Tag: 19th Century

1838 Yellow Bodice Construction Details (HSM #4)

~ TheQuintessentialClothesPen ~ 8 Comments

Last year, I made a yellow cotton print 1834 dress (there are tons of details about it in this past post). The yardage leftover after that project wasn’t enough for another full dress, but it was enough for another bodice, and I’d been caught up in 1830s fever!

There are so many ridiculous sleeves to explore! Accordingly, I decided to make a second 1830s bodice with different sleeves. I finished the new 1838 bodice earlier this year and over the summer I was able to wear it with my recently finished chemisette.

The 1834 dress was made in two parts, a skirt and separate bodice, so that it was easy to make a second bodice and save yardage on the skirt.

Construction Overview

First, the construction details of the new 1838 bodice, starting with the HSM facts, because this bodice fits Challenge #4:

The Costumer’s New Look: Give an old costume a new look, either by creating a new accessory or piece which expands or changes the aesthetic and use of an outfit, re-fashioning something into a costume item, or re-making an old costume.

Fabric/Materials:Approximately 2.5 yds reproduction print cotton and 1 yd of muslin.

Pattern: The pattern for this bodice is based on patterns contained in Janet Arnold’s Patterns of Fashion 1 and Norah Waugh’s The Cut of Women’s Clothes, as well as sleeve information fromThe Workwoman’s Guide.

Year: 1838.

Notions: 2 ½ yds narrow cotton yarn for cording, about 10 hooks and loops, and thread..

How historically accurate is it?: 90%. The pattern, construction methods, and fabric are all quite good. Inside seams are sewn by machine.

Hours to complete: 22.

First worn: August 2021.

Total cost: Approximately $15.

Construction Details

The back of this bodice is made just like the 1834 bodice, with piping in the side back seams. The armsceyes and neck are also finished with piping.

The main difference in the bodice (aside from the sleeves, which we’ll get to shortly) is the front, which has a deep V shape.

I looked at extant garments to see how this style was constructed. There are a collection of pertinent ones on my Pinterest board for this sewing project. The main inspiration for my observations was this garment, featured on All The Pretty Dresses blog (and included on my Pinterest board).

What I saw is that instead of being flatlined (as with the yellow and muslin layers of the back pieces), the lining was stitched separately from the gathered front panels. The muslin provides a fitted shape for the yellow exterior layer. There is a photo of the inside of the bodice of the extant bodice that shows this very clearly.

For my dress, the piping that finishes the back neck continues around the muslin to finish the edge. The yellow exterior pieces of the V edges (which are cut on the straight of grain) are simply pressed under twice.

Here is a closeup of the armhole of my bodice from the inside. The muslin front edge and exterior yellow layer are on the right of the photo. You can also see the ties that hold the sleeve puffs in place.

In addition to those details, the photo below also shows the hooks that are used to attach this bodice to the skirt.

Ok, but the sleeves are the star of the show here, so let’s discuss them! Being from 1838, they still use a lot of fabric (a yard each), but the fullness is pleated to force the puff down to the elbow level.

Here’s a closeup of the completed sleeve. The pleats are held in place by two bands of double piping that are hand sewn in place.
To make the double piping I machine sewed the cord into one side of my bias and hand sewed it into the other, then pressed the bias in half and attached it through all the layers. In my sample below I didn’t bother to put the machine stitching on the under side, but on the dress the machine stitching is not visible.

Before the piping was added, the pleats were machine basted in place. My machine basting wasn’t exactly where the piping ended up, so I removed the basting anywhere it showed.

Backing up some more in the process, below is one of the sleeves with the pleats pinned in place. I did this while the sleeves were flat, before I sewed up the inseams.

There’s no pattern for the pleats… it was just a matter of knowing what dimensions I wanted to end up with for my top edge and bicep and then eyeballing it. The pleats vary in depth on the inside, even though the outside is pretty even at ¼”. Part of this is due to the fact that the pleats have to angle in order to create an armsceye that keeps a curve up in the middle. Figuring it out is a great mind puzzle!

Below is the sleve before being pleated, etc. Between being over a yard high and also being cut on the bias you can see why each sleeve takes a yard of fabric!

After pleating and sewing the inseam the sleeves had this shape (below is my mockup sleeve). I really wanted an exaggerated elbow puff, so this isn’t quite the shape I wanted to end up with. To get the shape I wanted, I took horizontal tucks about halfway down the sleeve. This keeps the forearm relatively unwrinkled while creating lots of elbow puff. The tucks are lost in the pattern of the finished dress.

Could I have altered my pattern to not have to take tucks? Sure! I’d probably change the curve of the sleeve inseam to do that. But… I’d already cut my pieces. And adapting sleeve shapes to adjust for changes in styles seemed very appropriate and in the spirit of what 1830s ladies might have done.

So for a bit more sleeve information… These sleeves have an opening at the cuff to allow for the tight fit of the forearm. The openings are finished with self fabric facings and then the hem is turned up.

Here’s what that looks like on the inside.

And that’s it for construction!

Here’s a bonus photo of the dress with a quince tree. I’ve heard of quinces but never encountered them before.

They sort of look like pears!

I’m very pleased with this cross front bodice and the sleeves that go with them. I appreciate their minute detail even though they were definitely the most time consuming part of this bodice!

An 1836 Chemisette (HSM #3)

~ TheQuintessentialClothesPen ~ 8 Comments

The third challenge for the Historical Sew Monthly 2021 is ‘small is beautiful’. Little things can make a big difference to the finished look.  Make something small but perfect. My entry for this challenge is an 1830s chemisette to fill in the neckline of my 1838 bodice (the sister of the 1834 dress I posted details about last year).

Just the facts:

Fabric/Materials: Approximately ½ yd of silky cotton voile from Dharma Trading.

Pattern: Adapted from Janet Arnold’s Patterns of Fashion 1, with adjustments for fit and style.

Year: 1836.

Notions: 1 ½ yds ¼” white cotton twill tape, 1 metal hook, 1 cameo button and thread.

How historically accurate is it?: 90%. The pattern, construction methods, and fabric are all quite good. It is entirely hand sewn. The most modern element is the plastic cameo button.

