Meet Georgina!

July 31, 2013July 31, 2013 ~ TheQuintessentialClothesPen ~ 8 Comments

“Georgina” is the name I’ve chosen for my new 1858 cotton print day dress. Being a day dress from a new decade (the 1850s), makes her a fabulous new expansion in my wardrobe of historic clothes!

The dress is constructed from about 5yds of a Marcus Brothers reproduction historic cotton print I purchased earlier this summer. I used Past Patterns #701 and #702 bodice patterns as a starting point, though I had to make significant alterations to achieve a comfortable and pleasing fit, especially in the shoulder/armsceye area. I used the darted pattern for the fitted lining and the gathered pattern for the gathered exterior. The sleeves are the bishop sleeves from one of the patterns, though I totally changed the cuff design.

The cuff design and a lot of other fiddly details were taken from this c. 1852 dress at the Met (pictured below). If you zoom in on the cuffs on the Met website you can see that they look just like mine (pictured later in this post)! I also used the following design elements from the Met dress: piping at the neck and waist, gathers that are tacked down beyond the seam line, button closure on the cuffs, and cartridge pleating all around the skirt. I have a whole pinterest board of inspiring images for this dress and hat ensemble, but this dress is the one from which I took the most information and detail.

61.141.3_front_CP4 — c. 1852 Dress, Met.

Here are a few pictures of the fiddly details I integrated from the Met dress:

Gathers at the center back that are tacked down beyond the seam line. I like the controlled look these extra stitches produce.

Self fabric cuff finished with a small ruffle. The cuffs close with a hand sewn buttonhole and button.

Georgina’s bodice is lined with white cotton. There are hand sewn boning channels sewn into the bodice in the front darts on each side and on the sides. The bones are then slipped in between the layers of fabric. I didn’t have the right length metal bones, so I used heavy duty plastic wire ties–but–I cut them in half the long way so they are much skinnier than normal (they just don’t look at all historically plausible in their normal width, in my opinion). Once they’re in the bodice, you’d never know they are plastic instead of metal.

The proper left side of the bodice: hand stitched boning channels in the darts, front hook closure, a hook to attach the skirt and bodice together, and nicely finished piping along the bottom edge.

The bodice is finished at the neck and bottom edge with piping that is nicely whip stitched to the inside. There is also piping in the armsceye seam. The sleeve seams are french seamed by machine with the opening seam allowance at the cuff turned twice and stitched by hand. The other bodice seams are all machine sewn and the bodice is hand finished. The bodice closes at center front with hidden hooks and bars. It also hooks to the waistband of the skirt to keep the two pieces from gaping while worn.

The skirt has a wide hem that is hand stitched. The long skirt seams are machine sewn. The waistband is the same cotton print with an interfacing layer of canvas to create stability. The skirt is cartridge pleated and hand sewn to the waistband. There is a single layer of lightweight flannel folded into the cartridge pleats to give them a little more bulk than the thin cotton had on its own.

I also took the time to add pockets to this skirt! This turned out to be really useful for storing gloves, sunglasses, chapstick, a fan… with two pockets a lady can store so many things! Here’s how I made them and sewed them into the skirt:

The pockets are muslin rectangles with a piece of the cotton print topstitched on the top center (this is the part of the pocket that can show while I’m wearing the dress and taking things in and out of the pockets).

After the cotton print was sewn on I french seamed the vertical seam and then the bottom seam by machine, making sure that the cotton print stayed centered. On the left is what a pocket looks like with the french seams facing out. On the right is a pocket turned inside out to show the cotton print centered at the top.

I left the top part of the vertical seam open and hand sewed that into slits in the skirt using a whip stitch through the pocket and the seam allowances (essentially under stitching the pockets, which keeps the muslin from rolling to the outside!). The pocket slits were made after the skirt was cartridge pleated and attached to the waistband, so the slits stop below the cartridge pleats (it was way too much thinking to try and figure out where the pockets should be before cartridge pleating the skirt!).

It worked wonderfully, and the pockets blend right in and are hardly noticeable, even when they gap open! (I’ve turned the edges of the pocket so you can see the muslin pocket for this picture, but they don’t actually stay turned out like that, and you can imagine how the print fabric of the skirt blends right into the print section of the pocket).

