Tag Archives: 1810s

1814 Orange Boven Pelisse

At least three years ago I was inspired by a fashion plate, as one often is, and started working on a Regency pelisse following the design in the image. I got really far along, finishing the construction and even part of the trimming, but then stalled and let the ensemble languish for years before determining to pick it up and finish it off this year or else! I’m excited to have finally reached a ‘done’ point in this project so I can remove it from the UFO list!

The pelisse (and hat) are directly inspired by the following fashion plate, which can be seen here with slightly different coloring and here in black and white. In the first of those two links, the garment is labeled as a dinner dress, but I thought the design would make excellent pelisse trimming and so I adapted it.

You’ll notice, perhaps, that the finished pelisse does not have as much trim on it as the inspiration image. Early in this project, before it languished, I cut out all of the appliqués for the neck, sleeves, and hem as well as the front edges. I pressed under a 1/4″ on each side of each piece, too. And then, as I was finishing all that triangle trim on the front earlier this year, two things happened:

#1- I lost steam and really just needed to be done with this project.

#2- I decided I liked the simplicity of the pelisse without the extra trim. It’s so easy to draw lots of details, but then in a real garment the details don’t always translate. For example, the triangles around the neck just looked bad and awkward (plus, I wonder if that is a chemisette collar and not trim on the dress itself?) and the sleeves just looked too crowded. I was also afraid that putting all that work into triangles around the hem would just get dirty and not be a good use of many more yards of the vintage lace I used to edge the triangles.

In fact, despite the somewhat-simplified trim, there are actually a lot of details in the construction of the pelisse. Each back seam is piped and the belt has double piping above and below it. The neck is bound with piping, which is sewn with small, invisible stitches around the neck to hold the seam allowance to the inside. Also, the skirt is knife pleated into the back, allowing for a nice silhouette from all sides.

The pelisse is made entirely from peach colored cotton. It is unlined, except on the belt, where it is lined in order to hide the raw edges. The other seam allowances are whip stitched to keep them tidy. Here is an inside view of the bodice section. I do like my insides to be tidy!

The trim fabric is a cream colored poly/cotton blend. Each triangle is edged in very light tan vintage lace. Then, to top it all off, there are peach tassels on each triangle down the front as well. The peach tassels were removed from a length of upholstery trim that happened to be a perfect color match!

The pelisse is machine sewn on the interior seams and hand finished, including the hem, neckline, seam allowances, and all that trim. The darts are also sewn by hand with a small running stitch, a detail I picked up from looking at extant pelisses, though of course it’s been so many years now that I can’t find a specific example. I like how the top stitched darts at a little extra interest.

The pattern for this pelisse is of my own design. I’m pretty sure it was based on my 1819 spencer, but adapted slightly for a different fit. It’s hard to remember since it’s been so many years since I made the pattern! The skirt is a large rectangle–two panels of fabric seamed at center back.

I’m wearing the pelisse with the following garments: a chemise and my short stays, my Vernet petticoat , my recently finished chemisette, and the hat that matches the whole ensemble. I’m excited to have found a use for the Vernet petticoat that shows off the trim at the hem! I did take out the tucks that made it the right length for my Witzchoura so that it would be the right length for the pelisse, but that’s what tucks are for, right? On picture day there was a nice breeze blowing everything around and showing off all the layers nicely.

I was lucky to take these photos in and around some of the Regency period buildings in Salem, MA. You can’t beat buildings from the right period for a suitable backdrop for a garment like this!

Now I have my first pelisse. More outings will hopefully arise in the future so I can wear it again. I’m so glad I’ve decided it’s finished and that it was a comfortable garment to wear, though I maintain that the hat is a bit silly.

 

Orange Boven Hat, 1814 (HSM#4)

I am pleased to report that I made a garment which qualifies for the HSM challenge #4: Circles, Squares, and Rectangles! I wasn’t sure I had anything on the sewing list that would do, but then I remembered years ago when I started this hat and it was only two pieces, a circle for the crown and a rectangle for the binding. Perfect! (I’m not counting the triangular trim. That’s just the trimming!)

As you might guess from the photo, this hat is part of a matching ensemble: a pelisse and hat from 1814. I’ve got lots of details planned regarding the inspiration for this ensemble as well as more pictures of the finished outfit, but for now this teaser will have to suffice. It gives context to the rather silly hat.

Just the facts:

Fabric: Pale peach cotton and cream (likely) poly/cotton blend.

Pattern: My own based on my head measurements.

Year: 1814.

Notions: Thread, two ostrich feathers, and about 1 yard of vintage lace.

How historically accurate is it?: I’m going to go with 95% on this one. It’s entirely recognizable in its own time and made in a way that is straightforward and consistent with historic garments. The materials are not 100% accurate.