Hours to complete: 19 ¾.

First worn: August 2021.

Total cost: Approximately $5 for the fabric/shipping (though it is leftover from another project), $1 for the twill tape, and $1 for the button = approximately $7.

The chemisette pattern shape was based on this fashion plate from 1836.

Without a body in it, the chemisette looks like this. It is entirely hand sewn, with small rolled hems and drawstring channels on the bottom edges.

The shoulder seams are sewn with French seams to encase the raw edges. The collar is attached with a flat felled seam for the same reason.

The gathered ruffle on the edge is hemmed on all sides with a tiny rolled hem and then whip gathered to the hemmed collar edge. I haven’t tried whip gathers before and this seemed like it would be a fun project to try them out.

On the underside of the ruffle the whip stitches are more visible.

The inspiration fashion plate doesn’t show the back of the chemisette, so I had to decide on what I wanted. After looking at extant collars and chemisettes, I settled on a rounded point that extends just under halfway down the back.

On a body, it looks like this.

The final touch is a hook and thread loop to close the collar, with the decorative cameo button on top. The plastic is obviously not correct for the 1830s, but it does have the benefit of being lightweight! I was worried that if I used a metal brooch (not that I have one, but if I did…) it would pull the collar down or out.

And that’s it! There was no rushing with this project. I took my time and enjoyed the hours of tiny hems and whip stitching.

An 1890s Outing To Save A Munbax

~ TheQuintessentialClothesPen ~ 2 Comments

It’s been awfully quiet here on the blog for awhile. Life has been busy, but the real reason for my lack of posts is that I upgraded my computer. That’s a good thing overall, but it has created multiple issues with storing/moving/accessing my photos as well as needing a new program to edit/watermark/organize them and I’ve only recently found a solution that fits my workflow and needs.

I’ve been sitting on these photos from an event in 2018, thinking that they would be fun to share, but never actually getting to it. But now is the time!  Save The Munbax was a live, interactive game created by Green Door Labs that created a magical, wizarding world set in the 1890s. As guests, we solved puzzles, interacted with magical plants and potions in classes, and followed different trails to attempt to save the rare Northern Crested Dimmoth Munbax from extinction. You can read more about Save The Munbax here.

Since this fantastic world was set in the 1890s, I decided to give my 1899 Elusive Blue Gown a night out of the closet. With no dancing involved it was a great opportunity to wear the trained skirt!

I wanted to make my 1890s outfit a bit more magical and quirky, so I pulled a few accessories together that aren’t my usual for an 1890s dress. For one thing, I wore my subtle-Harry-Potter time-turner necklace, picked up on my trip to trip the Wizarding World Of Harry Potter at Universal Studios in 2018.

I also wore my 1811 Turban Fillet instead of my usual feathers and sparkly hair accessories. Despite not being made to match my 1899 dress, it is actually made from the same fabric since I have an 1811 evening gown made from this elusive blue fabric.



The final bit of quirk was my shoes. I thought silly shoes would be fun, so I wore my 1814 Vernet shoes. The turned up toes and fur weren’t really visible, but I enjoyed knowing that they were there.




I attended this event with Plaid Petticoats, who was also dressed up in her 1890s best, including a cape!




We had fun exploring the different rooms, solving the puzzles, and exclaiming at different oddities.










We enjoyed the floating candles in the stairwell and used them as a backdrop for some our photos and also to give my pygmy puff a subtle chance to pop out of my reticule.




In the end, the guests were able to solve the mysteries necessary to save the Munbax and we were even rewarded with a glimpse of one!



			

	


				
					


	

		
1880s Blush Duchess Satin Corset
	

				

			 ~ TheQuintessentialClothesPen			 ~ 2 Comments					

				

		
In 2015 and 2016, I posted a ‘project journal’ series of blog posts about making a yellow duchess satin c. 1880 Steam Molded Corset (this link will take you to the whole series, which includes specific posts about the plan, inspiration, mockups and patterning, the final pattern, construction, steaming, and finished garment photo shoot). Late last year, I made another one as a commission for a friend, this time in a blush pink duchess satin I picked up at the fabric store with no particular purpose, but thinking it would be really good for this specific use (in fact, I mention this exact idea in the fabric stash additions post where I shared about the purchase of this fabric in 2020).




Having already figured it out once, I used my old blog posts as a guide for making the new corset. This post is intended to document the new corset and the changes and updates I made from the yellow one.


To start, I adjusted the pattern I’d developed for size as well as some of the boning patterns to accomodate the adjusted seam lines and to simplify some of the boning patterns, especially in the back. The yellow corset has a whole bunch of bones… It’s great and based directly off my inspiration image, but time consuming and unnecessary for this purpose.


Once I had a solid pattern, I cut out all my pieces: one layer of silk satin for the exterior and two layers of white coutil for the inner layers. For the most part, the layers for each piece are exactly the same, but there are some differences at front and back panels.


Below are the front panels, where I’ve intentionally cut the coutil to be smaller than the silk. This allows for the seam allowances to be less bulky and therefore more crisp as they fold inward around the busk. The piece on the left is for the proper left side of the corset while the two other pieces are both for the proper right side of the corset. I’ll show how these pieces are put together later in this post.




Next are the back panels, again showing that all of the layers are not cut to be exactly the same. The cut edge of the narrowest coutil layer provides a crisp edge over which to turn the other piece of coutil for the back edge. It also creates 3 layers of coutil where the grommets will be while allowing the silk to fold under the outermost edge of the coutil for a crisp line there as well.




You can see in both of the above images that I machine flat lined the layers for each piece together on almost every edge (some were strategically left alone).


Next, I prepared the center back grommet areas. The silk only seam allowance was crisply turned back over the straight cut edge of the coutil, then the coutil was crisply pressed back over the narrower layer of coutil. You can see the folds opened on the right and the resulting crisp panel on the left.




These were very carefully pinned in place (duchess satin does not hide pin marks!) and then the channels were stitched. I made sure to make them wide enough to not struggle when putting in bones (the last corset had boning channels that were a bit narrow for the bones and it was terribly hard to put them in!).