On the inside, the top edge of each pocket is stitched to the cartridge pleats to evenly distribute the weight of anything in them.

Georgina cost about $18: $15 for the fabric and about $3 for hooks and eyes. The various other fabrics (cotton lining, canvas interlining, etc.) were all in my stash from previous projects (yay!). I first wore Georgina last weekend to a vintage dance performance on George’s Island in the Boston Harbor. I’ve got pictures of the performance and pictures of island exploration coming up soon!

HSF #15: 18th Century Bum Roll

July 17, 2013 ~ TheQuintessentialClothesPen ~ 2 Comments

When I posted about my new apricot 18th century petticoat, I also mentioned that there was a sneak peak at my new bum roll in the pictures. Remember? The bum roll fulfills the HSF #15 Challenge: White. It’s a rather simple accessory, so there’s not a whole lot to say about it.

The facts:

Fabric: About 10″ white striped cotton

Pattern: None, the bum roll is just a rectangle that’s gathered at the sides and tapered a little toward the front points.

Year: Loosely 1700-1780.

Notions: Thread, poly fill, 1/4″ white cotton tape for ties.

How historically accurate?: I give it 80%. Bum pads/rolls in the 18th century were probably not made of cotton or stuffed with poly fill. But the shape achieves the desired silhouette and is in the vein of research I have seen on 18th century bum rolls.

Hours to complete: 1

First worn: Well, Squishy wore it for pictures!

Total cost: The fabric was $1 a yard, so about 30 cents.

The gathers are what creates the crescent shape. It pulls in to be a tighter curve when tied around the body as well.

Model Ts, A New 1926 Dress, And New Shoes: Part I

July 6, 2013March 25, 2018 ~ TheQuintessentialClothesPen ~ 5 Comments

A few posts ago, when I introduced The First Picnic Of The Summer, I mentioned my involvement with other events that same weekend. It’s time to share pictures of another event from that weekend: an afternoon of music, dancing, and Model Ts at the Braintree Historical Society in Braintree, MA.

Let’s start with atmosphere: some Model Ts! Model Ts were produced between the years 1908 and 1927 by the Ford Motor Company. My grandfather worked for Ford years ago (though not on Model Ts!) and I have family members who still live in Michigan, so I feel a special connection to that part of car history. As far as I could observe, all of these Model Ts were still operational, drivable, and licensed to drive on the street! Neat!

Pretty swanky, with all that gleaming wood!

I like that this picture has a modern car in the background!

“R. I. Brow & Son; Oil Dealer” I love it! Especially with the canisters attached.

Two Model Ts parked in front of the barn.

A pretty fabulous red Model T with be-boater-ed gentlemen lurking behind it… (They had no idea I was taking a picture! bwhaha!)

The reason we were in attendance at this event was to do a few small dance performances. We did the same 20s dances that we performed at the Great Gatsby: the Charleston, Tango, Foxtrot, and One Step. I don’t have pictures of the performances… but in between performances we had time to wander amongst the Model Ts and have a picnic lunch.

Oh yes, and I wore a new 1926 dress and my all new American Duchess Gibsons! I also attempted some “make-do finger waves” in my hair. Basically, that means that I didn’t try for real finger waves… I just put some gel in my hair and used a fine tooth comb on the top bits. Since my hair has natural waves it just dried in a sort of wavy way and I put up the back in a low bun. I think it turned out pretty well, though, for not trying that hard!

This link contains an affiliate code, which provides a small benefit to my shoe fund. This does not affect my impressions and reviews of this product.

The dress was made because we needed day clothes for this event and my other two 20s evening dresses are not appropriate. As I mentioned in the post May Fabric Stash Additions when I shared this fabric, I wanted a cotton so it would be lightweight and washable… and this is what I wound up with. I thought it might be to sailor-y, but in the end I don’t think it is! I like that it’s a rather striking color and not something I would normally pick out for myself.

I didn’t use a pattern for the dress, I just sort of used my measurements and made it up while referencing a lot of 20s patterns in the COPA archive for skirt shape, mostly. The front and back bodice and sleeves are all one piece cut in the kimono style. It’s all french seamed and the skirt and sleeves are finished with hug snug. The waistband is a little messy on the inside, because I haven’t taken the time to finish it and because the sides were doing a weird thing I had to fix with a wonky side dart. But eh, no one will see the inside! I’m glad it’s done and I like the faked tie-collar.