Hours to complete: If I’m only counting the hat, about 3 or 4, since it is entirely hand sewn.

First worn: April 9 for a Regency tea.

Total cost: About $8 for the hat without the pelisse.

A Chemisette (HSM #3)

I’ve wanted a Regency chemisette to complete my daytime looks since 2012, even going so far as to purchase a specific tool with the intent on using it for a chemisette ruffle. (Unfortunately, my cast iron crinkle cutter has been a very useful doorstop for the last few years but hasn’t been used at all for its actual purpose! To be fair, it still hasn’t been used for its actual purpose, but at least I know now that I have a chemisette pattern that fits, which makes me more likely to try it out for a more finely pleated collar version in the future.)

I’m so happy with this chemisette! I had sized up a chemisette pattern from Janet Arnold years ago, but it didn’t fit me as is, so for this I used the pattern for a pelisse I’m working on as a starting point for fit and the Janet Arnold pattern as a reference for grain lines and overall shape.

The fabric is ‘silky cotton voile’ from Dharma Trading. I used it for Annabelle, one of my mid-19th century dresses and had the perfect long straight scraps left for cutting out a chemisette! The weight of the fabric is lovely and so comfortable to wear and it’s nice and sheer just like a chemisette should be. Plus, it behaved so well, finger pressing as I did the seams and the pleats on the two collar layers.

I decided to add this garment to the list of Regency things I’m trying to get together for an event in April rather at the last minute. I was going on vacation with a very long travel time ahead of me and decided that having a hand sewing project would suit me very well. I found the time to cut the pieces and then hand sewed most of it while I was away, using nail clippers as my scissors. (I didn’t want to get in an argument with TSA about how the length of the blade on my thread snipping scissors actually is within their regulations.)

The chemisette uses a combination of running, whip, and slip stitches for the seams and narrow hems. It ties below the bust using a 1/4″ cotton twill tape. I thought of putting a closure at the neck, but decided against it as there are images of chemisettes being worn open at the neck (like this) and I really like that look on me rather than the head-on-a-platter look of it closed (see a mix of styles including that here). If I had closures but decided to wear the chemisette open at the neck you would see them and I don’t love that idea.

March’s HSM challenge is The Great Outdoors and I’m calling this chemisette a fit for the challenge, as I intend to wear it with a pelisse for an outdoor promenade. Plus, chemisettes are useful for protecting the skin from the sun (which of course you are so much more likely to be exposed to while outdoors!).

So, here are just the facts.

Fabric: Leftover bits of silky cotton voile from another project.

Pattern: Based off of my own, but referencing those in Janet Arnold.

Year: c. 1810.

Notions: Thread and 1/4″ cotton twill tape.

How historically accurate is it?: I’m going to go with 100% on this one. The materials are good and so is the method.

Hours to complete: I didn’t pay attention because I was leisurely sewing this while on vacation. Maybe 8-10?

First worn: Will be worn in April.

Total cost: All from the stash! Free!

Vernet Project: Witzchoura Construction

This is the last post about the construction of my amazing 1814 Vernet Project. I really enjoyed doing the research and making the parts of this project. It was great fun and such a lovely learning experience to be part of the group of people making Vernet ensembles. And I was able to wear most of the ensemble for more than just pictures! I hope to find future reasons to wear these again!

I’ve been saving the best for last–the construction of the main piece, the witzchoura itself. As with all the other pieces in this ensemble, the witzchoura is entirely hand sewn. It is made up of a faux fur lining and an exterior of silk taffeta flat lined with cotton flannel and trimmed with more faux fur. Here are some in progress photos.

img_2202-1

Faux fur lining made up but not set in.

img_2205-1

A seam and bust darts in the faux fur lining. The edges were cut without seam allowance, butted together, and whip stitched.

img_0264-1

An interior view of the in progress witzchoura, showing the back pleats and cotton flannel interlining. I believe at this point I had attached the hood/collar as well as the faux fur lining at the neck but had not yet sewn the center front edges together.

img_0278-1

The exterior silk/flannel layer was pleated, but the fur was gathered (it wound up resembling cartridge pleats) to the bodice.

img_0274-1

After attaching the front edges of the exterior and lining I put the witzchoura on squishy to look at the hem lengths. In doing so, I found a few places where the exterior needed to be invisibly tacked to the lining, which is why I’ve got my head between the layers!

Ta da! The finished witzchoura with all of the lovely accessories. It certainly is a luxurious looking and feeling ensemble!

img_1860-1

I thought I would address a few other points as well. Some people have been waiting for answers to these questions for a long time! Thank you for your patience as I waited to answer your questions until now in order to keep everything together in terms of information.

Is it heavy to wear?

