges were carefully sewn by hand.

Once that was done, I attached the brim to the crown with sturdy hand sewn stitches through all the layers. These stitches were covered with a green silk band (that really can’t be seen after all the trim was added…).

Here, I am laying out trim options. I am amused at the feathers, which at this point have zero shaping and so are standing out like propellers.

I thought it would be fun to use the remnants of my fluted trim on the hat (read all about how I made it here). I wanted it to resemble wide ribbon (and I wanted to hide the hems, partly because they are only pressed and not sewn in place).

To achieve this, I carefully tacked two layers with the wrong sides together before attaching the loops of fluted trim to the hat.

The tip of the hat is mostly covered by a radiating section of fluted trim with an opening in the middle that was eventually covered with flowers. There are loops of the fluted ‘ribbon’ trailing off the back of the hat as well as standing up in the front.

Then there were the feathers that needed taming.

I started by curling the feathers, as having them stand straight out around the brim of the hat looked a little mad rather than elegant. Curling was achieved using a butter knife. It’s a motion similar to curling ribbon, and requires just the right amount of pressure and firmness not to just rip the feather to shreds. It took awhile to get the hang of the motion and find the point on my knife that worked best.

It wasn’t the most fun… it rather hurt my wrists to twist the knife each time… but over the course of a few hours (yes, this took awhile), I was able to get softly curling feathers.

Here is a half curled feather (on the left) next to an uncurled feather (on the right). In addition to curling the feather fluff I also shaped the center shaft of the feather to curl around the brim of my hat. You can see that I’ve started that process with these feathers, as well.

At this stage the hat has the hat band and fluted trim attached. The curled feathers are prepped and ready to be placed.

After adding the feathers, I added the flowers on the top of the hat and underneath the brim. Trim under the brim of hats is pretty common in this period. It adds to the floating effect of these hats on top of the grand hairstyles.

Though it seems a bit abrupt to me looking at the underside of the hat, the transition from flowers to brim is more subtle when the hat is placed on the head. The flowers here also serve the purpose of hiding the center front seam I added due to my small pieces of silk!

This photo shows the stitches holding the brim to the crown as well as all of the tacking stitches that hold the trim in place.

The final step was to add a lining to cover all of those tacking stitches!

The lining of this hat is silk shantung, leftover from my 1903 petticoat. The join between the pink silk and the lining is covered by a band of brown cotton velvet. The velvet helps grip the hair to keep the hat in place. I chose dark brown because that will camouflage against my hair. (And, both the silk lining scraps and the brown velvet are leftover from projects in 2011, so yay for using what is on hand!)

And that’s it! It takes a bit of time to hand sew all those sections of the hat (even longer if I don’t machine sew the first few steps), but it’s worth it to have a super sturdy, beautifully covered saucer of trim.

This post is getting long enough, so photos of the finished hat being worn are coming in a future post!

New Dotty Tap Pants

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I finished a simple project!

The story behind these is that back in 2015, I made cotton tap pants to wear under my dresses and skirts in the summer. Here is the link to the original post. Wow, I can’t believe it’s been five years!

The original tap pants have been great and seen tons of wear! In fact, the original pairs are pretty much threadbare on the inseams. I’m kind of surprised they’re still holding together, as there’s not much left!

I made another pair with slight pattern tweaks about two years ago, but I felt it was time to add a few more pairs into the rotation. I found great satisfaction in the theme of all three of my older pairs having dots on them (in addition to the dots on the pairs in the original blog post, the third pair was made out of scraps left over from my Bubble Dots Skirt). So when I had this idea to make more tap pants over the winter, I was on the lookout for new dotty fabrics that I could make into shorts to stay with the theme.

I would have made multiple pairs out of the green fabric if I could, but there wasn’t much left on the bolt, so I had to pick a second fabric. The white background fabric has allium flowers printed on it. I love the round shape of allium flowers in full bloom, so this fabric was what I decided on.

