Project Journal: 1863 Apricot Evening Gown Part VIII: ‘Of Apricot Silk With Cream Lace And Red Velvet Bows’ (HSM #10)

DONE! I am so glad to be done. I’m also excited to have a new dress (and, despite the challenges and worries along the way, one I like the look of! YAY!).

I’ve kept you waiting to see photos of the finished dress. Life got a bit busy after the ball and then I wanted to share my final sewing details with you. But now it’s time to introduce you to Genevieve, my 1863 Apricot Evening Gown, also known as the Orange Monster for the last few months. Here she is!

I’m excited that this dress qualifies for the October HSM challenge.

Details: Sometimes the little things really make something fabulous. Focus on the details of your garment, to create something that just gets better the closer you look.

This dress is definitely one of those garments! I’ll explain and show you lots of reasons why in these finished photos, but there are currently seven other posts in this series sharing tons of details about the planning, patterning, sewing, and trimming process as well.

First, the facts:

Fabric:  6 ⅔ yards of apricot silk, ½ yard of dark red silk velvet, approximately ½ yard of ivory tulle, muslin scraps for hem facing, a scrap of canvas for stiffening the waistband, and about ½ yard of drab cotton for flat lining.

Pattern: It originally came from Janet Arnold’s Patterns of Fashion 2 but has been adapted over the course of a few dresses.

Year: 1864.

Notions: 25 yards of 3 ¾” lace, 2 brooches, 3 yards of ⅜” polyester ribbon, a few plastic cable ties, about 1 yard of bone casing, a variety of hooks and bars, and thread.

How historically accurate is it?: 95%. A few substitutions of modern materials exist but aside from that it’s pretty much as close as I can get.

Hours to complete: 57.

First worn: September 28, 2019.

Total cost: $112.78

The cost breakdown is as follows: $66 for the silk (local discount store in 2016), $12.50 for the velvet (WM Booth Draper in 2011), ~$2 for the tulle (local discount store in 2011),~$1 for the drab cotton (local discount store in 2018), ~$15 for the lace (Debs Lace and Trims in 2019), $6.28 for the brooches (Etsy in 2019), ~$6 for the ribbon (Farmhouse Fabrics in 2019), and we’ll say $4 for the scraps and other notions since they’re from the stash, reused from other projects/mockups, or used in very small quantities.)

Visible details, you ask? Well, in addition to sharing so many other details along the way, the finished dress has many visible layers of details. The most time consuming detail is the hand sewn 3 tiers of lace ruffle/silk scalloped & pleated trim around the skirt. This detail alone took 17.5 hours. There is a whole post dedicated to this aspect and the details that went into it.

That form of decoration is continued on the bodice sleeve caps. Here’s a closeup where you can see the pleated silk. It is meticulously hand stitched with tiny stitches everywhere it is used.

Another layer of detail is the bertha and sleeve caps. Those have tulle, gathered tulle, and lots of velvet details. My last post explains how these are made.

I found the sleeve caps to be rather unusual amongst dresses from this period, so I was pleased to find this fashion plate which has a similar look.

(This next one is a great ‘I’m plopped and tired of standing’ photo!)

And as for details, let’s not forget the velvet bows in addition the velvet trim. Especially that oversized skirt bow! I also spent quite a bit of time looking for the gold brooches to go on the velvet bows.

Aside from the photo above I don’t have many directly front facing photos of this dress–I guess I did a lot of my posing at an angle–but here is one that is slightly less angled and gives the full effect of all the trimmings.

I was super pleased to wear my American Duchess burgundy satin Amelie shoes with this dress! They matched my velvet trim quite well and were fun to have peeking out from under the giant skirt. It’s such a fun piece of history to have contrasting shoes that actually match your dress! Yay! You can see them in this next photo.

The venue we were in for the ball not only had a number of fabulous staircases leading to the ballroom but also many photos of generals and other military figures from the Civil War. It seemed fitting for this period of dress even if they do occasionally seem to be ‘photo-bombing’! Here’s an example. I love this photo! But does the painting look amused, or disapproving? Hm…


I’ve got a post coming up specifically about my grand crown hairstyle as well as a few photos of the ball in general. For now though, thanks very much for bearing with me through this project! I’ve appreciated your encouraging words and excitement about seeing the finished product!

 

Project Journal: 1863 Apricot Evening Gown Part VII: Finishing Details

Next post will be photos of my finished apricot dress… YAY! But first, I have the final finishing details to discuss. Most of the finishing left was on the bodice, so let’s start with that.