I used an edge stitch foot to get the lines of stitching right along the folds. Edge stitch feet are magical! I discovered mine while making masks last summer and have since started using it for all kinds of projects–any time I need to stitch close to the edge of a fold! My machine, which is pretty basic, came with one (though I hadn’t used it in, oh… 12 years???). I encourage you to it out if you haven’t before!


Here you can see the exterior of the grommet panels on the left and the interior on the right.




Later, I added size 0 silver grommets. Skipping ahead in construction, here’s a finished image of the corset, showing the finished grommets in place.




After preparing the grommet area, I assembled each side of the corset. No photos of that here, since I did this in the same way as my last corset: grading my seams, binding them with ⅝” cotton twill tape, and then stitching these down to create channels for the bones. (My original construction post has detailed pictures and explanation of this method. The part of the post discussing this also has some images showing the many bones on the back of that yellow corset that I mentioned earlier.)


Next, I put in the busk, starting with the socket side, which is the proper right side of the corset. I used a different method on this corset than on my yellow one. Further inspection of originals shows a seam that the busk sockets are pushed through, rather than reinforced holes without a seam, so that’s what I wanted to do!


This is where I used the two pieces I cut. In the photo below you can see that the two pieces are pinned together (pin heads are on the underside, in case you’re wondering) and I’ve marked small lines where the sockets will land on the seam. This allows me to leave openings in the seam for each socket. The openings need to be snug, but not too tight. The seam is sewn just outside of the coutil, so that the layers fold crisply. As you can see, my seam allowance is uneven. I left the side of the silk that will be visible as the busk is pulled on a little wider to make a solid facing even after years of use.




Here is the finished seam, pressed open. If you look carefully you can see the gaps in the seam that I left for the sockets of the busk. My ruler at the bottom shows the scale. (This photo also shows some of the finished seam allowances and boning channels on the other seams, as well.)




Now the socket half of the busk is pushed into place. The single layer of silk seam allowance is pressed over the cut edge of the coutil and the whole thing is carefully pinned in place. I made sure that the busk is quite snug, so that it can’t shift in any direction.




To do this, I started with pinning the inside, to ensure that the silk is perfectly wrapped under the busk–no gaps or bubbles there! Then, I very carefully pinned from the outside. As you can see, I only pushed the pins through the silk once (they come up through the coutil again, but not through the satin) to minimize holes.




After that, some very careful stitching with a zipper foot was in order. I curved my stitching around the top and bottom of the busk (a detail from extant garments). It’s tricky to make the curves look nice, but it’s a small detail that helps elevate the finished garment, I think.




On the inside, it looks like this. I was able to keep the stitching a consistent distance from the fold in the silk due to my careful pinning. I’ll admit that this turned out better than my yellow corset! The yellow corset has a few bubbles and variation in the width of the turned under seam allowance.




Here is the busk from the side. You can see the seam and the snug openings, with solid back stitching, which leave space for the sockets to push through.




Ok, on to the stud side of the busk! This is the proper left side. Here, you can see the marks I’ve made to show where the studs will poke through and where the edge of the busk will fall. It is intentionally set back from the cut edge of the coutil.




One thing I was very careful about was poking my holes for the studs, because I found that on my yellow corset the silk pulled where I used an awl to make the holes. No one but me would probably see this, but I wanted to do better with this corset. I believe I used very sharp snips to cut small holes rather than using an awl to push the fibers apart. This is fiddly work, because a hole too big can’t be saved and will fray and cause the stud to move around, but it produced better end results, I think.


After making my holes and getting all the studs through, I carefully pinned and then stitched around the busk just like I did on the socket side.




Ta da! Busk!




Next up was binding the top and bottom edges. I used almost the same method as on my last corset. To quote myself:


The bottom binding is bias strips cut 1″ wide. I stitched them first to the right side of the corset with ⅛” seam allowance on my bias, trimmed my corset seam allowance to just about ⅛”, folded the bias over the edge, turned the raw edge under on the wrong side, [basted the seam allowance in place on the inside instead of hand whip stitching the bias down on the inside (slow, but a more effective method than pinning in this case)], then turned the corset back to the right side and topstitched very close to the edge of the first fold. This narrow topstitched binding seems to be common on late 19th century extant corsets and looks very tidy.


Below you can see the bias turned to the inside, pinned, and being basted in place. On the right are finished edges from the inside and outside.




This corset is boned with spiral steel for the bulk of the seams and flat steel on either side of the grommets.


I usually apply the bottom binding first, then put in my bones, and then bind the top. It’s a bit trickier sometimes to bind the corset after the bones are in, and if the top will have decorative lace then it can help hide any struggles that occur. (Thankfully, I learned from my last experience and made a test sample of the boning channel width that was perfect, so it was relatively easy to bone this corset!)




At this point the corset was basically done! The only things left were to add ivory beading lace and ribbon around the top and silk flossing along the bottom of the boning channels.




I was excited that I had all of the necessary materials in the stash, including the silk thread in the perfect ivory color.




I’m very pleased with the end result. It takes all the struggles and things I learned along the way with my yellow corset and perfects them, creating crisper folds and finishes and a comfortable garment with a great silhouette.


There’s no trickery in the next photo, this corset holds its shape with no support other than what is built in!



			

	


				
					


	

		
1830s Woods Walk
	

				

			 ~ TheQuintessentialClothesPen			 ~ 4 Comments					

				

		
My 1830s apple picking adventure last fall was followed by a ramble through the woods for exercise and to get more photos. I shared a bunch of the photos in the construction posts for my 1834 dress (here and here), but even after that there were still a bunch of lovely photos I wanted to share. At that point, I decided to take a break and post about other topics since I’d posted a few blog posts in a row about 1830s things and so the photos from the woods have been patiently waiting to have their moment to shine. Today is the day! I bring you an 1830s armchair ramble through the woods!


On our way to the wooded area, we stopped to take advantage of this stone wall and gate.




