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18th Century Riding Ensemble – Photos

I’m excited to post these – it’s been a while since I’ve had photos of a finished costume to share!

I’m really pleased with these pictures. There were a few issues with the hat and wig, but overall I’m thrilled with how it came together, especially since this was my first time having the entire costume on.

These photos were taken during a pretty intense blizzard (I posted a short video on Instagram that shows how hard it was snowing) and though I love the contrast of the jacket against the snow, I think it hid a lot of this costumes details. I still really like these pictures, i’m just not sure all my hard work shows in them. Because of that I plan on getting more photos of this ensemble in the future – including some that show the dress that goes underneath this project!

Speaking of that, I realize that I still haven’t blogged about the dress worn with this project. The dress is technically finished, but i’m not completely happy with it, so I think i’ll hold off on writing about it until it’s been fixed up. However I have blogged about making the jacket and hat which are the real stars of this ensemble!

Here are the photos!

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Thanks for reading! Another update on my Plaid Walking Ensemble should be up tomorrow!

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Making a Tricorne Hat / 18th Century Riding Ensemble

Making a Tricorne Hat / 18th Century Riding Ensemble

This post will make more sense if you’ve seen my post about making an 18th Century Riding Jacket, since this hat was made to go with that piece.

This hat was an adventure. It had a lot of ups and downs, but I think the most difficult part was figuring out how big it should be. The ensemble this project is based off of is worn with a very small decorative hat, which I like. But I didn’t think it would flatter my wider frame/face and the proportions of the rest of the costume.

Making a full sized one didn’t hold a lot of appeal either, that seemed too practical to go with the heavily beaded jacket. So I split the difference and made a medium sized one. I don’t love everything about this hat but I am happy with the sizing of it, so i’m glad I took so much time to think about that before getting started.

This is the pattern I came up with for the cap of the hat. I started by drawing out the top then fiddled around with strips of paper until I got a shape I was happy with.

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I cut out both pieces from buckram and marked the seam allowance onto the piece that makes up the “taper” (sides) of the hat.

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I clipped the seam allowance at the top edge of the taper, then pinned it to the crown of the hat.

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And sewed it down with a ton of upholstery thread.

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Then I covered it with two layers of quilt batting to round out the shape.

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Now it was time to cover the cap with wool. This step made me think back to some wet moulding tutorials I saw a while back, which gave me the brilliant idea to wet the wool and mould it over the cap. Then I wouldn’t have to worry about seams or gathers at the base of the hat.

If I had taken a few minutes to actually google those tutorials, or to think about this idea for more than thirty seconds I might have realized how stupid this plan was. Because the wool i’m using isn’t felt, so it doesn’t stretch, even when it’s wet. But you know what does stretch when it gets wet? Buckram.

The wool quickly dampened the buckram and the tension on the pins securing the wool to the buckram caused the buckram to bunch up at the sides and even disintegrate at points. I tried to salvage it by pinning it to a wig head, but the wig head was too small. It was a complete mess.

I ended up with this lumpy, uneven thing. But I didn’t want to redo it because I had limited quantities of wool and buckram. So I moved forward and hoped it wouldn’t be obvious in the end.

The best part of this whole thing is that a week later I came across a pre formed buckram hat base which was the exact size and shape I was going for. If I had remembered it’s existence a week earlier I would have saved myself some frustration and have a significantly less lumpy hat!

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I set the cap aside for a bit and drafted the brim. This part was pretty tricky, I made three or four attempts before coming up with this which still isn’t perfect but worked well enough.

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I cut it out from felt weight interfacing, then sewed wire into the edges so I would be able to shape the brim.

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I covered the top side with wool then basted it down a quarter inch away from the outside edge. The outside edge will be finished with bias tape later on so it doesn’t matter, but I folded the inner edge so it’s on the underside of the brim.

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Then I sewed it down.

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And I sewed the cap to the brim. This was a pain since the buckram had warped to a point where it really did not want to fit in the opening.

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The end result was pretty bad but at this point I had invested so much time into it that I felt I had to finish it.

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So I moved forward! I pinned wool to the underside of the brim and sewed it down with a mixture of whip stitches and basting stitches.

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Then I sewed up the back seam and sewed bias tape around the outside edge of the brim. This bias tape was made from a mottled gold brocade which matched the beading on the jacket nicely.

