1814 Orange Boven Pelisse

May 12, 2017 ~ TheQuintessentialClothesPen ~ 20 Comments

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.

Vernet Project: A Witzchoura Tangent

December 9, 2016 ~ TheQuintessentialClothesPen ~ 4 Comments

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.

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’.

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.

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.

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.

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: Photo Shoot!

January 9, 2016 ~ TheQuintessentialClothesPen ~ 20 Comments

I thought I’d start the new year off with photos from my Vernet Ensemble photo shoot. (I’ll be doing separate posts with details about the construction of the ensemble as the year progresses.) I’m so incredibly pleased with my ensemble and with the quality of the pictures. I often have lovely pictures after events and when documenting sewing projects, but these are extra special in terms of the sharpness of the images, the clear colors, and the fun use of a historical lens.

Hopefully, you were following along with the release of finished ensembles in December, but in case you missed mine or haven’t figured out yet which fashion plate I was recreating, here it is.

Plate No. 20 “Toque de Velours. Witz-choura de Satin.”

Below is the “official release” picture. I did my best to mimic the pose of the fashion plate, but it was really hard to wrap my brain around the left and right of things in my own pose relative to the fashion plate. Left was right and right was left, and in the end we did the best we could and called it done. I think we actually did it right, it’s just that I’m facing the camera at a different angle. It still boggles my brain to try and figure it out!

Unfortunately, there was no snow in November when we took these pictures and so I didn’t get ice skaters falling over behind me (also, I would have had to find ice skaters)… but I did get unfrozen water, and you’ll just have to imagine the ice and the skaters!

These last few pictures with the blurred background were taken using a reproduction 19th century Petzval lens. You can read more about the lens and how it causes this effect here, at my photographer’s blog.

I am so incredibly blessed that to have a friend that joyfully enjoys practicing her photography skills with her nice digital camera (with fancy and historical lenses, to boot!) by taking pictures of my endeavors, amongst other things. She happily came over one afternoon in November just to accompany me for the photo shoot and take these absolutely gorgeous pictures. Thank you!!!

Vernet Project: Check Out The Finished Ensembles!

December 7, 2015 ~ TheQuintessentialClothesPen ~ Leave a comment

Photos of each recreation of one of Vernet’s Merveilleuses and Incroyables fashion plates start to be released tomorrow (December 8) on the group Facebook page! One fashion plate per day will be shared right next to a photo of the recreation, right up through the 31st of December (my plate will be on the 21st). Check it out! It will be a fun way to end 2015!

I’ve seen some of the finished ensembles ahead of time, and let me just reiterate how wonderful, weird, and wacky they are! Further posts with more images and specifics about construction, etc. will be released by participants in 2016, so don’t forget to check back to see updates on the ensembles that most capture your fancy.

(You can see all my posts from this past year relating to this project here, and I’ll be sharing more in 2016!)

Vernet Project: Making Progress

November 20, 2015November 20, 2015 ~ TheQuintessentialClothesPen ~ 1 Comment

Our group’s early December deadline to finish sewing our Vernet Projects is fast approaching! Thank goodness we’ve had all year to work on these–mine has been quite a project with all the hand sewing and patterning and learning new skills. Of my five pieces, one is totally done, two have less than three tasks left to be finished, and 2 are still about halfway completed. It won’t quite be furious sewing, but I do have to keep at it to get it done in time. For now, here is proof that I’ve been making progress!

Starting December 7th, you should check in often with the group on Facebook to see each recreation released side by side with the original Vernet fashion plate. It’s going to be really, really amazing to see these crazy and beautiful fashion plates in 3D form!

Vernet Project: Witzchoura Images

May 12, 2015 ~ TheQuintessentialClothesPen ~ 2 Comments

As a quick recap, I started my witzchoura research journey here, being confused about how the word was spelled. After sharing that with you, I moved on to look at basic witzchoura definitions and then further witzchoura references, but I haven’t really shared images of witzchouras with you yet, so that’s what this post is going to focus on.