The main gate to the wooded area is similar, though with bricks instead of stones and with animal sculptures to delight visitors. My usual photographer friend (who blogs at Plaid Petticoats) enjoyed taking a few photos with her Petzval camera lens, which creates the swirled background in the next two photos (you can read more about the Petzval lens in this Plaid Petticoats blog post).






Just past the main entrance to the wooded area is a little bridge spanning a lovely bit of water. It looks like a pond, but I think it might actually be connected to the nearby river.








Around the bend is one of my favorite vistas, a grand line of pine trees bordered on one side by a small meadow. It’s a magnificent and playful place to stop for photos.








Continuing towards the river is a path along one side of the meadow. Thankfully, the grass on the path is maintained and easy to walk through.




This group photo uses the Petzval lens to make a glorious twinkling arch of greenery out of the dwindling afternoon sunlight.




Along the way to the river are small bits of interest. Enterprising greenery in unique shapes and more watchful animal statues.






Near the river we stopped for more photos. The drooping trees made dramatic backgrounds for us.








I love the next photo. It captures the reflection of the golden leaves in a way that almost looks like a painting, in juxtaposition with the oak leaves and branches on the far side.




Thanks for joining me on this autumnal walk through the woods. I find outings like this are wonderful moments for reflection and appreciating the natural beauty of the seasons.




 


 

			

	


				
					


	

		
Early & Mid 19th Century Commission For NSCDA-MA
	

				

			 ~ TheQuintessentialClothesPen			 ~ 8 Comments					

				

		
I find great joy in the pursuit of researching and making historical clothing. Here on the blog, I post most often about the garments I make for myself, but I rarely post about commissions to make custom historical garments for private individuals, museums, historical institutions, etc. Today’s post is different from the usual in that I’m going to share a commission project with you!


This commission came about through the kindness of Myrthe, who blogs at Atelier Nostalgia. (And how fitting, that we were just communicating about how wonderful it is to connect with people who love historical clothes from around the world!) The commission was from the Massachusetts Chapter of the National Society of the Colonial Dames of America (NSCDA-MA).


The NSCDA-MA owns the beautiful William Hickling Prescott House in Boston, which was built in 1808 and upgraded throughout the 19th century. The NSCDA-MA website (linked above) shares many more details about the various owners of the house and its architecture. In addition to the house itself, the NSCDA-MA also holds a wonderful collection of historical clothing, some items of which have been used for display purposes throughout the house (though most of the garments are in storage and only available for research visits by appointment). Unfortunately, historical garments are often not suited to permanent display as they can be made of delicate fabrics that can be damaged by light, dust, and gravity, just to name a few possible problems. The NSCDA-MA was looking for custom made historical dresses to display instead of the extant historic garments and I was very excited to work with them to make that goal a reality!


The commission involved two dresses: one from about 1810 and one from about 1845. The two dresses haven’t been mounted yet and aren’t available to visit due to ongoing closures, but I hope to eventually go see them in one of the glorious rooms of the house. For now we’ll have to make do with flat photos that were taken for my own archival purposes.


The c. 1810 dress was inspired by a few different dresses, including this c. 1810 cotton dress held by The Metropolitan Museum of Art. The goal was to merge the inspiration dresses into one dress with a repeated pattern on cotton, an adjustable drawstring neck, and long sleeves. In order to support the silhouette and provide opacity I also made a bodiced petticoat to go with the dress. Below are front and back views.






Unlike the first dress, the c. 1845 dress was inspired by this specific c. 1848 silk dress held by The Met. The goal was to keep the details of The Met inspiration dress but make the new dress proportional to the measurements of the form that would be wearing it. The dress includes extra structure to help the bodice keep its shape even without a corset underneath. Below are a full length front view and a close up of the bodice.






I had lots of fun finding trimmings for this dress that recalled the original. In the case of the tassels, I combined sections of the fringe with tassel tops and vintage passementerie buttons in order to get the right look and create tassels. Below, a closeup of tassel parts and the final result.






The designs of each dress were settled on with much collaboration to determine fabrics, trimmings, style details, and more. Both patterns were individually created to fit the requirements and specifications for each dress. Both dresses use a mixture of machine sewing/modern methods on the interiors and hand finishing on the exteriors. This speeds up construction and provides the necessary foundation for the dresses even without a full set of supportive undergarments.


I love projects like this! It’s so wonderful to collaborate with others who appreciate the minute details of historical clothing while also making garments that can be used to help interpret history to the public. These sorts of projects are often initiated through word of mouth suggestions, so please reach out if you know of museums, historic sites, historical societies, etc. who are looking for this type of collaboration!

			

	


				
					


	

		
Over The Creek And Through The Woods, In A Bustle!
	

				

			 ~ TheQuintessentialClothesPen			 ~ 7 Comments					

				

		
Long before winter had arrived, I had a vision for getting atmospheric winter woodland photos of my recently posted about 1884 Wool Plaid Dress and 1885 Wool Mantle. (The links are to previous posts about these garments that have tons of inspiration, patterning, construction, and finishing details–check them out if you want to see more details up close or learn about how these garments were made.) I was joined in my plans by a friend (who blogs at Plaid Petticoats) who also had a winter-y bustle dress that, like my ensemble, needed to be appropriately documented and photographed. In this post, I’d like to take you with us on our photographic ramble to show you some of the beautiful winter sights that didn’t make it into the detailed construction posts.


We began our adventure with photos at a local ruined estate called Bancroft’s Castle. We’ve walked up the long, steep hill to this location multiple times in modern clothes, but wanted to prove it was possible in corsets, bustles, and snow, as well as having the wonderful setting for some of our photos.


Bancroft’s Castle was built in the early 20th century but destroyed by fire within a few decades. Now, the only parts left standing are the stone walls and fireplaces. The site is open to the public and often quite crowded, but in the freezing temperatures we had it pretty much to ourselves. I love this photo, which captures the ruined walls, open levels, and stark trees. Even the iron fence seems to suit the mood!




There are lots of other photos with Bancroft’s Castle as the background in my details posts about my dress and mantle, if you want to see more.


After taking advantage of the different sections of the castle, we moved on to a path along the nearby river .The path meanders across fields, up and down hills, along the river, through the woods… and more!