After being washed a few months ago, the new fabrics sat around until April, when I was inspired to tweak my pattern (again–this is the third time) and cut out the pieces. About a month after that I finally got inspired to whip these up.

As with the other tap pants I’ve made these are entirely machine sewn with the seam allowances finished with an overlock machine. The waist is zig zagged to a bit of loop edged elastic. And really, that’s all there is to them!

Sometimes a quick project is just the thing to feel successful. And it’s great to fill a wardrobe need with handmade items, especially when they bring extra joy, as these do by continuing the dotty theme.

(Modern) Wardrobe Inventory & Musings

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Have you ever inventoried your closet?

I was so intrigued by Alyssa’s post about wardrobe statistics on her blog What Would Nancy Drew Wear? that I recently decided inventory my own modern closet.

I was most curious to see how my wardrobe breaks down in terms of when my garments were obtained, the specific quantities of some types of garments (cardigans, for example–I have a lot of them), how many garments are me-made, and how my shoes fit into the picture (both modern and historical!).

Aside from counting historical shoes, this is about my modern wardrobe. Historical is a completely separate beast that I have no plans to tackle in this way. Although, now that I say that… it would be interesting to graph what years were most productive and what historical eras I have the most clothes for… I can guess at some of those, at least for the last question. I’m pretty sure that 1810s, 1860s, and 1920s are the eras I have the most clothes for… but I digress!

To illustrate my findings about my modern wardrobe, I’ve made colorful charts and graphs!

Here is the breakdown of total garments in my wardrobe. Of these, 5% are ‘me-made’, 1% are thrifted, and 96% are purchased new.

Did I have any preconceived notions about what my wardrobe contained before taking this inventory?
1-Well, I was pretty sure I have a lot of dresses, cardigans, and shoes (especially crocs).
2-I know there are some shoes I’m holding on to that I really don’t have the desire to wear anymore and should gift away, but I still included those in my total. I could (and should…) move on with those items and lower my shoe count a bit.
3-I also know that most of my wardrobe is purchased new. I try to buy garments that are well made and will last for many years. I’ve been trying to make more modern garments in the last few years, but I didn’t have a clear idea about how much of my wardrobe is made up of those items.

Ready for a few more charts?

Let’s start with this graph of my dresses-by-type.

In the last few years, I’ve started wearing dresses much more often for year-round everyday wear, but I was still surprised to see my accumulation. This is one of the categories of clothing that includes ‘me-made’ at 21%. That leaves 79% of dresses that are purchased new.

Next, a graph of my tops-by-type.

There are a lot of cardigans! I do so enjoy seeing a beautiful rainbow in my closet (and the same with my dresses!). A rainbow to choose from makes getting dressed much more enjoyable and also helps me change up a dress or skirt with different color combos. And I love a comfy, long sweater for long days at work or lounging around, so there are a number of those as well.

The knit sleeveless and knit short sleeve categories contain layering tanks and unisex tee shirts that inflate the numbers but aren’t worn as a top layer on a regular basis, so there’s that to consider.

Here are my bottoms by type.

It makes sense that I have far fewer bottoms than tops, since I tend to express myself in my tops if I’m not wearing a dress and it can be hard to find bottoms that fit my backside to waist ratio (another reason for wearing lots of dresses and skirts!).

Let’s look a little closer at the skirts, since that is the highest quantity in the bottoms category.

In addition to skirting (haha, bad pun!) the issue of bottoms fitting my backside to waist ratio, having a high number of skirts as opposed to other bottoms makes sense, as my skirts are often suited to particular seasons (unlike jeans, for example, as I wear those most of the year except when it’s very hot in the summer). So that means I need winter skirts, summer skirts, and fall/spring skirts. This is the category with the most ‘me-made’ garments, at 31%. Of the remainder, 13% are thrifted and 56% are purchased new.

Now let’s look at my shoe collection.