By some miracle the hat looked pretty decent once it was folded into the tricorne shape. I think the front is a little bit long, and the sides could be shaped a little bit differently, but this was a way better result than I was expecting.

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To jazz it up a bit I sewed sequins onto the bottom half of the bias tape, then I sewed on a thin gold ribbon a quarter inch below that.

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I had four inches of lace left after finishing the jacket, which was just enough to add this decoration to the right side of the hat. I trimmed the lace with sequins and beaded it using the exact same method ghat was used on the jacket. Then I added a beaded tassel and a button.

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I still wasn’t super happy with how the sides of the cap looked. So I used my usual method to fix this sort of thing which involves adding stuff until I like the way it looks. On the left side I added two home made chiffon flowers that have fake pearl centers and two bleached peacock feathers.

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The other side has three ostrich plumes – two in a peachy color, and one that’s white. The base of the feathers are hidden by another chiffon flower, which has a gold floral cameo center.

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And another photo of the lace detail on the side because that’s my favorite part!

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I also covered the seam at the back of the hat with gold braid and added sequins to the top side of the centerfront.

And that’s it! The hat is finished.

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The underside isn’t too pretty since my attempts at lining it ended badly. Eventually I decided that it didn’t matter since the wool doesn’t fray.

The saftey pin is there so I can hang the hat on my wall – it doesn’t have any structural purpose, I just forgot to take it out!

The plastic comb was a late but very necessary addition to the hat. When we were taking photos of the finished ensemble the hat was a bit of a fail, it had no way of staying on my head and I didn’t have enough range of motion in my arms to pin it to my wig after I got the dress on.

The hat refused to stay where I wanted it and fell off so many times that the brim got really bent out of shape. Which was easy to fix, but not something I noticed when we were taking the photos. So the hat isn’t sitting properly/shaped properly on my head in most of the photos which is dissapointing.

But thanks to the comb that will not a problem when I wear it again!

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Here is a photo of how it’s supposed to look when its worn. Obviously the hair and styling isn’t right, but you can get an idea of the shape! I think it turned out really nicely in the end, which i’m pretty amazed to be saying since the construction process didn’t go very smoothly.

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And here it is worn with the finished ensemble! I don’t think the snow did a lot of good for the hat – the feathers kind of deflated, and the decorations are hidden by snow. But it adds a lot to the outfit and i’m excited to get more photos of it in the future!

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And the last thing I wanted to mention is that I bought an accessory to wear with this costume – it won’t be visible when the whole thing is worn, but the color was so perfect that I couldn’t resist. These are clocked stockings from the American Duchess store. They are so pretty, and red, and pair with this so nicely!

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And that’s it! The full photoset of this project should be up next week!

 

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Making an 18th Century Riding Habit / Riding Jacket

Making an 18th Century Riding Habit / Riding Jacket

I’ve been in a pretty serious relationship with this garment for the past three months so i’m really excited to FINALLY be sharing the process and finished piece with you guys.

This is going to be a really long post so i’ll start with an image of the finished product, hopefully that will give you the motivation needed to make it to the end!

Isn’t it beautiful?

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Let’s go back to the beginning. At the start of 2015 I came across this painting of Sophie Marie Grafin Voss by Antoine Pesne and I fell in love. I’ve always been a fan of the structure and details on 18th century riding habits, but i’ve never seen an image of one that really inspired me until I came across this.

Although the beading and details are beautiful, they are also ridiculously impractical, as are the short sleeves and deep neckline. But that’s what I like about it. It’s very different from most of the riding habits* you see and it perfectly combines the traditional frills and details you’d find in an 18th century women’s wardrobe with the very structured menswear inspired design that riding habits are famous for.

So I decided to make it something similar to it.

 *This isn’t really a riding habit. I’ve titled this post that way because it’s the most common term for riding jackets which is what this garment actually is. Riding habits were a combination of matching garments worn for riding. This is just a riding jacket paired with a more traditional 18th century dress.

In December I finally began work on the piece.

The first step was drafting the pattern. This was surprisingly easy since I used the pattern I made for the bodice that goes underneath this jacket as a guide. I changed up the seaming a little bit, lowered the neckline, added larger seam allowances, lengthened each piece by a lot, and made the pieces wider to the bottom so the skirt of the jacket would have a lot of volume.