The Gibsons are comfortable and cute. I like that the sole is a little thicker than on my Astorias, because it means the pointy toe shoe leather isn’t getting scratched while I walk (as it is on my Astorias). The toes are pretty pointy but they are starting to stretch to my foot shape, so that’s good.

Trying to pose… “This is an engine. It moves the car.” Plus, new dress and a good view of my hair!

Looks a lot different from a modern car engine, doesn’t it?

A better view of my new 1926 day dress and Gibsons.

The blue cotton is slightly sheer, so I made a cotton slip to wear under the dress to add opacity. It’s made of the same $1/yd white cotton that the trim on the dress is made of, so if it shows at the neck or elsewhere it just blends right in. I used the same measurements I used for the pink slip of my 1925 beaded dress. I was inspired by looking at 1920s patterns to add the curved panels on the side instead of having another straight slip.

White slip to go under the 1926 day dress.

As I said, in addition to looking at cars and dancing, we also had a picnic lunch.

After eating we listened to some stories read aloud.

One of the most exciting parts of the afternoon was when one kind gentleman asked if we would like to sit in his 1920s car! Of course we said “Yes!”

All in all, it was a pretty fun, low-key event. Next post I’ll share some of the more “artsy” photos from the day, as I did in The First Picnic Of The Summer: Part II.

Belated HSF #11: 18th Century Apricot Petticoat

July 2, 2013July 8, 2013 ~ TheQuintessentialClothesPen ~ Leave a comment

Life! Is often great, but does rather get in the way of sewing plans sometimes…

This HSF challenge #11 had a due date of June 3rd. I actually finished sewing on June 18th, but I’ve been busy posting about other things so this has been even further delayed. Oh well, I had the best of intentions: to complete this 18th century petticoat for the Squares, Rectangles, and Triangles Challenge.

Description:

Many historical garments, and the costumes of many people around the world, use basic geometric shapes as their basis. In this challenge make a garment made entirely of squares, rectangles and triangles (with one curve allowed), whether it is an 18th century kimono, a flounced 1850s skirt, or a medieval shift.

Apricot (orange) 18th century under petticoat.

Just the facts:

Fabric: Almost all of 4yds of apricot cotton I bought back in January.

Pattern: None, but I referenced both of these tutorials on constructing 18th century petticoats. Katherine’s tutorial is for a petticoat with an uneven length (to go over panniers, or a bum roll, for example). Rebecca’s tutorial is for a petticoat with an even length (the same length all the way around, to be worn without extra supports). Both tutorials have construction information, Rebecca’s includes a bit more detail in terms of which stitches and methods to use.

Year: Loosely 1700-1790.

Notions: Thread, yellow polyester ribbon for ties.

How historically accurate?: I give it 70%. Accuracy gets knocked down because: 1- the color is a bit vibrant for the period (but it’s an under petticoat, and I wanted it to be fun!), 2- all unseen seams are machine sewn, 3- I used bright yellow polyester ribbon for ties, 4- I haven’t seen much research that shows cotton being used at this time for a single plain petticoat of this sort. On the other hand: 1- all finishing was done by hand, 2- the dimensions and method of creation are historically accurate.

Hours to complete: 6 or 7? I can’t really remember…

First worn: Well, Squishy wore it for pictures!

Total cost: $12 for the fabric. The ribbon is leftover from my childhood craft projects…

I chose to bind the top with self fabric and use polyester ties in a fun color for this petticoat, since I knew it wouldn’t be seen and I might as well use some of those things from my stash! The back half of the petticoat ties in front, then the front ties wrap all the way around to the front and also tie in front. That’s why you can see all the yellow ribbon crossing in the back. This method used a solid 3 yds of ribbon, though the ends I have to tie with are generous and could probably be shorter if I wanted to save on tie length.

Back tied in front before the front gets tied. There are hemmed pocket slit openings on each side.

I just love the color of this petticoat. It’s so bright and sunny and cheerful, especially with the yellow ribbons! There’s also a sneak peek in this last picture at what will likely be a future HSF item: the bum roll… more on that soon-ish.