Bertha

Side note: have we ever talked about what a bertha is? A bertha is a collar of lace or other thin fabric, particularly popular during the 19th century. Check out this link to learn a little more about the history of the word.

In my last post, I included a photo showing the assembled front of the bertha for this dress before I attached it to the bodice. My goal was to make the bertha completely separate so that it would be easy to change if I decided to do that at a later time.

The foundation is a single layer of ivory tulle cut to the shape of the front (and one for the back) of the fully assembled bodice. A gathered piece of my lace trim was machine stitched to the bottom edge of the tulle, about ½” up from the cut edge.

On top of that foundation is a second layer of tulle that is gathered at both the top and bottom edges. The top edge is folded under by about ½” and the gathering stitch run through both layers so that the top edge is a fold rather than the cut edge of the tulle.

It took quite a few pins to secure the gathered tulle to the tulle underneath. It was finicky–tulle on tulle… not fun!

And I might have made a mistake while ironing my first foundation piece of tulle. Any guesses about what that was?

Oops! I like to iron with a hot iron but the nylon tulle was having none of that! I had to cut a new piece… and turn down my iron for a bit! The bottom gathered tulle in the above photo shows another failed experiment. That tulle is a full double width folded at the top and gathered top and bottom. I decided it was too bulky and not as elegant and decided to go with my previously explained method of only turning the top to create a fold.

After machine sewing my successful gathered tulle to the base layer of tulle it was time to add velvet trim. The velvet was cut on the bias, both edges pressed under, and then it was slip stitched over the stitch lines in the tulle. I also created velvet bows, as I hinted about last time. This is one of the bows I created before I realized I needed more than I had cut out… oops again!

After recutting my bows, this is the velvet I had left. I didn’t include anything for scale, but the longest piece in this photo is about 6″!

Remaking the bows (or rather, cutting new ones and disassembling ones I had already made) brings us back to where we were in the last post. The old velvet bows had top bow parts and dangling bow parts cut on the straight of grain, but due to my limited fabric I cut out the new bows with bias dangling parts. In the end I’m glad I did, because I think they hang more elegantly than the straight cut version.

Brooches

You might have noticed that the center velvet bow on the bertha has a gold filigree oval on it. In my inspiration it looks like these are buckles or brooches of some kind. I started by trying to use my stash, finding two matching football shaped buckles that I hoped could work. But the more I looked at them the more I didn’t like them.

So I spent a long time looking for something else low-cost that would work. Ideally, I wanted two sizes of the same style, but that quickly proved to be hard unless I wanted smallish very sparkly rhinestone buckles. But of course the scale of this dress is not small. Eventually I found the right search terms to find open centered brooches intended for creating your own cameos. I purchased these and painted them gold using acrylic paint. Despite being the same size for the bodice and skirt, I think they worked well!

Sleeves

I suppose I should also mention the sleeves. They made it onto the bodice but I haven’t talked about them at all. They are cut on the straight of grain and are basically a round-top trapezoid shape, with an outer layer of silk that is larger than an inner layer of my flat lining cotton. The silk was gathered around the bottom and around the armhole to fit. Due to the longer measurement of the silk it rolls up inside the sleeves by about 1″, which keeps the cotton from showing while being worn. Here you can see the poofy sleeves as well as the bertha before it had velvet added.

Oh, but those sleeves weren’t done yet! My inspiration had sleeves that appeared to be droopy continuations of the bertha. This is a detail that is different from all of my previous dresses from this period, so I felt it would be a neat detail to include. It took quite a bit of pondering to decide how to achieve the look and it was something I didn’t feel I could tackle until well into the process when I could see what the bertha and sleeves were doing without the extra layer.

My solution was to create sleeve caps of single layers of tulle with more of my lace and silk pleated trim on top. The tulle rather disappears when worn, giving the effect of floating trim. It’s pretty neat, actually.

Sewing the lace on was easy and relatively fast, as I did it by machine. But the silk… well, I thought I had enough left over from my crazy skirt trimming for the sleeves but those pleats eat silk so quickly! I only had about 75% of what I needed.