I also changed the pattern to have a front closure instead of back laces, since those obviously wouldn’t be appropriate for a jacket!

This is the altered front panel.

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Side panel.

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And back.

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I did not make a mock up for this jacket. Mostly because I didn’t have any fabric around that was thick enough to create an accurate mock up (muslin does not lay the same way as heavy wool). But also because I was feeling pretty confident about the pattern since the bodice I based it off of fit really nicely. And since the jacket was patterned with 3/4″ seams I could let it out pretty significantly if it was too small, and I could always add gores to make the skirt of the jacket bigger.

So I laid all the pieces out onto my wool melton fabric and cut them out. I packed the pieces as tightly as I could on the material since I was a little bit worried that I might have to recut some of them and wanted as much material as possible to be left over.

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Front panels…

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Side panels…
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And the back panels.

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I sewed together the back panels first, backstitching and cutting the thread just below the waistline so the bottom eighteen inches of the seam was left open. The seam was pressed and the unsewed edges were folded inward by three quarters of an inch. Then I sewed the edge down so there was a finished slit at the back of the jacket.

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Then the side back seams were done up. I was really pleased with the draping at the back, even though it looks a bit wonky on my dress form.

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I pinned the shoulder and side seams up and did a quick fitting of the jacket overtop of the panniers and stays. It fit well enough but there was a lot of bunching at the waist since I hadn’t accounted for the angle of the panniers. This was easy to fix, I just added a horizontal dart to the waistline.

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After another fitting I felt comfortable moving forward. The jacket seemed really large at the side seams but I didn’t want to take it in right away since I knew the embellishments on the front of the jacket would stiffen it significantly and change the ease and fit of the front panels.

I drew the trim pattern onto the front panels with chalk. Unfortunately I couldn’t get them spaced perfectly, or as far apart as they were in the reference photo.

After another fitting I realized the lace needed to extend farther down. If i’d noticed that initially I could have spaced them farther apart and made them look a lot better. But I didn’t. And by the time I noticed the problem my only option was to add a sixth strip of trim to each side.

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Speaking of the trim! The one i’m using is from the seller LaceTime on etsy. It was four bucks for two yards and I used four yards in total. Traditionally braided trims and cords would be used on riding jackets but since this one is so fancy I decided to go with lace instead.

I should also mention that I chose to make the detailing of this jacket gold instead of silver (which is the color it probably was) because I thought it looked more striking against the red.

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Here the lace is sewn on to one side, and pinned to the other. Since the spacing was off on my jacket this lace ended up being too wide. So I folded the edges inward to keep it inside the lines I marked.

I may have accidentally sewn some of this lace on upside down and not noticed until the jacket was almost finished. Oops.

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Since the edges of the lace were folded over they looked really bulky. The lace also wasn’t super even since it was difficult to precisely fold the edges over. The end result looked pretty sloppy, and I wasn’t happy with it at all.

So I decided to add an extra step to the embellishment process. I densely stitched sequins around each edge of the lace and overtop of any gaps in the lace where the base was visible. I did this with red thread so it would blend in with the material and better integrate the lace with the  fabric.

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This took forever. So many sequins went into this. Each piece of lace took around two hours to embellish, that’s more than twelve hours of sequining just on the front panels! But it looked beautiful and added a lot of depth to the lace.

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Then the beading began. For this I used two different sizes of gold seed beads and beige colored thread. I followed the pattern of the lace, stitching between the covered cord that makes up the design.

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This is when the lace really started to transform. Above you can see the difference between the side that has beads sewn on and the side without. These really changed the color of the lace, and added a lot more depth and texture to the piece.

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Once I was done beading the lace I tried the jacket on. Here it looks really bulky since I had tons of excess fabric pinned into the side seams but you can get a rough idea of how it was looking.

I also did a test for pocket cover placement, which is what that funny thing on the right side is supposed to be!

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This fitting made me realize that I had to take the waist in by more than two inches and fold the front edge over by two inches instead of the planned one inch. Guess my worries about the jacket being too big were for nothing!

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With the body of the jacket coming along well I drafted a sleeve pattern.

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Then those were cut out and I used chalk to mark the trim placement on them.

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The lace was pinned, then sewn on.