Historic Cotton Print Eye Candy

June 24, 2013June 24, 2013 ~ TheQuintessentialClothesPen ~ 7 Comments

I was recently able to visit a wholesale quilt fabric company to purchase historic dress fabrics for an upcoming mid-19th century performance on behalf of me and other members in my vintage dance troupe. It was such a treat! The majority of the fabrics we found were Marcus Brothers fabrics, but RJR also had a smaller number of really lovely fabrics.

Marcus Brothers Gettysburg Print 1840-1860. To make an1850s day dress.

Windham Fabrics Colonies Archives Print c. 1850 and Marcus Brothers Charleston II Print. For other 1850s/60s day dresses.

There were so many lovely things, but the best part was the prices! All of the fabrics were between $2.50-$3.75 a yard! You had to buy a bolt, which varied between 7 1/2 and 15 yds, but at those prices it’s still outstanding! We came away with fabric for the 1850s/60s dresses and bit more besides… There were some things that were just so fantastic they couldn’t be left behind!

Marcus Brothers Old Sturbridge Village Print. To eventually make an 1840s dress! It’s going to be so pretty! I love this fabric and the colors (it’s actually yellow and pinkish flowers with brownish vines).

RJR Print. I have no idea what I will make with this, I just love it. I find it to be so striking!

Another sample of the lovely prints. These were purchased by a friend. One will be used for an 1860s dress, eventually, and the other will possibly be used for an 1840s dress, eventually.

Don’t worry, there will be upcoming posts with more on the 1850s day dress I’ll be making as well as the other much farther in the future projects. And I’m sure I’ll also have great pictures from the mid-19th century performance as well.

May Fabric Stash Additions

June 8, 2013 ~ TheQuintessentialClothesPen ~ 2 Comments

I’ve been trying to be good about not buying more fabric… but sometimes things are just too good to pass up, or an event comes along that requires new clothes! I think I last bought fabric in January, so that’s a pretty good few months of no-new-fabric.

I wasn’t even looking for this fabric! But I happened upon this great red/pink/brown cotton chintz and couldn’t get it out of my mind. In the end, I decided I would regret it if I didn’t buy it. And there you are. I’m thinking of perhaps an 1790s/1800ish open robe eventually. The other two fabrics wouldn’t have been bought on their own, but with the chintz already being purchased… I tacked them on to the order. There is a small bit of the cherry red linen, to make a 1740s jacket some day, and a bit of that blueish cotton/linen blend. I was hoping it would be more teal colored, but it’s not. So it might get relegated to lining something else.

Later in the month, I was on a grand search to find fabric for an 1860s cotton dress and came across this fabulous light teal stripey fabric for $1/yd. I’m calling it the elusive blue green fabric in my head, because that color is sort of hard to find and I’ve been inspired lately to find it. At $1/yd I couldn’t pass it up!

The pictures don’t really do it justice. I’m thinking of making a new Regency evening gown using it and perhaps a 1906ish evening gown some day as well. I bought that similarly colored lining to go with the stripy for the 1906ish evening gown, because at $1/yd in the right color it’s just meant to be, even if it is polyester. I’m not sure what the fabric content of the stripy fabric is, but I’m guessing it’s probably man-made…

Lastly, I’ll be performing in another 1920s dance event next weekend during the day and I needed a 20s day dress. I wanted it to be washable and I didn’t have any appropriate fabrics in my stash. There weren’t a lot of options that I liked, but in the end I went with this royal blue cotton lawn swiss dot. The dress will have white accents on it (and is looking rather sailor-like, despite that not being my intent). I have to just claim the sailor look so I don’t feel foolish in it.

The Tree Gown For Real (HSF #9)

May 2, 2013 ~ TheQuintessentialClothesPen ~ 17 Comments

Textiles and the natural world are inextricably linked. Until very recently, all textiles were made from flora (linen, raime, hemp) or fauna (wool, silk, fur), and dyed with flora and fauna. Flora and fauna also influenced the decoration of textiles, from Elizabethan floral embroidery, to Regency beetle-wing dresses, to Edwardian bird-trimmed hats. Celebrate the natural world (hopefully without killing any birds) with a flora and/or fauna inspired garment.