No, once dressed, the ensemble does not feel heavy. But, when holding it, or hanging it, or putting it on, YES, it feels quite heavy! It’s a fair bit of fabric, with three layers, and the faux fur gets heavy quickly with such yardage.

What is the weight? How does it compare to a heavy wool winter coat, for example?

Oh dear. I’m very bad at estimating this. I like the comparison question better! If you’ve ever held a very heavy, thick, full length winter coat, I think this is probably similar in weight. But compared to anything less, it would feel heavier.

Is it easy to walk and move with such an enveloping set of objects?

This is the sort of question I would want to know the answer to! Yes, it’s easy to walk. The ensemble does not restrict leg movement. I can also move my head with ease, because the hat sits low enough that it is well anchored and not going anywhere. However, the witzchoura does restrict arm movement some. For example, putting it on without just the right movement (which is lifting it up and behind and then sliding both arms in at the same time) doesn’t really work. And once it’s on, there’s only so much forward and backward arm movements that are possible. Lifting arms is better, but still not full range of movement. Each layer by itself has more possibilities, but the faux fur fills a lot of space inside the silk exterior. This makes it quite warm, but feels a little bit like wearing a marshmallow.

I hope you’ve enjoyed my Vernet journey! If you have any other questions about the ensemble please let me know. I would be happy to answer them!

Vernet Project: A Witzchoura Tangent

I started this post soon after joining the Vernet Project, so I think it must have been in my drafts for close to two years at this point. I didn’t want to leave it in the drafts folder forever, though, so I thought I’d include it as I’m wrapping up my Vernet posts.

Throughout my research, I’ve looked through many hundreds of pins on my Pinterest boards from the 1810s, 1820s, and 1830s and have found only a handful of plates that show outerwear specifically labeled as witzchouras (these can be seen in this past post showing examples). There are a much larger number of other, similar, types of outerwear.

(If you’ve missed out, this post explores the origins and qualities of a witzchoura, while this past post explores witzchouras in even more depth, with multiple excepts from the first part of the 19th century mentioning them.)

Examples of garments similar to witzchouras

Common garments in this category are labeled using words such as pelisse and pardessus. Then there are also carriage dresses (example), promenade dresses (example), and redingotes (example) trimmed in fur, but it seems clear in the fashion plate descriptions that these garments were not considered witzchouras.

ac27bb830f63f1673e45316d0e18f87d

Fashion plate showing a Pardessus from 1811.

Here is another similar garment, a Russian mantle, described in The Ladies Pocket Magazine in 1838 under the chapter English Fashions and Novelties: Remarks On The Prevailing London Fashions.

content

Descriptions of garments similar to witzchouras

In 1849, La Belle Assembleé addresses this for us (while also mentioning yet another type of outer wear, a burnous. The Dreamstress defines and explores this garment specifically as it relates to historical fashion, which is excellent and full of images!). The author of this reflection of fashion specifically mentions the weight of a witzchoura and how that compares to the weight of a pardessus, as well as the types of outings that these garments would have been worn for. Interesting that they would be worn for carriage dress, when, alternatively, one could also wear a ‘carriage dress’.

content

This next excerpt, from La Belle Assembleé in 1825, tells us one distinctive quality of a pelisse which is that the arms were not encased in the garment and could be freely moved about.

content-1

a94e6fc37e3582c81ab22797c3c06b78

Example of a Pelisse from 1815, showing the armholes that would allow movement.

004c2dc3370c00425fcfd044369a9d53

A slightly later example of a Pelisse in a similar style. This is from 1821.

Examples of out of the ordinary witzchouras

Then there are garments labeled as witzchouras, but which are odd in a variety of ways. For example, take a look at the interesting witzchoura mentioned in The Lady’s Monthly Museum in 1817, seen below.

content

I’m not really sure what qualities allow a witzchorua to keep one’s dress from being rumpled, but what strikes me as odd is that the witzchoura mention is lined with silk and that is has a chapeau bras attached! Also in 1817, La Belle Assembleé mentions this exact garment twice! The first is a description of the garment. The second is about the inventor, Mrs. Bell, who, if you care to read more, has a long list of other interesting things that she supplies.

content

content-1

In this next case, the witzchoura is described as being lined with sarsnet (a fine plain or sometimes twill weave usually silk fabric) and only trimmed with fur rather than being lined entirely with fur. Haven’t we seen conclusively that a witzchoura should be lined and trimmed in fur? This witzchoura is also interesting because of its colors. It is quite likely a garment made for the general mourning of the death of Queen Charlotte, who passed away in November 1818.

“For out-door costume nothing can be reckoned more completely elegant than the Witchoura pelisse of black velvet lined with white sarsnet, and trimmed with real ermine.”