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And sequined, then beaded with the same technique use on the front of the jacket.

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Here you can see the beading part way done.  Really shows how much the beading transforms this lace!

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With the lace completely beaded I moved onto the tassels. On the left you can see the four different types of beads I used for each tassel.  All these beads are slightly different in color and finish which makes the tassels look a bit more interesting.

On the right you can se the two different types of beads that were used on the lace.

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Each tassel is made up of eight strands, which are a little over an inch long.

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Finished tassels on sleeves.

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And finished tassels on the jacket.

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To hide the tops of the tassels I added buttons. I realize embroidered buttons are a lot more historically accurate, but I didn’t have enough coverable buttons left and I wanted to finish this project. I’ll probably end up replacing these in the future with something more accurate.

Then again glass seed beads aren’t very 18th century appropriate either but I used plenty of them, so perhaps it doesn’t matter too much!

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Finished sleeves!

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Here are all the buttons sewn onto the jacket.

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Now it was time to make the pocket covers. Which are, like everything on this project, just decorative. I used all but three inches of the gold lace on the jacket so I had to raid my stash for something that would work for the pocket covers. Luckily I came across a different gold lace, which was just the right shape. I used that as a guide for patterning the pocket covers, then cut the covers out from interfaced wool.

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Then the lace trim was pinned and sewed on.

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And the sequining process resumed. These took even longer to do than the trim on the jacket but it sure looks pretty!

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I didn’t like the visible organza in the lace so I covered that with gold seed beads. Then I stitched clear montees into the circular loops of the lace.

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I sewed the pocket covers onto the front panels and finished them off with a button.

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Here is one of the finished front panels!

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So pretty!

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And all the beaded panels together. I think I spent more than eighty hours hand stitching beads and sequins onto this project. I was sick of it at times but for the most part I really enjoyed the process. I find beading really calming, and I would love to do more of it on future projects.

It also ended up being pretty convenient since I could do it in front of the TV. I worked on this through the first four seasons of Downton Abbey and a bunch of Top Gear episodes.

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I did one last fitting before sewing everything together. I ended up taking it in at the waist a bit more, raising the sleeves at the shoulder, and taking it in at the shoulder. Then I sewed the side seams and attached the sleeves.

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During this fitting I realized the jacket was wayy too long at the back, so I removed more than four inches of fabric from the hem. Then I turned the hem inward by an inch and sewed it in place.

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The cuffs also got hemmed.

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And so did the neckline. Shortly after taking this picture I lined the sleeves and secured the lining to the interior of the cuffs.

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Now it looked like a proper coat!

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I turned the front edge inward by two inches until I reached the waist, the rest of the front panel was only turned inward by an inch.

Then I sewed in the hooks and eyes. THERE WERE SO MANY. I used all the size two hooks and eyes I had, which was 19 in total. They aren’t spaced evenly, so they don’t look too pretty, but they line up perfectly so i’m happy.

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At this point the coat was wearable, but it still wasn’t finished. I roughly pinned the lining in.

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After making sure the lining wasn’t restricting the drape of the jacket I pinned it in properly.

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And sewed it in place. This lining fabric isn’t historically accurate at all but it makes the jacket much easier to get on and off, and that’s what matters to me!

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And the jacket is finished! I chose not to further embellish the neckline or hem, since I didn’t feel the jacket needed it, and i’m happy with that decision. I really love the way it turned out. I had so much fun beading this, and the fact that the fit turned out so well delights me to no end. I definitely think this is my most successful 18th century inspired garment that i’ve made so far, and it’s certainty my favorite from a visual aspect.

I’m really proud of it. And that’s a nice feeling!

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Of course there are a couple things I would change. Mostly the spacing of the lace. It would have looked so much better and been way more flattering if I had spaced them properly and only used five pieces on each side. Then I could have used the full width of the lace and the wider lace would have made my torso look longer and more narrow.

But other than that I think it’s pretty great! Not exactly like my reference photo, but pretty great all the same.

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Divots in the wool once again gahh. Luckily they aren’t all that noticeable when it’s worn.

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Here is a teaser photo from the photoshoot I had with this project. This was my first time wearing the ensemble, and I was rushing because of the snow so I don’t think it shows the jacket in its best light. The bodice was slipping at the shoulders, which caused the jacket to sit lower on the shoulder than it should, and the sleeves ended up bunching. I think i’ve fixed the bodice to rest higher on the shoulders so it should wear much better next time!