It was a beautiful, sunny, very cold day. There was relatively new snow that covered everything. Being just a few inches, it was not deep enough to be a hassle to walk through in a long skirt.




The open field trekking felt very much in the spirit of adventuring women of the late nineteenth century, though it was made slightly easier by the fact that we could follow existing tracks rather than having to blaze our own trail.




After crossing the fields, we arrived in the woods along the river. The bare trees made wonderful views for musing as they stood in the snow.




The river is large enough to not freeze over entirely, though the shallow edges were covered with ice. I appreciated the bands of interest provided in this view. Snow, bare shrubs, ice, wonderfully reflective water, grey trees, green pines, and very blue sky.




In particular, I was struck by these trees with their curved trunks artfully reflected in the river. The bursting silhouette of the trees is fun all on its own but even more pleasant to look at when joined by the reflection. It feels exuberant, despite the bare branches.




The wooded area was soon interrupted by a stand of pine trees. I could easily envision them being foreboding, in an Anne of Green Gables way, but they were also bathed in golden sunlight which brought a certain magic that was cheery and bright.




It was a great place to stop and take photos. I love the next one for the depth, but if you look carefully you can also see that both bustle ensembles made it into the shot, which amuses me.




A bit of post-production on the part of my Plaid Petticoats friend produced this Harry Potter patronus image. Her dress is Slytherin inspired!




After the stand of pine trees was a small creek that fed into the main river. We looked into going around it, but of course finding the end wasn’t really feasible and the other side had a river. So… It was over the creek time!


Other trekkers had laid logs and branches across the creek to create a makeshift bridge. With the help of the ‘bridge’ we made it across with no problems!




After that it was easy going along the river and then back through the woods and fields. Both of our dresses were none the worse for wear, though part of my hem facing had been pulled loose on a branch and then collected quite a bit of snow inside. Getting all the snow out was a bit challenging, but it was easy to resew the hem once the more difficult task was completed.


I had a great time tromping about in my dress–proving that climbing hills and scrambling down ravines and across creeks is completely do-able in a bustle!

			

	


				
					


	

		
1885 Mantle (HSM #5) & Accessories
	

				

			 ~ TheQuintessentialClothesPen			 ~ 13 Comments					

				

		
Last post was a detailed look at the 1884 Plaid Wool Bustle Dress that I completed last year. This post is going to look at the details of the accessories I made and wore to stay warm while taking photos of the 1884 dress: a mantle, a new muff cover, and a quick mention of the hat.




First, the mantle, which qualifies for the Historical Sew Monthly 2021 Challenge #5:


Purple: Make an item in any shade of purple.


Easier to see the color in the next photo! Purple!




Just the facts:


Fabric/Materials: 1 ½ yards purple wool, 2 ¾ yards drab polyester lining, and about 1 yard of faux fur.


Pattern: Adapted from a pattern on page 33 of The National Garment Cutter Book Of Diagrams.


Year: 1888.


Notions: 4 ¼ yards brown braid trim and 4 coat size hook and loops.


How historically accurate is it?: 85%. The pattern and silhouette are good, but the polyester lining and faux fur are not accurate. I’ve also never examined an extant 1880s mantle up close, so the construction methods are guesses that made sense to me.


Hours to complete: 18.5 hours.


First worn: In January, for a ramble and photos!


Total cost: Approximately $40.


Mantle: Beginnings


This accessory adventure started with a passionate desire to make a specifically 1880s shaped mantle to go with my new dress. I don’t remember the details exactly, but it’s possible that I fell in love with the red mantle on the right in the fashion plate below even before I fell in love with the shape of the bustle dress that I’m wearing underneath my mantle.


The shape! The fur! The matching muff! So cute! It seemed like it would go very well with my dress.




Mantle: Patterning


I started the mantle soon after finishing the 1884 dress last year, beginning with the pattern. The pattern is from The National Garment Cutter Book Of Diagrams published in 1888 (the entire book is digitized and available here).


The pattern I started with is on page 33: Ladies’ Wrap. It has the same general shape as my inspiration plate, including the very specific-to-the-1880s outerwear sleeve set into the side back seam. Figuring those out was an eagerly anticipated part of the challenge.




The brief instructions are to use the scale corresponding to the bust measure to enlarge the pattern. I didn’t feel like finding the right scale in the book, so instead I guessed at a scale that generated proportions that made sense for my size. I think it was somewhere in the realm of ⅛” to 1″.


After the pattern was enlarged, life became busy and I put this project on hold. Fast forward to the first days of 2021 and I decided to knock this project off the to-do list so it would be ready at the first sign of snow for photos!


I made a mockup from my pattern, adjusted a few things including the length of the front piece (it was much longer than my inspiration!), then altered the mockup to check the changes. At that point, I was satisfied and ready to move on to real fabric!


Mantle: Sleeve Puzzling


Along the way in this process I had to figure out the sleeves. Below is what the sleeve pattern piece looks like when cut out. It’s not your usual sleeve shape. The top looks mostly reasonable, but what’s with a dart on the bottom edge? And the point at the bottom? Odd! Folding this in half (as you would normally do for a sleeve) would produce a strange sleeve, indeed.




I pondered this… looked up extant garments (there are a number of mantles with sleeves like this on my general 1880s outerwear Pinterest board) and did some searching for other people who had made this type of garment before.


The thing that suddenly made the sleeve click for me was a series of posts from Caroline (who blogs at The Modern Mantua Maker) showing the construction of an 1880s dolman that she made. This post, in particular, contains a photo showing the sleeve before it was set into the body of the garment. Ah ha! I realized that the bottom of my sleeve folds up and the dart goes against the body. That creates the right shape!


This post from Caroline shows her finished dolman. It was also very helpful as I tried to wrap my brain around these unusual sleeves. And, Caroline has another dolman she made as well, which I also looked at as I was figuring out my pattern.


Mantle: Materials


I had the fashion plate to reference for the overall design of the mantle, but I needed a bit more detail to confirm my material choices. Many 1880s mantles are made from fancier fabrics: silks, velvets, brocades… I only had a heavy purple wool in my stash in a quantity I thought would be just the right amount for the mantle and I didn’t want to buy something new (especially something likely to be expensive, as many of those fancier fabrics would be).