It was less than a week before the ball. I had returned the scalloped scissors to my friend so I couldn’t cut more silk. I tried spacing out what I had as much as possible without looking different from the skirt. And I was still short! UGH! Last minute challenges aren’t very fun. I pleated and re-pleated. Got a few more inches covered. Then I decided to harvest some pleated trim from my skirt, from underneath the big velvet bow where it wouldn’t be seen. Not terribly fun, to seam rip something you’ve just made. And the pieces I got were about 5″ in length. But I got them. And I put them on those sleeves. And even though they’re pieced you can’t tell at all and those sleeves got done!

This photo shows the first sleeve in progress, before I realized I didn’t have enough silk trim…

I sewed the sleeve caps on with small top stitches to the outside of the bodice at the armsceye seam. Again, this makes them easy to remove if I want. Also, I’d already set the sleeves… so I couldn’t easily put them into that seam (oops?). In the end, it doesn’t matter that they’re on the outside, because the bertha lace completely hides the armsceye along the top of the sleeve.

Bodice Finishing Details

In addition to sewing on the sleeve caps, I also attached both the front and back bertha layers to the bodice.

I finished my eyelets and ran the lacing ribbon through the top half. I find that 3 yards of ribbon allows me to leave the ribbon laced through the top eyelets and still get in and out, which makes getting dressed faster as the person helping me then only has to lace the bottom half of the bodice and tighten the ribbon at the top.

I also made and whipped in a placket. That’s the rectangular piece that’s rather wrinkly in the center of the photo below. While this bodice fits perfectly now, you never know what the future will bring and this will allow for a slight gap (if needed) that will still look like dress fabric and not like underwear.

I added hooks and thread bars to the bertha at the right shoulder, as well as two along the right back neckline to hold it in place along that edge. There is also a hook on the lace to secure it to the lace on the front of the bertha. Once hooked it looks seamless!

The final step was to sew hooks on the front and sides inside the bodice to allow it hook to the skirt. You can see the hook on the boning at the center front in the photo below.

Skirt Finishing Details

The skirt was basically done once I added my giant velvet bow except for a few things.

I added two hooks and bars to the waistband to close the skirt. The narrow hemmed opening is hidden under a pleat and will allow for future changes in waist size if needed.

I added loops to hook the bodice to. You can see one of those on the left. Turns out I didn’t line the side ones up very well (I think this was the very last task late one night on the last night I was stitching), so we added a safety pin at the ball and hooked the bodice to that. The safety pin is visible just to the right of the loop. At some point I need to move the loop to the location of the safety pin. Boo! There’s always something to fix or repair or change once you wear a garment!

And finally, when I added the waistband I also added hanging loops for the skirt. There’s one poking up on the right. These allow me to easily hang the skirt to keep it from getting wrinkled in storage.

And finally… after many, many hours of sewing, this dress is done. I like big projects but I confess to getting a bit sick of this one after sewing on it every day for about a month at the end of the process. Next post will be photos of the finished dress. (And I can report that I was happy with it in the end! Yay!)

Project Journal: 1863 Apricot Evening Gown Part V: Starting Skirt Trim

I have more details to share with you about the Orange Monster, as I’ve recently named this dress. More on the tongue-in-cheek name later… Right now it’s time to talk in detail about the skirt for my new 1863 gown. (Check out Part I for the plan, Part II for patterning, Part III for starting bodice construction, and Part IV for very detailed further bodice construction.)

The trim on this skirt is… immense. Not so much in terms of scale (I think I’d call the scale just large, rather than immense), but in terms of quantity required to circle the 154″ hem 3 times each for both the lace and pleated silk. (For a reminder of what I’m trying to achieve, check out my inspiration image in the first post in this series.)

Not too long ago, the skirt was in this state of trimming. Started, but by no means finished.

But let’s back up. To get to this point, I had to decide what my trims would be. The inspiration clearly has lace, but there is trim above that as well. It sort of looks like a tall beading lace, but I couldn’t find anything of that sort that would work. Other trim types also turned up nothing. Plus, I wanted to keep the cost down.

So I looked at originals and decided on pinked, pleated, self-fabric trim to top the gathered lace. Single layer pleats (knife, box, etc.), without spaces between them and without overlap, take 3x fabric, so I used that as my starting point. I did the math and realized I didn’t have enough silk to make enough strips to get 3x fullness, so I opted for 2x instead. I also rationalized that decision with the knowledge that my pleats would be spaced apart, thereby taking less than 3x fabric.

I did a sample of my silk with pinking shears on the grain, cross grain, and bias. I wanted to see how my silk would behave so I could pick the direction of cutting that would fray the least. I found it fascinating that cutting with the grain (the top edge in the photo) was the best option.