This includes my modern shoes divided by category and my historical/vintage shoes as one lump. Of these, 3% are ‘me-made’ (my 1914 Vernet shoes and 1920s bathing boots, if you’re curious!), 4% are thrifted, and 93% are purchased new.

Here is another way to look at my shoe types.

I’m amused that my modern and historical/vintage shoe counts are so similar! And, I have more shoes that aren’t worn regularly than I probably should have. That includes really worn out old crocs that just about have holes worn through under the ball of the foot (still useful as painting shoes, but not much else…) and shoes I’ve had for over 10 years that are styles I’m just not inclined to wear anymore but that are quality brands and in good shape, so I feel like I should want to wear them again someday…

This last graph shows how many garments were obtained in each year.

Anything I have from 2003 and earlier is lumped together. I’m pleased to see how many garments I still have in this category. For the most part, these are pretty sad in terms of wear-and-tear as well as fit, but they are still useful for around-the-house and yard work clothes and I appreciate that I am wearing them for as long as I can.

I have one final question to consider.

Was I surprised by any of my findings?
1-I was surprised by how many tops I have, but that’s partly because that includes everything from knit tank tops to layer under other tops to all lengths of sleeves for different seasons, including sweaters and coats. It’s a big category of items, so the large quantity makes sense.
2-I was amused by how evenly my types of shoes split up into the categories of modern, historical, and not-worn-often (there are more of these than I thought!).
3-There is a pretty big spike in clothes obtained since 2015. When I stop to think about this, it makes sense as my size changed around that time and many of the garments I had from the ten years prior no longer fit, so I had to update my wardrobe pretty substantially, for bottoms, dresses, and tops, especially.

Final thoughts

Thanks for sticking through my musings about my wardrobe!

Being thoughtful about my wardrobe brings joy when I can choose from a well organized rainbow for my outfit each day and contentment when I know I’m able to wear garments for a good long time.

While you may not take the time to fully inventory your wardrobe and make charts with the data (a completely reasonable decision!), I wonder if you ever consider these types of ideas?

Do you focus on thrifting, as opposed to buying new garments? Do you have a sense of what types of garments you own the most of or how long you’ve had those garments? Do you keep items that you no longer wear, or are you good about passing them on?

c. 1880 Petticoat (HSM #5)

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I decided I needed a new petticoat as part of the 1875 ensemble I’ve been working on for the last few months. I have a very ruffly petticoat from 1883 (shown in this past post) that helps with the shelf backside shape that became popular in that year, but I wanted a different shape for 1875… something to produce a more rounded silhouette and support the train I was expecting to include on my new dress.

My original thought was that my balayeuse would button to this new petticoat to create the support for the train of my dress (as opposed to making a trained petticoat and then potentially needing an additional petticoat without a train in the future). The idea is that the balayeuse + new petticoat will provide lots of wearing options for the future.

Along those lines, this new petticoat is able to fit over my large bustle from 1883 as well as having the ability to contain the back fullness so that it can also be used for the Natural Form years of approximately 1877-1882 (you can see the bustle in the same past post as the super ruffle-y petticoat). I don’t have a Natural Form dress yet, but it is on the to-do-someday list and in the spirit of reusing garments and saving time, this seemed like a reasonable decision.

Here is the new petticoat over my large bustle. The drawstring partway down the back allows for the adjustment for different bustle shapes. It is anchored in the side seams.

Here is the petticoat without the large bustle. This is approximating the Natural Form look. While the hem pulls up a bit over the large bustle (above), it is pretty even for the Natural Form look (below). The great thing is that once there is a dress over the petticoat you can’t tell what the hem is doing!

The pattern for my petticoat is from Frances Grimble’s Fashions Of The Gilded Age Volume 1, page 107. It’s a pretty simple shape. Accordingly, I made mine using straightforward details and machine sewing/finishing.

The petticoat has a drawstring at the waist, for adjustability. The drawstrings run through the waistband and are anchored along the sides with a line of machine stitching.