After some searching, I found this c. 1880 opera cloak at the Metropolitan Museum of Art that seems to be made of a plain wool. I decided to use some of the details from it, like the braid trim, to upgrade my mantle from plain to more interesting.


I had the braid trim in my stash already, purchased a few years ago from Deb’s Lace and Trims because I liked the look of it and thought it would be useful someday (I love Deb’s Lace and Trims–you absolutely can’t beat the prices and the products are lovely–I’ve been using them for historical projects for the last ten years!). It was great to find a use for this braid.  With just five yards on hand I had to reduce the amount used relative to the Met inspiration mantle, but I think the end result is in keeping with the simple style of the dress. The braid highlights the shape of the mantle but doesn’t distract or seem too gaudy for the plain wool base.




After creating my first mockup I did have a very justified fear that my purple wool would not be enough for the mantle. Thankfully, after altering the pattern to suit my taste and size I was just able to eke out all of the pieces. Whew!


I love the quilted lining of the Met opera cloak and I considered quilting silk myself to do it. My stash didn’t have any appropriately colored silk, though, so that idea was out if I was to stay on the stash busting course. I thought of buying pre-quilted silk (completely abandoning my stash busting idea), but the colors I could find were bland and the dark brown I eventually decided on after months of indecision was sold out.


In the end, I decided I just wanted the project to be finished, so I would go the low-cost route of purchasing a polyester lining from the $3 per yard store. It helped me use other stash materials, so it seemed a reasonable trade off.


Mantle: Construction


Here’s that polyester lining. It’s unintentionally the same greyish-brown drab color as the cotton lining of the 1884 bustle dress. The mantle is fully lined, as you can see.




In order to make the lining of my mantle tidy, the sleeves were fully lined before being set into the side back seams. Here is one sleeve assembled and ready to be set in.




The assembled/lined sleeves were set into the exterior wool side back seams while the lining side back seams were sewn plain. After attaching the sleeves around the armsceyes in the exterior wool, the lining was turned under and whip stitched to finish the edges.


All of the braid trim is machine sewn on using a zipper foot. I was able to sew it in place on the wool before setting in the lining, so none of the attaching sew lines are visible.


The lining was machine sewn around the edges with the neck left open to turn right sides out. After that was completed, I machine sewed the collar lining (interfaced with cotton) to the neck edge by machine. Then I sewed the exterior fur collar on the neck edge by hand (shown in the next photo).




After that I flipped the lining up, turned all of the seam allowances in, and whip stitched the lining to the fur edge. It seemed easier to do it this way rather than machine sewing the fur.




The faux fur trim around the bottom edge is pieced where there are seams in the wool. This allows the fur to have the exact same shape as the wool underneath. These edges have no seam allowance. The edges are just butted together and then (roughly) whip stitched, as in the photo below. From the right side of the fur the seams are completely invisible.




The top and bottom edges of the fur trim have seam allowances that are turned in and hand sewn along both edges. The outer (bottom) edges are sewn right sides together with the bottom of the purple wool. Then, the inner (top) edges are turned under and stitched. Here is that process in progress.




The mantle closes with 4 coat weight hook and loops spaced down the front edges. They kept popping open while being worn, so when I got home I pinched them with a pair of pliers to make the hooks grab onto the loops better. I haven’t been out wearing this again since then, but I’m confident this solves the problem, as I’ve used this trick in the past.


New Muff (Cover)


Next, I want to share a bit about the muff I have in these photos.




Despite having a number of muffs, none of them are the right size and material to match my new mantle. I have a dark muff that matches the hat I wound up wearing and I have a muff made from the same fur I used to trim the mantle, but the dark muff didn’t match my mantle and the one that does match is an intentionally oversized early 19th century muff. Neither would do!


But I didn’t want to make an entirely new muff. Instead, I decided to make a new cover for a muff I’ve had since 2012 (you can see it in this post from 2019, when I used it with an early 19th century outfit). The muff is from a workshop I took with LadyDetalle. (She has an Etsy shop that often stocks muffs like this as well as many other beautiful and historically inclined goodies.)


The base is essentially a pillow (stuffed with real down–quite luxurious!) that can be rolled into a tube and have a cover put on. The idea is that the muff cover can be changed out so that you can have all sorts of beautiful muffs and only need to store the one base. The muff is sized for the 18th century, but I thought it just might work for my 1880s look, too.


Accordingly, I measured my existing muff cover and cut a rectangle of faux fur that size. I butted my edge to make a tube and whip stitched it, in the same way as I whip stitched the mantle trim. Next, I machine sewed twill tape on the tube ends. (I had no worries about the fur getting caught in the machine sewing because that whole edge turns into the muff in the end anyway, so none of that will show.)




Once whip stitched in place the twill tape covers the raw edge of the fur and also provides a casing for the ribbons at each end. I used tobacco brown polyester ribbon that was gifted to me. By way of justification for the polyester ribbon, I’d already used polyester for the mantle lining and this seemed like a good use for this particular ribbon.


Below is the muff cover after those steps were completed.




And here is a closeup of the twill tape with machine stitching on one side and whip stitching on the other. The ends of the twill tape are just turned under and butted together, leaving an opening for the ribbon ends to come through.




And ta da! A muff that is the right size and perfectly matched to the mantle! The additional muff cover takes up hardly any storage space and now I have more versatility in my wardrobe.




Hat Baubles


While making my mantle and debating how to stay warm, I figured I would need something to keep my head warm. I’d already made the dress and the mantle and I didn’t feel like creating something all new for my head, as well. And I loved this image from the McCord Museum of 1880s ladies curling in the cold with their hats.


I thought I could repurpose my 1917 faux fur hat to suit the purpose, as it has a generally similar tall, straight shape. That hat is nice and warm, being lined in flannel and interlined with layers of batting to insulate the head.


The look of it was a little bland with this outfit, though, and not really coordinated with everything else.  I liked the idea of bringing in some of the mantle fur to make the hat look like it belonged. After fussing with various ideas I decided on fur poms, or baubles.