My spaced box pleating plan was most directly inspired by these two dresses at the Met: the first is the one that inspired the double piped trim on my bodice and the second is another great example of large scale trim encircling a skirt. When you zoom in on these two dresses you can see that the trim is pinked in little scallops. I only have zigzag pinking shears, but a friend has scalloped ones from our Versailles adventure a few years ago and she was kind enough to let me borrow them. (Also, it turns out that the pinked method was a great idea because it didn’t require using fabric for hems and it didn’t require hemming!)

But… Oh. My. Goodness. I pinked. And pinked. And pinked. I wore one of my knuckles raw and had to wait for my skin to heal before I could keep going… Not to mention the fact that pinking shears seem to always be harder to open than regular scissors (is that related to the not straight blades and more resistance?) and my wrist muscles can’t deal with that for long (spring loaded scissors are my lifesavers!). I wound up with a system where I would open the pinking shears with two hands, then close them like normal, then use both hands to open… Tedious and slow, but hopefully worth it! It was a serious labor of love. And I wound up with a pretty pile of confetti-like strips that amused me.

Eventually, I had about 30 yards of strips scalloped on both sides. I seamed these together and divided them into three pieces–2 of them slightly longer than the others in order to account for the swoop up to the big bow. I was ready to sew!

To sew the trim on (in the sort-of-most-efficient way–if you count circling the skirt 3 times instead of 6), I started by trimming off the very top edge of the lace (and saving the narrow bit for later–it might be good for edging undergarments someday!). This reduces bulk, because the top edge is left with only a bit of net rather than a finished lace edge. Then I ran a gathering stitch by hand along the lace and gathered and pinned that in place. I left that thread hanging and put my needle on another piece of thread, then used running stitches to secure the gathers to the silk. Next, I pinned the pleats in place above the section of lace that I’d just stitched, then used a second needle to stitch the pleats down. I worked in approximately 10″ sections. And went on, and on, and on… yikes that skirt is big!

For the bottom row of trim, I very carefully matched half points, quarter points, eighth points, and probably 16ths and 32nds, too. I wanted to make sure my trim was equally distributed. By the time I started the second row, though, I just eyeballed it. In both cases, the pleats themselves are entirely free form: no measuring. I’m sure there is variation in there, but honestly with so much skirt no one is ever going to know! The pleats are caught in the middle with very small running stitches with the occasional back stitch thrown in to keep the thread from pulling too taut. The pleated trim just overlaps my stitches on the lace. Up close, it looks like this.

Just sewing on the three rows of skirt trim was approximately 14 hours. Whew!

While we’re on the subject of the skirt, let’s just also quickly talk about the waist and hem. Before I got anywhere near sewing the trim on, I’d sewn a muslin hem facing about 5″ high onto the bottom of the skirt, pressed it up, and then slip stitched it in place. I made sure that the stitches would be hidden behind the trim, even though they’re tiny… details, details! The muslin will protect the silk as it brushes along the floor while I’m walking up and down stairs or dancing. It also provides a bit of stability and weight to the hem.

At the top, I added the waistband after putting on the bottom row of trim. I wanted to have the pleats in place in order to determine where the swoop up of the next two rows of trim should be placed. The waistband is silk, faced with muslin on the inside (because I was trying to save silk in any way possible to make my oodles of trim). I added a strip of canvas in there as well to provide stiffness as the silk and muslin on their own were not sturdy enough for my liking.

Here’s the assembled waistband, ready to have the skirt pleated to it. The waistband has the quarter points and my 3″ overlap for center back marked with pins.

 The next step was pleating the skirt. I decided for this skirt to have knife pleats facing the back of the skirt. This is seen on extant dresses and is a style I haven’t tried before. It seemed like it would work for my trim plan.

Pleating is always more time consuming than I expect. It’s hard to get the pleat depths just right and the exterior spaces just right and also fit the correct amount into each quarter of the waistband. One could do lots of math to potentially make it less trial-and-error, but I would rather pin and re-pin than do pleat math. Just saying. To each their own! I’m an eyeball pleater! I made it extra challenging by having that 3″ overlap at the back. That will allow for future variation in size (a goal of mine), but also made the pleating a little extra confusing to figure out, since one quarter of the back was 3″ larger than the other but I wanted the pleats to be the same…

The jury is still out on if I like this pleat style. I might prefer the pleats facing forward, as I did on Eleanor... We’ll see once the dress is done and I look at photos. It’s staying for now!

