Flounced 1860s dresses seem to be pure confections: cupcakes iced with lace and frothy ruffles. That is the vision in my mind while I was looking for inspiration for my latest crinoline dress.
I already made one 1860s dress for myself. Named Belle, it is a dark blue satin and velvet gown with a three tiered skirt. It’s very heavy and a dark color: neither of those two features seemed fitting for a summer ball in temperatures around 80 degrees! And so I decided to create an all new gown… in my head this one is named “Annabelle.” (I hope you are also amused by the name!)
As you can see, there is one crucial element missing… the pink flowers! My goal is to make the flowers by hand from silk organza and to be perfectly honest, I ran out of time. I just decided to wear the dress as-is and finish the flowers later. I also ran out of time to bone the front, as you can see by the wrinkles along my tummy. No worries though, as I’m sure I’ll be able to wear this gown again.
In order to be to light and breathable, Annabelle is constructed entirely of cotton. The skirt has a medium weight cotton foundation to which cotton voile flounces are attached. The bodice is three layers of cotton for the sake of being opaque: two of medium weight cotton and one layer of voile. The layers are flatlined together and treated as one piece. The flounces on the skirt and bodice are cotton voile edged in narrow white lace.
This gown was flat patterned using research from books by Janet Arnold, Norah Waugh, and Kristina Harris. View this post about patterning from my Project Journal: Women’s Tailoring to see which titles I used and get a smidgeon of bibliographic information. The skirt pattern is fairly simple: a big tube cartridge pleated at the waist. The bodice has narrow v-shape seams front and back with puffed sleeves and a flounced bertha. It is worn over a chemise, corset, double thickness bum pad, hoops, and petticoat.
While this dress is eventually intended to be a reconstruction of the dress in the 1859 fashion plate above, I was also inspired by these other, similar fashion plates for further information. Enjoy!
Oh my goodness my 1883 tailored bustle dress and undergarments are finally finished!!! YAY! Let’s glory in the beautiful pictures and the fabulous clothes… Since I can’t decide which pictures I like best, you get to see more than a few.
Finally, here are some pictures of my fitting for my 1913 tailored look!
We’ll start here, where you can see the mostly dressed view. This look is a tailored suit from 1913. In the picture you can see the pleated skirt. I actually wound up making the finished length longer than I originally thought I would.
The skirt is worn with an Edwardian blouse featuring cluny lace, pin tucks, pleats, and pleated cuffs.
To the right you can see the look with the unfinished jacket and hat. The jacket still has a mock-up collar and at this point there is no facing, so the interior canvas is visible on the lapels of the jacket.
This period is a strange mix of Victorian holdover clothing (like the blouse) and 20th century clothing (the tailored suit).
Under the skirt are undergarments that have slimmed down since 1883 and 1903 while still remaining numerous and Victorian in principle. On the left you can see the full length chemise which still features lace, pin tucks, and silk ribbon. The silhouette has narrowed considerably from the Victorian shapes of the 19th century, but the whole look is Victorian, not modern. The corset is much longer at this time, but the bones stop about four inches above the bottom edge so that movement is not impaired. This corset is constructed of a silk/linen blend that is flat lined with coutil. The seams are flat felled on the inside. It is edged in the same fabric cut on the bias. The top edge is also edged with lace and silk ribbon. To the right you can see the corset cover for this look: simple and straight forward, with just a small edge of lace. There is also a matching fabric petticoat for this look. The petticoat (or underskirt) is edged with a pin tucked ruffle and finished at the bottom with matching embroidery. It closes at the waist with a hook and eye. The chemise, petticoat, and corset cover are all constructed of the same ivory cotton.
Let’s start at the outside and work our way in. The exterior “suit” is two pieces: a jacket and walking skirt. Both layers are constructed of fairly heavy wool, so tightly woven it is almost like melton. Melton is a felted wool frequently used for outerwear and constantly used historically for it’s water resistance and ability not to fray–thus allowing tailors to leave their cut edges raw and not finish them with time intensive seam finishes. The walking skirt is intended for use out of doors: specifically for talking walks (hence the name) and promenading about in the public eye.
Under the jacket is a silk crepe blouse with a lace yoke, collar, and cuffs. If you look closely you can see the three points of the lace yoke on the blouse. The blouse is pulled off-center in this picture because of the alterations I needed to make-only one side has the alterations pinned.
Under the skirt there is a cream colored lace edged silk shantung petticoat. The petticoat has two circular, gathered ruffles at the bottom. The top ruffle has a wavy hem edged in lace and the bottom ruffle is edged in matching lace. There are also arches of lace above the ruffles.
There is also a cream colored corset cover that is not pictured in these photos. This s-shape corset is made of green silk shantung flat lined with coutil. The seams are flat felled on the inside. The edges are bound in bias cut shantung and the top is also edged with white lace threaded with pink silk ribbon. Under the corset is a cotton combination that buttons up the front. A combination is an undergarment that is functions as a chemise but has bifurcated leg openings, like drawers. This pair is edged in white lace at the leg openings and neck edge. The neck opening is threaded with a green silk ribbon to coordinate with the corset.
I’ve put together my actual fabrics! First to fit is my 1883 undergarments. These garments are essentially finished and ready to be worn.
The first layer is a cotton chemise with intersecting zigzag pattern lace insertion at the hem and simple lace edging around the neck opening and armholes. The tie is navy silk ribbon.
The corset is blue cotton twill flatlined with coutil for stability and grey silk shantung boning channels. The top is edged with black lace and off white silk ribbon. The bust also features cording across the front panels as well as flossing at the top of the boning channels.
It’s hard to see the corset detail in the first picture, so here’s a close-up. You can actually see the cording in this picture. The waistband is decorative as well as helping to cinch in the waist. The top and bottom of the corset are bound in bias silk shantung.
Here’s a small back view as well. It looks like I could have laced the bottom half a little tighter!
The next layer is the cotton corset cover with pin tuck decoration and navy silk ribbon threaded through lace around the neck. The front closes with pearl buttons down the front. You can see the corset cover detail in the two pictures below
After the corset cover is the bustle itself! It is constructed of off-white striped cotton with hoop steel bones inserted into the horizontal channels. The bottom is finished off with a nice box pleat.
Back bustle view on the left!
On the right you can see the pin tuck detail on the corset cover.
After the bustle comes the petticoat! It is constructed of cotton with lace edging. Here’s a front and side view. You can also see the pin tuck detail on the corset cover in the front view bustle picture.