Out of the thousands of pins on my historic clothing Pinterest boards, the images below are the only ones I could find that specifically mention that they show a witzchoura. (Never fear, I’ll be looking at not-quite-witzchouras in a future post.) If you know of any other images that specifically name the garment shown as being a witzchoura please let me know!

I find it interesting that two are yellow and two are blue. Also interesting that all the furs that are depicted are textured or downright weird (like the first one with the flower-fur… what is that?). However, in terms of materials there is variation: one of merino (wool), one of reps (could be wool, silk, or cotton, according to the OED), and two of velvet (fabric content unknown, though wool, silk, or cotton would seem to be likely).

b2e293cd8d6787e52979911acc6c3539 — Costume Parisien, 1812

pictura2009%5Cs_a_55466_000 — Costume Parisien, 1813

49a82ad6569f70e121aebe638e857efd — Costume Parisien, 1818

1ec484b324c9135cf9d6934f28eb8dfd — Costume Parisien, 1820

Vernet Project: Merveilleuses & Incroyables

September 16, 2014 ~ TheQuintessentialClothesPen ~ 5 Comments

Really exciting things are secretly brewing amongst an international group of historical seamstresses, tailors, and costumers. They are strange, beautiful, unusual, fun, just plain weird, and detailed… and they are coming to life in 2015!

Join us on Facebook and look forward to more tantalizing posts here and around the historical clothing and costuming blog-world as we research, sew, and prepare to unveil this amazing project in December 2015. Do you Vernet?

HSF #20: Finally Finished 1822 Walking Dress

October 6, 2013 ~ TheQuintessentialClothesPen ~ 7 Comments

…It’s only been a year! Or pretty close to a year. I posted an overview of my early 1820s project last November. The project included a petticoat, 1824 ball gown, 1822 walking dress, muff, tippet, bonnet, and chemisette. Some of these things are still in the UFO pile or on the to do list, but I’m super pleased that this post is about the completion of the 1822 walking dress!

The image below is my inspiration for the now complete walking dress. I wore it last December to go caroling outside before Fezziwig’s Ball, but at that point my time had run out and though the construction was complete there was no trim. Below the image of my inspiration is an image of the walking dress as it looked last December with no trim. And below that is an image of the now completed walking dress with trim! It certainly fits me better than the hanger, but you’ll have to wait a few months to see it on me.

19562579602401776_TvaRkZoN_c — Promenade Dress. Ackerman’s Repository. December 1822.

December 2012. Unfinished early 1820s ensemble.

Before I share some close ups of the trim and construction, let me share the facts:

Fabric: 4-5 yds of dark pink wool, 4-5 yds of ivory super soft and thick cotton twill, 1/2 yd-ish of lavender polyester velvet, 1/2 yd-ish of lavender silk shantung, and a bit of canvas for the collar.

Pattern: Adapted from my 1822 green ball gown pattern, I think. It’s pretty much exactly the same except that it has a higher back, collar, and sleeves. The ball gown pattern is based off of a pattern in Janet Arnold.

Year: 1822.

Notions: Pink and lavender thread, polyester batting in the hem, and hooks for the waist.

How historically accurate?: Very, having used modern materials and a few very nice looking modern fabrics . The pattern is from Janet Arnold, so you know it is good on accuracy and the trim scale and pattern is taken from a fashion plate from 1822. As a historic costume I give it 98%.

Hours to complete: Oh goodness… I’m sure the main construction took at least 40 hours and the trim took probably 50ish hours to cut, press, and hand sew. I didn’t keep track at all on this project.

First worn: To Fezziwig’s Ball in December 2012, though with trim it will debut at Fezziwig’s Ball in December 2013!

Total cost: $40 perhaps?

Ok, now for the trim and construction shots.

Top of the sleeve. First I had to sew the bias into a tube so the raw edges would be finished and the bias could “float” without having to be sewn down all along the edges. Then I tacked the bias tubes in a zig zag then crossed and tied other zig zags to get the finished pattern.

The front. The pattern looks very much like an oak leaf to me. The bias is stitched in a tube with the raw edges showing on the back, then the edges are stitched down all around to create the pattern.