After the three rows of lace and pleats, there are still more trim bits to think about. There’s a bertha, and that big bow on the skirt, and smaller bows on the bodice as well… so we’re not done yet! Stay tuned!

An Edwardian Island Adventure

Over the summer, my dance group was invited to create a turn-of-the-century atmosphere for a weekend on Bakers Island, off the coast of Salem, MA. Today, the part of the island we were on is managed by Essex Heritage and is home to a lighthouse, but for our visit the idea was that visitors to the island could get a sense of what the island would have been like over 100 years ago when there was a large hotel located there.

We didn’t actually dance, but we played historical games and activities and explained our context to the visitors. They came upon us along various paths during their walking tour.

I wore my 1904 Anne of Green Gables ensemble. This time, though, I had a new belt and I got my hat to behave. It’s supposed to flip up in back, but was misbehaving last time I wore it and was flipped down in back. Boo!

The new belt is green silk covered with the same lace that I used on the skirt. The green isn’t a perfect match to the skirt, but I like that it coordinates without being too match-y. Taking a photo of it also allowed us to capture the subtle lace detail and woven stripe in the fabric of the blouse better than we did last time, which was a bonus outcome.

In between tours, we took some group photos around the lighthouse and the light keeper’s house. The light keeper’s house, in particular, provided us with some really adorable photos. These were provided to us by the light keepers, who keep their own charming blog (currently about their stay on Bakers Island this summer) which you can view here.

Behind the scenes, we needed to arrive before the visitors to set up. Given when boats were available that meant we had to arrive the day before the visitors. There aren’t any indoor accommodations we were able to take advantage of, so it was camping in tents for us. I’m not really a camping kind of person, but thankfully other people had tents to share. Between the modern equipment and food that we needed as well as the historical clothes, games, and amusements, we had quite the pile of luggage for two days and seven people! Here we are waiting for the boat back to the mainland.

A new adventure complete! The croquet set is still in place but the players are gone! Maybe someday there will be others (or maybe us, who knows?) to once again bring history to life on this island.

1904 Anne Of Green Gables Inspired Ensemble

The Background Story

In 2012, I made and wore a c.1900 green skirt and straw hat at Newport Vintage Dance Week. I had plans to make a blouse as well with it but ran out of time and wore a 1913 blouse I already had instead. I wasn’t terribly pleased with the whole look, so I didn’t ever focus on it in a blog post, though I did include it in my overview of the dance week.

At Newport Vintage Dance Week in 2012.

Since then I’ve worn the skirt a few times, but haven’t been able to for the last few years because (and this shouldn’t be surprising given the subject of my last post) the waist was too small!

Thankfully, I had two things going for me that made changing the waist size quite simple. First, I had extra fabric. Second, when I’d originally made the skirt the waist circumference was a few inches too big for the waistband, so I took a tuck on each side of center back. Now all I had to do was let out the tucks and extend the waistband with my extra fabric!

Updated ensemble in 2017.

It took me years to finally get around to doing it, but I’m glad I did, because I really like this skirt and it’s fun to remember the lovely wading adventure we had back in 2012 while I was wearing it! What gave me the final push to do the change was the opportunity for an early summer picnic, for which I had clothes but really wanted to have something new. Who hasn’t experienced that desire?

More About The New/Updated Ensemble

Ducks (and baby ducks) at the picnic!

The picnic provided some lovely backgrounds to take documentation pictures of all the new and updated pieces that form my Anne-inspired ensemble! I ironed out all the wrinkles in the skirt ahead of time… and then sat on picnic blanket before taking pictures, so the back pictures have a rather wrinkly bum.

The Blouse Inspiration

In addition to wanting to update the skirt, I’ve also had that blouse to go with it on my to-do list for years. Instead of going back to the blouse plan from 2012, I started over with new inspiration. (Never fear, the unfinished blouse from 2012 is still in a box waiting for me to go back to it… someday.)

The new inspiration came directly from the scene in Anne of Green Gables when she’s walking down the lane with Gilbert and his horse (just before she gets mad and whacks him with her basket!). I’ve always love her silhouette and decided a blouse with a similar shape would suit the green skirt nicely.

Anne and Gilbert! (And the horse.)