La Belle Assembleé  in January 1818

Finally, there is this fashion plate at the LACMA which is labeled as being a witzchoura but with nothing witzchoura-like about it! A mistake perhaps? This looks like a summer garment, not a heavy winter garment.

What a rabbit hole of obscure information the witzchoura is. I’m rather glad to say that I’ve now exhausted my currnet list of historical references to the witzchoura!

Vernet Project: Petticoat and Muff Details

As the end of this year draws nearer, I feel the urge to complete my plan to share all the details of my 1814 Vernet Ensemble before the end of 2016. In order to do that, I have the smaller garments to discuss (petticoat and muff) and the witzchoura itself, which I know some people have had questions about for probably about a year. Sorry to keep you waiting!

As I’m saving the witzchoura to be the grand finale, today I want to share some details about the petticoat and muff. First, here are some repeat pictures of the full ensemble in case you’ve started reading since this project was unveiled. Both of these pictures are from my Vernet Project photo shoot in 2015. They give you a good glimpse at the petticoat and the muff.

IMG_1985

The muff exterior is the same faux fur as the trim on the witzchoura. The lining is an ivory cotton flannel, which feels warmer on the hands than a silk lining and which I don’t think is out of the realm of possibility in terms of historical reasonability (a theory I have tested out with multiple muffs over the last few years).

In order to get the distinctly Regency style of a beehive style muff, the inner flannel lining is substantially smaller in dimension than the exterior fur. Layers of high loft polyester batting fill in the shape and the fur actually wraps to the inside of the lining for a few inches on each side and is gathered to fit the smaller circumference of the lining. The result is a very large and very cozy muff. (This method is different than making the interior and exterior the same or similar in dimensions, resulting a muff that looks like my 1822 one. The blog post sharing details about that muff has lots of great images of both types of muffs from this period, if you want to see more. Also, it’s worth noting that polyester batting would not have been used to keep one’s hands warm in the early 19th century, but that I chose that materials because I had it on hand and it is not visible.)

IMG_2004

The petticoat is the only piece of my Vernet project that existed before I agreed to participate. It started life as part of a dress, but was removed and languished for years. Turns out I had made it too narrow to dance in, which isn’t very useful in my life. On the bright side, I had just enough of the cotton fabric left to add another panel, thus making the hem circumference much more wearable.

The petticoat had an attached sleeveless bodice before the addition of extra fabric in the skirt, so after adding fullness I was able to simply reattach the bodice. The edges of the bodice are narrow hemmed and it closes at center front with a tie at the waist and a button and loop at the bust. This past blog post discusses extant sleeveless underdresses or petticoats such as this. As with everything else in this project, both this petticoat and the muff are entirely hand sewn.

img_1632-1

The only other changes I needed to make to the petticoat to use it for the Vernet Project were at the hem. I started by adding lace that mimicked the shape of the embroidery seen in my Vernet fashion plate. I whip stitched the lace on with small stitches and then cut away the fabric behind the lace, creating a lovely scalloped hem.

img_0284-1

After trying on the petticoat with the finished hem, I decided it was too long and took a tuck above the hem to shorten it. You can see the tuck in one of the photo shoot pictures early in this post.

This final picture is from when I was hemming the witzchoura. While I had that garment on the dress form I also put the petticoat on to determine the placement  of the lace on the previously hemmed petticoat.

img_0279-1

And that’s it! Those two garments were minor in scale compared to the toque de velours, silly shoes, and the witzchoura itself, both in terms of materials and sheer volume of work involved.

Picturesque Regency Moments

During this year’s Regency Dance Weekend, we captured some of my all time absolute favorite shots of my Tree Gown. I saved them for this post rather than including them in the overview of the weekend.

These first few were taken at our hotel. While the blue walls don’t scream Regency to me, they do coordinate nicely with my dress and make for a stunning background. The idea behind these is along Lizzy Bennet lines–lounging in a windowsill while comfortably contemplating life. This gown has the most beautiful drape to the skirt! It’s soft and full without being too fluffy.

img_2579-1

img_2583-1

img_2591-1

The next batch was taken at tea. One of my friends had brought the book and it is perfect for us, since we know a dance called Sir Roger de Coverley that was danced during this period. I had to pose with it!

img_2627-1

img_2630-1

Then we went on our promenade, where we got some excellent photos of the gown with accessories: shawl, spencer, and bonnet. I like how the tree mimics the flowers on my bonnet.

img_2652-1

Mixing up my Jane Austen stories, these pictures by the water remind me so much of Persuasion and the unfortunate visit to Lyme. I just love everything about this outfit! The fabrics, the details in the trimmings… it all coordinates so well without being perfectly matching!

img_2703-1

img_2712-1

img_2706-1