The baubles are sort of like large-scale cloth stuffed buttons. They are a circle that is gathered, the edges turned into provide stuffing, and the backs sewn together to close up the opening. (This tutorial shows how to make these types of buttons, though I started with a circle of fabric rather than a square.)


I like that the finished baubles pull in the look of the tan fur, that they are silly and amusing, and that they are easily removable. In fact, they are attached with safety pins on the inside of the hat! You can’t get much more easily removable than that!




I’m very pleased with my stash-busting-and-using-things-I-have-on-hand winter bustle ensemble. It’s warm. It was a great patterning challenge. It’s really fun to wear (it feels super elegant!). And it (mostly) reduced my fabric stash.




Thanks for sticking with me through this second detailed (and rather long) post! Next post will be further photos of the bustle dress in action on a woodland adventure.



			

	


				
					


	

		
1884 Plaid Wool Dress Details
	

				

			 ~ TheQuintessentialClothesPen			 ~ 15 Comments					

				

		
I’m very excited to share the details of my (somewhat) new 1884 Plaid Wool Dress! It’s ‘somewhat new’ because I actually finished it 8 months ago, but at that point it was July and the temperature was absolutely not acceptable for wearing a wool dress for photos! Instead of putting the dress away, I kept it out, waiting for colder weather and the opportunity for a photo shoot. I was hoping for snow… and this winter, I got it!




This dress is entirely inspired by the dress on the right in the fashion plate below from La Mode Illustree. I love the relative simplicity of the overall design and the waterfall of folded fabric on the skirt. Unfortunately, I don’t have an official source of the fashion plate or the year it is from, though my best guess is 1884.




I thought the design would be a great use of the tan and plaid wools that have been in my stash since 2012 (wow… that’s longer than I remembered!).  In addition to those, a small piece of plain purple wool had made its way into my stash over the last eight or nine years and when I started this dress in November 2017 I decided it would be a nice addition to the tan and plaid wools in the form of trim. While not an exact match to the purple in the plaid, I think it helps to perk up the plaid and bring out the non-tan tones (the green and purple).




Skirt Construction


I started the process of this dress with the skirt. I wanted the fabric to hang just like the fashion plate, so I decided to drape a custom pattern as opposed to starting with anything that already existed. The only exception to that (in the skirt) is a base of drab greyish-brown cotton. The base pieces were adapted from a Janet Arnold pattern.


I used the skirt base for the front and side areas, in order to have something for the wool layers to be attached to. In the back of the skirt there is nothing but the tan wool.


Here is a look at the inside of the finished skirt. You can see the tan waistband along the top and the drab cotton base with tacking stitches all over it. The tacking stitches are holding the plaid fabric in place–you can just see the plaid selvedge poking out on the right side.




The pleats in the plaid aren’t part of the original fashion plate, which instead has a draped apron-type front. I tried that, putting my plaid with a vertical grain and a tan apron over top, but I really hated how it looked in wool–too heavy and rather unattractive. I played with the fabrics until I settled on the bias plaid. I hinted at the draping in the fashion plate by adding tucks to the plaid to help it drape just slightly rather than just being flat. You can see the resulting folds pretty clearly in the next photo.


The various overlapping pleats of the plaid front, waterfall side, and back were complicated. I was trying to achieve a back that looked like this dress held by the Met, in addition to the various lovely folds shown in the fashion plate.


It’s easy to draw things, but sometimes they don’t really work in actual fabric… I found that with the waterfall, especially. There’s actually an added loop of fabric tucked between the folds that isn’t part of the side piece at all! It’s just a little fake bit to help create the look of the fashion plate. I couldn’t figure out any other way to do it!




Given these various challenges and lots of other things to keep me busy in life, this poor skirt sat in a half finished state on the dress form in my sewing room for at least a year. I couldn’t remove it without marking everything… and I couldn’t make up my mind about what I wanted! (I say poor skirt, but it was sort of poor me, as I definitely reached a point of wanting the dress to get put away!)


Eventually, I did make up my mind and remove the skirt, but the partially finished skirt still sat around for ages before I finished it. Part of marking the skirt also meant figuring out the facings of the waterfall bits, because the fully finished edges had to be set into the waistband. Mr. Q actually asked at one point after the skirt was off the dress form whether I had intended it as decoration in my sewing room because it was there for so long… Nope!


All the various pleats on the skirt wound up making for a rather thick layer of things to sew through for the waistband. Here’s what the side with the waterfall trim looks like on the inside. I count at least 9 layers of wool in one spot! Given that, I decided to cut the inner side of my waistband on the selvedge of the fabric and leave it hanging down into the skirt instead of turning the seam allowances up as you would normally do for a waistband.




Setting the hems on the skirt was another challenge, though this was due to the fact that I did it by myself. It involved dressing in my corset, bustle, petticoat, and skirt, twisting and contorting while putting pins in the hem to mark the floor, then standing to look in the mirror to see if they were even, then adjusting… many times!


I eventually had everything marked to my satisfaction and could move on with the sewing. All sections of the hem are finished with wide bias strips of the drab cotton, the goal being to make the hems durable and less likely to catch on twigs, etc. than if they had more textured wool exposed (and I can say, after romping about the woods in this dress, that the hems did an admirable job!).




After using the drab cotton for both my 1896 Bicycling Ensemble and to line my 1863 Apricot Evening Gown I was starting to run low for this project. I cut the skirt base pieces, cut the bodice lining pieces, and then used pieced scraps to make the wide bias to hem the skirt. As you can see in the above photo, some of my bias pieces were only 6″ or so in length. And in the photo below, you can see the only bit of wide bias that was leftover when I was finished!




The final skirt detail to share is a hidden patch pocket! The skirt opens on the side front, along one side of the plaid, and underneath that opening is a pocket, perfectly sized to fit a cell phone and keys. The pocket is oddly low, near the knees, but that is because I wanted to make sure that any bulk from items in the pocket would press in towards my legs and not make an unsightly bulge on the exterior of the dress.


The photo below shows the pocket, as well as some of the hooks and thread loops that allow the tan fabric to attach to the plaid wool.