I researched blouses from this period and decided on the year 1904 for my blouse. I was particularly inspired by this ivory c. 1905 blouse, this black c. 1905 blouse, and this blouse that The Met dates to 1899-1902. The idea to play with the direction of the stripes and to have curling lace trim (mimicking embroidery) was taken directly from this page from The Ladies’ Home Journal for April 1904 that Lauren of Wearing History kindly shared on her blog. Other views of some of these blouses as well as other inspiration are gathered on my Pinterest board for this project, here.

The Blouse Construction

My blouse is made of an ivory cotton that is woven with narrow stripes. In the center front panel the stripes are horizontal, while on the rest of the blouse they are vertical. The blouse is trimmed with lace appliqués in the same pattern as the Ladies’ Home Journal blouse from 1904. Unfortunately, all of the subtle ivory on ivory details are hard to photograph.

The blouse is mostly machine sewn and uses French seams except at the armholes, which are left raw. It is finished by hand and closes up the front with concealed hooks and thread bars. There is a twill tape channel for a drawstring at the waist to help control the fullness and the pigeon front.

The silhouette was looking a little deflated for a 1904 pigeon breast look, so I tacked ruffles down the front seams to help fill out the blouse. It’s subtle-but-useful method and was easy since I already had the circular ruffles in my stash.

The Hat Inspiration

The most direct inspiration for my hat was this image from 1903. While I decided against feathers, the general trim placement as well as the poofs under the back of the brim are present in my hat.

There are more inspirational hats here, on my Pinterest board for this project.

The Hat Construction

The hat in the 2012 version of this ensemble was an admirable idea in theory, but not execution. (I was displeased enough that it was remade into my 1885 Flower Pot Hat in 2015.) However, I had another of the same straw base that I decided to remake for the new Anne ensemble.

In 2012, I had used the second straw base to make a Regency bonnet, another project I wasn’t entirely happy with (this is not the right type of straw to get a good bonnet shape). All that needed to be done was removing the trimmings from the hat and taking out the stitching holding the wire around the edge… and I had a straw hat blank ready to be remade into a new hat!

For a hat block, I used a shallow glass bowl covered in tin foil and plastic wrap. I wet the straw base in the bathtub, then used a paintbrush to cover the straw with a layer of my sizing (a bit of elmer’s glue dissolved in water–no formula, I just winged it). I set the hat out in the hot sun to let it dry, holding the edges down with spice jars to keep it from blowing away. (Can you tell I just wandered into my kitchen to see what I had that would work to help me with this hat?)

Reshaped straw hat base next to my improvised hat block.

I tidied up the edges of the hat with scissors, bound the edge of the straw with narrow strips of tulle to keep the straw from fraying, and then reshaped my wire and resewed it around the edge of the hat. I covered these edge treatments with a binding of ivory silk satin, trimmed the hat, and I was done!

The tulle was sewn with a straight stitch. The wire was then stitched with a zig zag.

Sundries

In order to achieve my desired pigeon breast silhouette of 1904, I needed some omph in the back in addition to the ruffles inside the blouse in the front. I tried wearing a small bum pad (about 10″ wide), but then my hips looked sunken by comparison. I determined I needed a new bum pad that would fill in both my hips and backside to help create the illusion I was aiming for.

I also made a new belt to go with this ensemble. I wanted something a little more V shaped in front and a little less dramatic in terms of color. I actually reused the lining from the previous iteration of my new hat to make a new belt. The two shades of green don’t quite match, but they also don’t offend, so I’m pleased.

Instead of a traditional Gibson Girl hair style, I tried a style more like this, with a center part and poofs on each side. It was a bit squashed by my hat, but I was quite pleased with it overall. Unfortunately, I didn’t get any perfect shots of just my hair style. I’ll have to try it again someday and get hair pictures.

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My Favorite Winter Things Skirt

In December last year, I was inspired by a friend to make a Christmas themed skirt. After looking through literally every single the winter and holiday themed cotton prints at Fabric.com, I settled on a print that is not directly Christmas themed. That way I can wear it all through the winter!

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Making the skirt fulfilled one personal goal while simultaneously breaking another. The first goal was that when purchasing fabrics a garment should be made right away, as I did with my winter wool skirt. The other goal was to go away for the holidays without any sewing or knitting project in order to give my wrists a break. But I was so excited about my fabric that I took it with me and started hand sewing the skirt anyway, in a low key way. I didn’t finish it on the trip, but I finished it soon after returning home. At that point, I just wanted it done, so I finished it up mostly by machine.