The sleeve. The bias is stitched on the same way as it is on the front. The motifs are sewn on the front of the arm rather than the outside.

I actually had forgotten that I’d taken these construction shots. In fact, I had totally forgotten the method I had used to construct my sleeves until I saw the picture again! These pictures where the wool looks more pink than maroon show the color best. It’s really much more vibrant, and much less brownish, than some of the pictures make it look.

The canvas pad stitched into the collar before sewing the pieces together.

The top of the sleeve before the gathered sleeve top was sewn on. I didn’t want to waste wool where it wouldn’t be seen, so it stops part way up the lining, then the gathered cap is sewn on and hides the raw edge of the wool.

The lining is stab stitched to the wool at the cuff.

And just in case you want to read more about my entire project from the early 1820s, here’s a link to that category of entries on my blog. As I continue to finish up other bits and pieces I’ll keep adding them to that category, and it’s neat because the category filters only those posts so there’s a nice continuity.

Surrender!

August 18, 2013August 18, 2013 ~ TheQuintessentialClothesPen ~ 2 Comments

…to the costuming peer pressure…

The short explanation of the crazy is that Kendra, of Demode Couture, has started an 18th Century Court Ensemble Sew-Along. The longer explanation of the crazy is written by Kendra herself, here on her blog.

I’m talking about it on my blog because I’ve submitted to the indirect costuming peer pressure and joined in! (You should too…) I’ve got my fears about my participation (I spent about two days debating my decision to join in!): I’m unlikely to have a relevant event to wear a court gown to (unless I make one!), I’m not super confident in my ability to get 18th century “right” yet, and I don’t want to spend mounds of money on this project (which you could so easily do!).But… I want to participate! So, I’ve found some cures for my fears and committed, in a thoughtful and careful way, to the crazy.

This is the gown I’ve decided on. It was a hard choice! But it’s a good choice for me, because I’ve already got pink silk in the stash that I bought back in January with the intent of making “an 18th century something” perhaps, so that takes care of the bulk of the materials (and the cost). So I’ve just got to procure the trim materials and accessories. I’ve already found the things I want, but I’m going to wait a bit to purchase them and get started on the sewing, so stay tuned for more posts about that in a few months!

e97cee6a74d1756827c28213e6397915 — Grand Duchess Maria Feodorovna by Roslin, wearing the Star and Badge of the Order in 1770. (I’ve also seen this dated as 1777.)

c628b97dc89626f6577689f549884f42 — Slightly different version of same painting. Included in an article about Women’s Imperial Court Costume In Imperial Russia.

I also considered these other gowns, but decided against them in the end.

2b3135733bdb0420963a1a7c04afd51a — Robe de cour from Les Arts Decoratifs

I love this robe de cour! It looks more like fancy dress than a court gown to me. I can imagine it as “Snowflake” or “Winter” or “Snow Queen.” I seriously considered this one… but I don’t have any of the appropriate materials in my stash right now, and the cost of the materials I wanted to use was more than I wanted to spend on this project. So I’ve added this to my list of “things I eventually want to sew.” I can even envision it as fancy dress in the 19th century with a different skirt shape… a bustle gown, perhaps? I just love that the triangles look like icicles, and the diagonal trim looks like snowflakes… It’s pretty ridiculous!

4af7326884f958d2409f5320c53b6e7b — 1795 – Caroline, Princess of Wales

Then there’s this absurd looking court gown from the very end of the 18th century. I love the periwinkle color, the tassels, and what looks like chain (wouldn’t that be fun to figure out!) edging the poofs. It’s pretty silly. But again, I don’t have any appropriate fabrics in my stash…

25e7c98dcf6e7807e2e4806bdbfd1107 — Robe de cour from Les Arts Decoratifs

I like this last one, too, although not as much as the first two. I feel like this would be a great use of an iridescent shot silk, at least for the green part. I like the fur trim, and the gold, but I’m just not overwhelmed by awesome-ness.