I’m also going to (eventually) add buttons to the centerfront of the jacket. That was always part of the plan but I forgot to set aside buttons for it and used them on a different project by mistake!

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So that’s it. It’s always weird finishing a project i’ve invested so much time in (ninety hours!) but i’m looking forward to starting new things. And this beauty has a proud resting place on a hook in my sewing room so I can look at it whenever I like!

I’ll be posting about the dress and the hat soon. Thanks for reading!

 

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Making 18th Century Jumps – And how they look worn!

Today’s post focuses on a project that I did a terrible job of documenting (to be honest, that’s been most of my projects recently). It was also completed more than three months ago, and in progress long before that. So even if I did have a lot of photos of making it, the details are a little fuzzy in my eyes.

The reason this was so poorly documented photo wise is because I filmed the whole process. And up until last month I only had one camera, which didn’t let me take photos without disrupting the filming process.

This is bad news for those of you who like written descriptions, but if you are more of a visual learner the videos showing all the steps can be found on my youtube channel (here for the jumps, and here for the skirt) or down below depending on your email settings.

Now what is this project? It’s my second adventure into casual 18th century costumes. If you read my posts about making this dress than you may be familiar with my fascination towards what was considered casual hundreds of years ago.

Even though that dress was considered “Undress” it still required getting into stays and I felt awfully formal when wearing it. I wanted to stick to the same undress theme but make something that looked and felt different.

Unsurprisingly I found inspiration in Fashion: A History from the 18th to the 20th Century*, specifically this ensemble that consists of silk jumps and a matching skirt.

(this definitely contributed to the shaping too)

While researching that I came across a blog post (which I’m so mad that I can’t find again – I think it may have been on the American Duchess blog) that talked about French fashion being considerable more casual in the 1700’s than most of Europe. With an emphasis on practically in dress (so, not skirts so long you would trip over them).

I had also been seeing ads everywhere for the live action Beauty in the Beast movie, which got me thinking about what a historically accurate version of the famous blue dress would look like.

With enthusiasm coming from those discoveries (and dozens of fashion plates) I got to work!

I started by draping the jumps. For those unfamiliar with these garments, they were a support garment most often worn by working class woman. They are conical shaped down to the waist, but usually flared out beyond that point so they could be worn over skirts.Their structure comes from layers of fabric quilted together rather than boning. This makes them a lot more comfortable than stays, while still providing some shaping of the torso.

Here is the front of my draped jumps – this was tricky since I’m draping over a dress form made from hard foam. When the garment is actually worn my body (especially my bust) will compress to be a different shape.

If you don’t have a dress form, or find this hard do bypass, I think you could get away with altering a 18th century riding coat pattern. The shape and structure of this is similar, it just sits higher on the shoulder and has a smaller skirt.

The side…

And the back. I draped this over the appropriate petticoats to make sure there was enough volume in the tabs.

I traced the pattern onto paper, then made the necessary alterations so it had more of a conical shape, and added seam allowances. After a quick mock up I moved onto the final garment!

I cut all the pieces out from the top layer of fabric (a home decor material from Jo-anns), a cotton for lining, and quilt batting.

The first step was marking lines for the quilting onto the lining. These are diagonal across the pieces and a half inch apart. All the lines line up at the seams to create a subtle chevron effect (which was probably more trouble than it was worth).

The quilt batting in sandwiched between the lining and the home decor material. I trimmed the quilt batting so it didn’t extend into the side seams, then got to sewing!

The first two panels done – I used a pale blue thread and longer than average stitch length. These panels were my test, so after it worked I repeated the process with the front and back pieces.

The rest of the lining cut out and marked. You may notice that the only seam allowance is in the side seams. The rest of the edges will be bound with binding, like stays.

All sandwiched together!

Quilted and stitched together!

Now here is my major regret – I hand stitched the seam allowance down, and hand sewed boning channels into the interior of this to add more support. I don’t regret adding these channels, but hand sewing them was a terrible idea. It was so slow and not nearly as sturdy or clean as I would like.

If I made this again I would make another lining layer from lightweight cotton, add the boning, then sew it to the interior of the quilted bodice before attaching the binding. It would be a lot faster, shouldn’t add too much bulk, and would look so much better!