Bodice Construction


In addition to this rather complicated skirt, there was also a bodice to be made! The bodice is actually pretty straightforward. The pattern is adapted from the one I used for my 1885 Frills and Furbelows summer dress which in turn was adapted from a Janet Arnold pattern.


The bodice is completely flat lined in the drab cotton. There is a ribbon waist tape to help keep the back of the bodice tight against the body and to keep the bodice from riding up while being worn.




The bottom and front/neck edges are finished with bias strips of the drab cotton. The seam allowances are unfinished. The bodice closes in front with hooks and loops.




There are two other details I want to discuss, as well. First, there are the bust pads! I came across these in this c. 1885 extant dress and decided I wanted to give them a try to see if I could get that really exaggerated bust to waist ratio in my inspiration fashion plate (here’s the link to it again).


Turns out… no. I did not achieve that bust to waist ratio… but I think that’s more a factor of my waist size than anything. (It’s not as small as it was 10 years ago…) To keep the proportions of the fashion plate I would drastically need to increase the bust size. Perhaps in another dress.


In the meantime, this dress tried out the bust pads. They are made from cotton scraps with shaped batting layers inside. Below you can see the steps to creating the pads. Once sewn, these were tacked inside the bodice to keep them in place.




The second detail still to discuss is the neck ruffle. I finished this dress shortly after completing my 1875 Reception Dress last summer and I had my antique fluting iron on the brain. After pondering the fashion plate neck and sleeve ruffles for awhile I decided to use my fluting iron to ruffle some cotton to use for my dress’s neckline and cuffs.


I was well practiced by this point, having fluted lots of silk for the 1875 dress, so away I went! The cotton strips are cut on the grain and folded along the long edge–no hemming required!




Attached to the neckline the trim looks like this. The waves are a little crushed where they are tacked down, but the folded edge maintains a nice wavy shape. I found that my cotton frayed more than I wanted it to, so I went back and whip stitched over the raw edge to keep it tidy.




I used the same cotton for small ruffles on each cuff, as well. Like the neck ruffle, these are hand sewn inside the finished sleeve openings.




You can see the finished effect of the ruffles in the next photo! Subtle, but adding a nice edge finish.


While the ruffles are sewn to the inside of the finished bodice, the purple bodice trim and plaid cuffs are sewn similarly but on the outside of the finished bodice. I didn’t want them to add bulk by turning all the way under into the bias edging, so they have the raw edges turned under and then they are hand sewn to the outside of the bodice.


I decided the purple trim around the neck wasn’t quite interesting enough and so I added a narrow fold of bias cut plaid to help transition between the two solid colors. This also helps the bodice to feel that it belongs with the skirt, so that the only plaid isn’t just on the skirt front and cuffs.




Final details


Both skirt and bodice are mostly assembled by machine with hand finishing, including trimming, hemming/facing, closures, etc.


I used about 8 yds of the different wools and drab cotton for the ensemble. These materials, plus notions etc., cost just under $30. This was definitely helped by the fact that most of the fabrics were purchased for just $3 per yard at the local discount fabric store!


The skirt is a bit heavy, being made of about six yards of wool and cotton, but it’s not unreasonable. And, it’s quite warm! I was perfectly warm in the approximately 20 degree Fahrenheit cold for all of these photos except for my nose, chest, and hands. Never fear, though, I was wearing the additional layers of my newly completed mantle and muff except for during these photos! (And there will be posts coming up about them as well, with lots more photos!) With all my layers the only part of me that was cold was my nose!




In the end, I’m more pleased with the overall dress than I expected to be! I was always excited about the skirt and the purple swoop of the upper bodice trim, but once I started making the dress in wool I was worried the bodice might be too plain and maybe even boring… but I like the fit and shaping very much (especially in the back!) and I think that helps balance out the relatively simple style. It makes sense for a wool dress to be well tailored but more simple in decoration and style than its silk counterparts.


Also, I’m very pleased that my idea from 2012, to use these fabrics for a bustle dress, has finally been achieved! I think there’s still a yard or so of tan wool in my stash, but I’ve sewn my way through a good 8 yards of it. That’s great stash busting!

			

	


				
					


	

		
Fabric Stash Additions From The Later Part Of 2020
	

				

			 ~ TheQuintessentialClothesPen			 ~ 10 Comments					

				

		
I’ve picked up a few patterned cotton fabrics over the last few months at my local discount fabric store. (Everything in the store is $3 per yard. Crazy!) I enjoy all of them and want to document their new status here. Hopefully, I can link back to this post when I eventually make garments out of them… This is encouragement to not let them languish in the stash for too long!


First, there is this light blue-ish grey cotton print. The mixture of colors and style of the printing reminds me of fabrics from the 1830s and 1840s. In fact, I used this very fabric to make an 1830s dress for a friend (you saw it in my posts last fall about apple picking). After seeing how wonderfully that dress turned out I decided I needed one of my own. And so… my stash has gained 7 yards of this.




I justify it by the price and the fact that I have very specific plans already. In the spirit of trying out different 1830s sleeve shapes, I want to make a dress from 1836 that has sleeves that are fitted around the upper arms but full around the elbow and down to the wrists.


Second, there is this purple mosaic looking fabric that has an Art Deco vibe. This one doesn’t have a specific plan, but I couldn’t pass up the colors, so I got 1 yard.




The mosaic Art Deco fabric came in four colorways: the purple above, as well as pink, orange, and… lime green! The lime green reminds me of palm fronds and Egyptomania styles.


On its own it’s a bit bright, but I also came across a teal fabric with gold metallic squares on it that I liked but couldn’t think of a use for… until I put it next to the lime green fabric. It helps bring out the blues in the pattern which tones down the lime green a bit. I’m thinking of a short sleeved 1920s summer dress like this using the teal as trim on the lime green.




I’m hoping to get around to the 1830s dress sooner rather than later, but the 1920s dress is lower on the priority list. Unless (maybe) this year brings the ability to reconvene and have 1920s summer events… and then maybe this dress will shoot up the to do list ladder! Ahhh, dreaming!