The choice was made more difficult by the fact that other people have already “claimed” certain court gowns they want to make, and the idea is that no two dresses are the same. (So I might have had more options, but they’d already been claimed!) You can see what other people have picked and keep track of all the court ensembles being made on Kendra’s blog: Demode Couture. There are at least 30 people participating so far and lots of pretties have been chosen! These are my favorite gowns from among the ones that are already claimed.

ef20e9a8894c14ec10b57fac190c75fc — 18th century robe de cour. How to achieve those fantastic waves? But I do love this one!

183fec6f65f70eced493dc859b7a9326 — 18th century robe de cour. This one has great waves as well! Lovely.

Kendra already did a post on 18th Century Court Gown Basics that’s a great introduction to this oddly specifc class of garments, and I’m sure more information will be coming over the next year from all of the participants.

1815 Tree Bonnet (HSF #7)

April 10, 2013 ~ TheQuintessentialClothesPen ~ 11 Comments

You know how sometimes the best laid plans are waylaid by life? I had every intention of finishing this bonnet before the HSF deadline of yesterday, but along the way got side tracked by life and made conscious choices to do other things with my time instead of bonnet-ing. Oh well, it happens to the best of us!

1815 bonnet (the more interesting side).

I made this bonnet to coordinate with my new Regency Tree Gown (which is why I’m calling it the Tree Bonnet). Lucky for me, it also fulfills the HSF Challenge #7: Accessorize and will coordinate with other items already in my closet (such as my 1819 brown spencer). I’ll be wearing the new gown, the spencer, and the bonnet this weekend for the Regency Dance Intensive, along with a lot of other Regency things, so be prepared for lots of pictures next week!

The facts:

Fabric: Silk twill, changeable silk taffeta for trim, and china silk for lining.

Pattern: Created by me.

Year: 1815.

Notions: Four approximately 8″ pieces of sage green polyester ribbon, a spray of wired millinery flowers, about 1 1/2 yds of navy silk ribbon for ties, about 3/4 yd of navy grosgrain ribbon for inner band, buckram for the base, millinery wire, cotton flannel for mulling, tacky glue, and thread.

How historically accurate?: 95% I’d say. There are a few polyester things, but the overall shape, impression, and majority of materials are accurate.

Hours to complete: 28? Hand finishing and trimming takes a long time, especially on hats, because the angles are weird, so it’s a slow process.

First worn: Not yet, but will be worn this weekend!

Total cost: $6ish for the silk twill bit, the green silk and china silk are remnants from other projects, the polyester bits are old and from the stash, the millinery flowers were from the stash, the buckram was maybe $4, the wire was probably $2… so about $12? I didn’t buy anything special for this bonnet, it’s all from the stash! Yay! Go me!

Close-up of the pleated silk trim and rosette-like decoration. You can also see the pleats on the side band of the bonnet.

The millinery flowers on the front of the bonnet.

Inside of the brim, looking into the lining and hat band.

This week marks the end of the MpRSW (though I still have one more post to go about that), with the final goal aimed at yesterday, #5: Anything Left! I’d already completed some packing for this goal, and procurement of kite making supplies (yes, there will be a future mention of kites!), but this bonnet also qualifies!

Now let me share some of my inspiration for this bonnet. There are more bonnet images on my 1810s Pinterest page as well.

9b8f7b45f7afff8db618554b973b5eab — From 1815.

Volare digital capture — La Belle Assemblee, Parisian Promenade Hats, July 1816.

cf83f2dc91eb3bf303ba9087826b8419 — Costume Parisien from 1814.

5aaaeddcc5533ec69fe92be1e72f8c83 — Costume Parisien from 1815.

In trying to determine length of ties for the bonnet, I looked to some fashion plates that included people in them. Here are some of the best examples I found.

61acb0c35e149289d55017462f06b675 — EKDuncan – My Fanciful Muse: Regency Era Fashions – Ackermann’s Repository 1819

800b11831fa576966952e099671eae3e — Robe de Marcelline, 1812 Costume Parisien

Well, there we are. I just finished sewing that pleated brim trim tonight, and I am glad to be done! It’s slow and slightly painful on the fingers. But pretty, so totally worth it!