This is the description of the HSF Challenge #9: Flora and Fauna. I’m super excited about my garment: the all new 1815 Tree Gown I recently showed a sneak peak of as well as photos of in action during archery and outdoor lounging! The archery and outdoor lounging, in particular, include great pictures of the dress, so if you haven’t seen them yet, you really should go check them out!

1815 Tree Gown and Bonnet with a Stripe-y Reticule.

I love love love this dress! It’s super comfy and super cute. You might remember that I don’t own many printed or patterned clothes (modern or historic), but I branched out (haha, unintentional bad pun) with this one and I love the results! There’s something so refreshing about the classic white Regency dress that has been shaken up a bit with a bold print. Also, from the HSF perspective, it is made from cotton and printed with a flora inspired motifs! Double duty challenge fulfillment right there.

Back view. The drawstring at the back neck is so subtle and clean looking, and I love the results of my careful cutting which keeps the print symmetrical on each side.

There are pictures of the interior construction of this dress in this previous post. To summarize, the dress is machine sewn on the inside seams and hand finished. Most of the interior seams are french seams. The dress closes at the back with hooks at the waist and a drawstring at the back neck. The front neck has a drawstring as well.

More facts:

Fabric: almost 5 yds of hand block printed sheer cotton (made in India and sold on eBay via Heritage Trading).

Pattern: loosely based on my other Regency gown patterns for my basic measurements, but adapted to resemble my main inspiration dress at the Met.

Year: 1815.

Notions: two hooks, about 1 yd of 1/4″ cotton twill tape, thread.

How historically accurate?: I give it 95% rating. Really, the only thing keeping it from “as accurate as can be with modern materials” is that it is machine stitched on the inside seams. It is hand printed fabric, sewn in historic ways, and hand finished.

Hours to complete: 16? Total? That’s not bad for me!

First worn: Regency Dance Weekend, mid-April 2013.

Total cost: $25 for the fabric (it’s almost doubled in price since I bought mine!), maybe another $1 for the notions?

Now for inspiration. The dress is most closely based off of this dress at the Met. I changed some things, but I think the resemblance is quite clear.

These two dresses were other more minor inspiration for the Tree Gown: 1812 yellow silk wedding dress and early 19th century slip, mostly for their square necks and back tie closures.

Eee! All I can say in conclusion is how much I love my Tree Gown!!!

Patterned Stash Additions!

February 3, 2013 ~ TheQuintessentialClothesPen ~ 2 Comments

If you look at my clothes, modern and historic, you might notice that I usually wear solid colors. Yes, I do mix solid colors in outfits. But there it is: I hardly ever wear patterned fabric. I want to branch out a bit, at least in my historic wardrobe, so when I saw these patterned fabrics on sale I couldn’t resist.

So here they are: my most recent stash additions. On the left, a rayon challis with a slightly lilac tinted grey background and little teal clovers all over. On the right, a super lightweight cotton lawn with dots in shades of purple and pinkish/redish/orange. What for? I’m thinking 1930s or 40s for the challis and a 50s summer dress for the lawn. I’m pushing the envelope, thinking outside my normal eras! Of course, these projects are pretty low on the list of things to get done… so don’t expect to see them again soon. But maybe this summer the 50s dress could be a fun project. We’ll see. In the meantime, I’ll know I have patterned fabric in my stash, and that’s enough for me!

HSF #2: UFO

January 22, 2013 ~ TheQuintessentialClothesPen ~ 4 Comments

Is there enough alphabet soup for you in the title of this post? In case you’re not familiar with those acronyms, it means that this is a post about the Historical Sew Fortnightly Challenge #2: Un-Finished Object. In this case, the UFO is my 1820s petticoat from the very end of 2012.

You’ll remember that I wore it to Fezziwig’s Ball in December, but that I hadn’t finished the neckline? I’m pleased to say that it is now entirely complete!

Inside view. This petticoat has three ties at center back to keep it closed.

You know I like my insides to be pretty. This is a closeup of the arm hole and the neckline, which is bound with bias before having the lace sewn on.

The double hem on the left is center front. Diagonally across the photo is the right side of the back.

This cording was done last month, so it’s not really part of the UFO-ness, but it is still an accomplishment. 16 rows of hand sewn cording all around the hem.