At center back the drawstring closes the top of the placket. The placket is just a slit that is bound with a strip of cotton cut on the grain. No bias here–this saves fabric and makes things easier to sew! The waistband and placket biding are finished by stitching in the ditch.

I decided on a medium width pleated ruffle for the bottom edge of this petticoat. I used a fork to help space the pleats, eyeballing and ironing as I went along.

The ruffle is edged with a stiff lace from my stash. I’ve had this for nine years and always wondered what to do with it, because it is so stiff. Turns out it was perfect for a petticoat, when a little stiffness is helpful! The lace comes in the stack of three that I used to top the ruffle. To get the single width I simply cut apart sections of the stack.

Here’s another view of the stack of three lace, the pleated ruffle, and the drawstring. Both this drawstring and the one in the waist are cotton twill tape.

This simple garment qualifies for the Historical Sew Monthly challenge #5: Basic. I imagine it will be used for any project I make, day or evening, from about 1875 through 1882.

Make a garment that can be used for many occasions (like a shift, or the classic ‘Regency white dress’), or a simple accessory that will help you stretch the use of an already existing garment.

Just the facts:

Fabric/Materials:  3.5 yards plain cotton.

Pattern: From Frances Grimble’s Fashions Of The Gilded Age Volume 1.

Year: c. 1880.

Notions: 1 yard ⅝” cotton twill tape, 1 yard ¼” cotton twill tape, 5 yards lace, and thread.

How historically accurate is it?: I’m going to give this one 95%. It’s good on shape, materials, and methods. I believe would be recognizable and plausible for its time.

Hours to complete:  8 ¼ hours.

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

Total cost: This was a stash project, so free, but the original cost of the materials were $10.50 for the fabric, $2 for the lace, and about $2 for the twill tapes, so $14.50 total.

While not the most exciting project, this was a great start on the way to making my 1875 ensemble. I’m pleased to have made a garment that is easily adjustable, useful for multiple types of events and silhouettes, and is functional but still pretty!

Dreaming of Summer Adventures (Gatsby On The Isles 2019)

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I don’t know about you, but I have most certainly been dreaming of historical and vintage summer adventures lately.

For this post, I don’t even need to dream! Instead, I can review my memories from the fun of Gatsby On The Isles last year. This is a lovely 1920s getaway on Star Island, off the coast of Portsmouth, New Hampshire.

The weekend’s events include the boat trips to and from the island, exploring, picnic-ing, games, an evening dance party, fabulous live music for the dance party and picnic, and more. If this post’s photos aren’t enough fun, check out these past posts about this event: 2018 and 2016.

Back to last year, here I am heading to the island in my 1925 Blue Coral Day Dress, 1917 Knitted Sweater of Angorina, and blue Ginger shoes from Royal Vintage (now American Duchess).

Normally, being August, it’s super hot and rather sweaty. Last year, though, we had unusual weather. It was very windy and rather chilly. It wasn’t necessarily cold, it was just slightly warm and windy, which felt chilly when I was prepared (and dressed) for quite hot temperatures.

The wind made rather large swells and rolling rides both to and from the island. Thankfully I didn’t feel motion sick, just in awe of the waves around us, but unfortunately others didn’t fare as well. For me, the wind made it harder than usual to get good photos, both on the boat and on the island. And it made me feel much less interested in lounging about outside–I generally stayed indoors so I didn’t feel cold.

Look at my skirt blowing around in the wind… This was Saturday after our arrival. I think I was headed to the hotel to get my sweater because I was cold standing up on the rocks without it!

I did go out on the porch to document my Sunday afternoon outfit: my 1930s beach pajamas with my Gingers! The windy weather meant that I spent the entire day in my sweater, again (and that it was hard to get a photo of my pants that wasn’t absurd looking!).

We also went out for a walk on Saturday evening before dinner. It’s fun to explore all of the different paths around the island (as long as I put on LOTS of bug spray–the mosquitos LOVE to bite me… ugh!).

The views are lovely as well! No matter which direction you look there is a gorgeous view!