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I decided to take the pictures on the only really snowy day we’ve had here so far this winter. We’d had a storm the night before with about 6″ of fresh snow that was just begging to be played in and have this skirt as a companion.

I didn’t have anyone to take pictures for me, so out I went to explore the area around my house, finding random objects to support my phone (trash can, bleachers…) and using the self timer. I made a stand for my phone out of a cardboard box and it worked pretty well once I found something heavy enough to anchor the base. As a result of me taking pictures by myself, I have lots of pictures and lots of bloopers, as well as more far away shots than normal, as I wasn’t able to use the zoom feature with the timer.

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I wound up having lots of fun playing in the snow by myself. I bundled up in multiple pairs of fleece lined tights, a wool sweater, and my new carriage boots, amongst other things. The boots did great in the ankle deep snow! My feet were nice and warm and the snow brushed right off (I did spray them with stain/water repellant ahead of time).

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The skirt makes me smile, hence the name of this post. Penguins and polar bears are some of my favorite things, so what could be better than these silly guys having winter fun–skating, sledding, and skiing! Plus, they’ve got winter accessories and fox friends (and igloos!). Some days just need the extra boost of silly. I like to think that the skirt is fun, not juvenile…

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Regardless, I enjoy it. It’s just two widths of 44″ wide cotton seamed into a tube with a waistband and an invisible zipper. The pleating pattern was stumping me, because I wasn’t sure what I wanted to do, but I went looking through Lily’s creations at Mode de Lis (since she often makes such lovely things out of cottons) and decided I liked the pleating pattern of her flamingo dress, so I copied it–flat in front for about 6″, then knife pleated towards the back around each side until center back when the two pleating directions meet. And I like it! It’s different than my other skirts. (She’s got lots of closeups of the pleating pattern, if my explanation makes no sense to you. I would normally have taken pictures of the pleating, but I couldn’t do it myself and I didn’t think pictures of the skirt flat would do it justice. The snowy background is essential!)

I had hoped to have a winter fun day with friends this weekend, but we have no snow, so I though this post would be perfect to remind me that I did take the time to get outside and have some fun in the snow the last time we had some.

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A Winter Wool Skirt

Over a year ago, I was reading this post on Miss Victory Violet’s blog and fell in love with her skirt. I decided then and there that I wanted one for myself a similar style, except in wool. So I went on the hunt and found a fabric I thought would do the job back in October. I was determined not to let is languish in the stash as many of my fabric purchases do and so over the Thanksgiving holiday weekend I made a skirt! I’m very pleased that I made something so shortly after the buying the fabric, especially a modern garment.

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The fabric is brown and grey herringbone with a light windowpane in red, pink, and blue. As you can see, the colors blend into more of a subtle texture than you might think when viewed from a normal distance. It’s perhaps more grey than I was envisioning, but that just means a more true brown skirt needs to be in my future, right?

The skirt closes with an invisible zipper and a button tab on the waistband. I did a rather good job matching the pattern while cutting and sewing, I think!

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The skirt is a full 3/4 circle, divided into six gores in order to keep the windowpane under control. I took the time to bind each edge with taupe hug snug, as well as the hem and around the pocket bags. It certainly added time, but makes for such a tidy interior!

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Pockets! The skirt has lovely in seam pockets. I had to get a picture showing them off in use.

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In order to help it keep the skirt keep an A-line shape, I’m wearing a recently acquired petticoat with it. I was inspired to get the petticoat after wearing my Bubble Dots skirt for modern life and feeling that the skirt was too limp. I had saved Lily’s petticoat comparison and went back to it to see what new inspiration I might have. I was re-inspired by her vintage petticoat and set off on a search to find my own for a reasonable price. There are actually sooooo many pretty vintage petticoats out there, but I stayed on track and only purchased the one, which is a slightly stiff netting. The elastic at the top was totally dead, but it was too small for me and too long anyway, so I cut off a few inches at the top, made a new casing, and inserted new elastic. Voila!

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I’m very pleased with the subtle shape this petticoat provides. It’s enough to make my fuller skirts look A-line and more flattering, but not enough that a modern person would think that I’m wearing a petticoat!

And the skirt? It’s great fun to wear. Such a nice, swishy shape. And it’s warm! Perfect for cold winter weather. Especially when worn with my somewhat new Victoria carriage boots! (They’re subtly making an appearance in the first picture and will be making more appearances. I’m wearing them pretty often!)