A close-up of the lace at the hem and my tiny stitches.

You can see some more detail shots in this past post.

And the facts?

Fabric: 3 1/2ish yds of white cotton

Pattern: Adapted from my 1822 green ball gown pattern. It’s pretty much exactly the same except that it doesn’t have sleeves. The ball gown pattern is based off of a pattern in Janet Arnold and styled as in the fashion plate you can see in this previous post.

Year: 1820s. The inspiration image is dated 1828-1835. You can see the inspiration image and my reasoning for it being more 1820s than 1830s here, in this past post.

Notions: About 1 1/2 yds of broderie anglaise trim, cut in half the long way to create double length; about 1 yd of white edging lace; and about 1 yd of 1/4″ cotton twill tape.

How historically accurate?: Very, having used modern materials. The pattern is from Janet Arnold, so you know it is good on accuracy. The entire petticoat is hand sewn and made of accurate fabric. The lace is machine made and the content is almost certainly not entirely accurate, but it is in the style of the early 19th century and the lace in the inspiration image. I’m not 100% sure that all of my seam finishes are perfectly accurate for this garment, but they are accurate for the period as a whole.

Hours to complete: I’m always bad at estimating this. Let’s say 120 hours.

First worn: To Fezziwig’s Ball in December 2012.

Total cost: Approzimately $13.

Project Journal: 1822-1824 Ensemble Part II: Initial Petticoat Details

November 27, 2012 ~ TheQuintessentialClothesPen ~ 6 Comments

19562579602403848_so6xmxCH_c — Petticoat. 1828-1835. Manchester City Galleries.

This bodiced petticoat is the inspiration for the first piece of my 1822-1824 ensemble that I need for December events. You can read more about the overview of the ensemble by viewing my last post: here. Despite the slightly later date given for this garment (later than my target of 1822-1824), the shape and construction are consistent with garments from the earlier 1820s, so I have no qualms about using this for my purposes in this case.

The description from Manchester City Galleries:

White cotton with high waist. Low, wide, round neck edged with embroidery and lace frill; piped armholes; front in one bias-cut section, back in two shaped sections, centre back fastening with drawstring at top and bottom of neck edging and at high waistband and two buttons; skirt front in one slightly flared section, two sections each side flared towards back, slit at hip in right back seam, centre back in two straight sections, closely gathered at centre waist; sixteen lines of piping at hem; edging of finer cotton scalloped and with openwork embroidery.

I used this description in combination with the 1820s patterns in Janet Arnold to create the bodice and skirt patterns. My petticoat is constructed out of plain white cotton. It is entirely hand sewn and has 16 rows of cording in the skirt. There is a edging of white cotton openwork embroidery at the hem. The seams are all flat felled in the skirt. The bodice seams are turned twice and stitched on each side of the seam. The petticoat closes in the back with ties.

Bodice of the petticoat with unfinished neckline.

Near the hem: 16 rows of cording and embroidery edging.

Super close up of a flat felled skirt seam, narrow hem, and whip stitches attaching the embroidery. The embroidery is whip stitched to the hem at the very bottom, and the top edge is whipped again on the inside (that’s the top horizontal row of stitches).

The only remaining work to be done is to add another tie between the current two since the back wants to gap open just below my shoulder blades, to finish the neckline, and to adjust the gathers across the back (secret tip I’ve learned through building these garments: to get that great 1820s triangle shape, your gathers have to be super concentrated at the center back area, not spread out across the entire back, as these currently are). I plan to finish the neckline with narrow white lace, but I want to determine the neckline of my ball gown before finishing the neck of the petticoat. You understand that desire, I’m sure!

Differences from the original include: that I have a seam up center front of the bodice (no particular reason, it’s just that’s how it turned out), my cording is spaced closer together (which I’m not sure I like as much as the original, but I’m not taking it out now!), my armholes are narrow hemmed rather than piped, and my skirt closes right in the middle of the gathers rather than off center at the side back seam.

Pictures of the entire petticoat will have to wait. It looks pretty foolish on hanger, doesn’t fit a dress form (because the bust is so high), and it’s super awkward to get a full length picture of oneself… so we’ll just have to wait until I’m wearing it!