Sunday morning is traditionally pajama croquet. I didn’t participate this year, but that didn’t stop me wearing my 1935 dressing gown to lounge about in!
The usual camera-toting-suspect had fun playing with her Petzval lens for the robe photo, as well as some others. They do a great job capturing the ambiance of the weekend. (Check out this post for a little bit of information about the Petzval lens and a link to a blog post with lots more information.)

I particularly enjoy the live and recorded music that our host provides for the weekend. Having a ‘soundtrack’ for an adventure only makes it that much more magical.

I also enjoyed these potted arrangements outside the hotel. The mixture of textures, colors, and shapes appeals to me, and I love how there are unusual colors mixed in, like the deep purple and very bright green.

What wonderful memories! Of sunshine, warmth, and fun with friends. It was very rainy and unseasonably cold in April, so these warm memories are especially appreciated!

The Amazing Balayeuse (HSM #8)

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I am super pleased with a recently completed addition to my historical closet, my brand new balayeuse! Practical, utilitarian, and still managing to be a little frivolous looking, this thing is amazing!

I’ll tell you all about it, but first… what is a balayeuse? Our go-to source for etymology, the Oxford English Dictionary (OED), has the following information.

balayeuse, n.
Pronunciation:  /balɛˈjəːz/
Frequency (in current use)
Etymology: French, feminine of balayeur sweeper.
Dressmaking.
1882   S. F. A. Caulfeild & B. C. Saward Dict. Needlework 18/2   Balayèuse, or Sweeper.—A French term to signify the frilling of material or lace which lines the extreme edge of a dress skirt to keep the train clean as it sweeps along the floor. The balayèuse is allowed to project beyond the edge of the dress, so as to form a decorative as well as a useful trimming.
1894   Daily News 20 Jan. 5/7   Three flounces of..silk forming a richly-rustling balayeuse beneath the hem.

Please note: The Oxford English Dictionary is only available by subscription, therefore I have not included links to this definition as you will not be able to access it simply by clicking a link. Many libraries have subscriptions to the OED, so I suggest you start there for access.

Are you curious how to pronounce balayeuse? The OED provides us with the correct pronunciation, but the official pronunciation notes don’t mean too much to me. I think of the word as bal-ay-yuhz.

Ok, so now we know what this thing is and how to pronounce it. We even have an idea of the purpose, from the OED definition.

As you saw in the first photo, my balayeuse is it’s own garment. But there is another type of balayeuse mentioned in the first OED quote, from 1882. Also called a ‘dust ruffle’, this type of balayeuse is directly attached to the skirt. I’ve had great luck with this in the past and I really like the look of lace peeking out from under a late 19th century skirt, so I included that type of balayeuse on the pink skirt as well, but that alone was not enough to keep its shape.

I decided to make a second type of balayeuse–one that, in addition to the wonderful job of keeping the underside of the skirt’s train from becoming soiled, also helps the train to keep its shape and not collapse on itself. Caroline (of the blog Dressed In Time) mentions this function in a blog post showing her own balayeuse. Here is the train of my skirt laid out (sneak peak!).

I felt I had to make my skirt before the balayeuse, in order to make the balayeuse the right shape to hide under the skirt when it was finished, and so I’ve tried it on a few times without the balayeuse. The train is great looking when I twist and turn in my corset to get the skirt to lay just right, but it doesn’t stay that way when I move around.

But with the balayeuse it was so different! The skirt just magically lays exactly how it should as soon as I put it on and it stays that way no matter how I move–backing up, turning, it is amazing!

So how does this balayeuse really help keep the shape? Well, the main thing is that the base is a double layer of stiff cotton poplin (from Dharma Trading–I love them for my natural fiber, white, black, and unbleached fabric needs). This photo of the balayeuse with the ruffle side face down (as it would be worn) shows the poplin off nicely.

The poplin base is basically a big rectangle with the bottom edge curved up at the sides. I used the full width of the poplin, which was a little less than 60″ wide. The center is 17″ tall and the sides taper to about 9″. The base is gathered to a band that is 28″ wide and 2″ tall. I didn’t add extra stiffening to the band, as the poplin is pretty hardy all by itself. This blog post at Atelier Nostalgia has an image that was great inspiration for my shape (though my balayeuse is wider than this) and the button attachment method I’ll show you below.

The poplin base has three rows of ruffles attached to it. I decided to use unbleached muslin for the ruffles for a few reasons: #1 gathering three rows of stiff poplin didn’t sound like fun (and the base is plenty stiff enough as it is), #2 I figured that the muslin would be less obviously dirty looking, already being unbleached as opposed to very white, and #3 the muslin will be easy and cheap to replace someday, if needed.

As you can see in the photo above, the band of the balayeuse has buttonholes in it. This allows the balayeuse to be easily removed for cleaning and storage, or use with a different dress (thinking ahead, here!). To accommodate the buttonholes, there are buttons sewn to the lining of the skirt.

The buttons are reinforced with extra squares of muslin whipped to the lining, as you can see in the photo below.

It seemed too much to ask the buttons to hang on to a single layer of muslin while dragging the balayeuse around. Here’s what those whipped on squares look like on the other side.

The end result is this. As you can see, the non-ruffled top of the balayeuse overlaps with the skirt lining and would not be dragging on the ground. The muslin ruffles actually continue the muslin underskirt nicely, I think, though no one is likely to ever see that!

It might not seem super stiff, but this ruffle-y contraption spreads out beautifully when it hits the floor. For comparison, here is a photo of my mockup balayeuse, made from an old sheet (and without ruffles). It’s spread out for the photo, but you can imagine how an old sheet would collapse on itself when picked up.

One last thought… the ruffles! I decided to try out a new tool for these ruffles: a narrow hem foot. This is one of those things I should have tried before but haven’t ever used for a project, but miles of ruffle edges seemed like the perfect opportunity to practice!

I can report that practice definitely helped! For example, I had some trouble going over my french seamed joins in the ruffles. In the photo below, my first try is on the left, my fifth try is in the middle, and my last try is just coming up on the right. The french seam was just too bulky to fit through the hook on the presser foot that turns under the hemmed edge. I discovered that if I eliminated some bulk with a diagonal cut of the seam allowance it worked so much better!

I didn’t bother to go back and fix my first few sad-looking french seam crossings. I figured this was going to drag around on the ground, and who would be looking? Also, it’s more fun to make beautifully colored dresses than muslin ruffles… There was a bit of ‘done is good’ on that front for this project.

Yay for learning things! I also found I needed to move my needle just a tad bit to the right of center to easily (and speedily) stitch the narrow hems.

The mention of the narrow hem foot reminds me that this project qualifies for the HSM challenge #8: Celebration.

Make something for a specific historical celebration, make something generally celebration worthy, make something that celebrates a historical hero, or just make something that celebrates some new skills you’ve learned.

Just the facts:

Fabric/Materials:  1 yard cotton poplin and 1 yard cotton muslin.

Pattern: My own.

Year: c. 1875.

Notions: 5 light yellow plastic buttons and thread.

How historically accurate is it?: I haven’t seen an extant stand-alone balayeuse before, so I can’t be sure, but I would say 90%. Materials and style completely recognizable and plausible for their time.

Hours to complete:  5 ¼ hours.

First worn: In May, for fittings. I need to complete my ensemble (only the hat is left!) so I can wear it with the dress it was made for to get photos.

Total cost: $6.25 for the poplin and $4 for the muslin. The buttons were gifted to me. And the thread was negligible. There was a bit of shipping to get the poplin, so let’s say $15 total.

Further information I found helpful as I made my balayeuse included this blog post at Yesterday’s Thimble. It’s also worth mentioning that if this idea sounds great, but patterning your own balayeuse is too much, Truly Victorian has a pattern for a petticoat with detachable train that you can check out.