Now for the binding. I’ve mentioned my hatred for binding concave curves many times, and that still runs strong. It was made a lot worse on this project because of fabric choice.

I choose to use this polyester suiting I bought many years ago (if you’ve been around since my Napoleon costume, this is the scraps from that!), since it was the best match for the floral design. This frayed so much, and seemed to pucker rather than stretch, even though it was cut on the bias. 

I machine stitched one side, then turned it inward and whip stitched the other side to the lining. It isn’t very even since parts frayed away to nothing before I could sew them, but from a distance it looks okay(ish)!

To make the curves look a little bit better I blanket stitched around them with embroidery floss.

Then I sewed eyelets into the front. I assumed since this fabric was quilted it would be thick enough to hold the eyelets. I was wrong – they haven’t torn out, but they are really warped after a single wear. Definitely should have added canvas to the front few inches to avoid this.

I also bound the arm openings.


And that is it! Overall I think they are pretty, just a couple of things I would do differently next time. And there will probably be a next time, since I really like the shape and functionality of this garment and am itching to make another! Maybe out of maroon and gold jacquard? With a shantung skirt.

Speaking of the skirt, I literally have no photos of it or the construction process. It has three panels (two in the back, one in the front) and a pleated waistband with side closures. The hem is straight, with the length adjusted at the waist. But the hem didn’t end up being that level, since the weight of the additional fabric in the back flattened my petticoat and made it appear several inches longer than the front.

Speaking of petticoats: I used an ample bum pad with the cotton/tulle petticoat overtop. The tulle was pinned up quickly before photographing this, which is the reason for any skirt lumps. This skirt fabric was a lot thinner (but also weirdly heavier) than I had expected and would have suited a quilted petticoat much better.

The shoes are, as per usual the Funtasma Victorian-03* (I’m looking into getting a more 18th Century appropriate pair soon, I swear!). I used my real hair with a few feathers and fake flowers stuck in it.

I made the chemise from some fabric I had around. And the apron is from what I had leftover. It’s two rectangles of fabric with curved tips, and a lace overlay. I gathered the top and used lace to bind the edge and form the ties.

Overall I like this ensemble. Especially the fit of the jumps. I think from a distance it’s really lovely, but I want to remake it with different materials and a slightly different construction strategy!

Here are the photos of it worn:

(Fun fact these were taken next to a busy street on the weekend before July 4th. Everyone was staring. The fence was also infested with caterpillars, which I didn’t realize before putting my hand on it. I really don’t like caterpillars and was not happy)

That’s it for this one! Thank you for reading!

 

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Making an 18th Century Shift

I’m starting on a new historical project, which means it’s time for another set of foundation garments! I’m going to be making an ensemble inspired by this painting, which means I need proper 18th century underthings. That will consist of a shift, stays, bum roll, and a quilted petticoat. 

The most boring garment for this project is the one i’m talking about today: The shift. I used the pattern posted here which was really helpful!

I was originally going to use cotton gauze for this because it’s fantastic stuff. Super cheap, very lightweight, comfortable to wear, and easy to work with. Unfortunately it’s also very delicate, the tudor shift I made from cotton gauze has already required repairs at the seams.

So I decided to use a few yards of medium weight linen that I’ve had for ages. It’s a little heavy for a shift but it worked out okay!

As I said above, I followed the pattern and measurements listed on this site but I added an inch in some places because I’m assembling it with french seams. I also made the sleeves a little wider because my arms are wider haha. The rectangles are for the side gores (will be cut in half on the diagonal), the larger squares are for the sleeves, and the smaller squares are underarm gores (will also be cut in half).

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Then you need a very large rectangle to make up the body of the shift. I ended up cutting mine down by four inches because it was so wide, and even after doing that it’s still huge! I know they are supposed to be loose but this is a little too loose.

Sorry for the dog – the blanket was in a nice little pile but apparently she wanted it to be a big pile.

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She was upset that I didn’t have a bed set out for her. It was in the washing machine so she had to sit on a blanket like some wild animal. She glared at me for two hours before going to sleep.

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Anyway! The gores got attached to each sleeve with french seams.

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And the larger gores were attached to the sides of the shift, also with french seams. I’m going to stop mentioning that part, because every seam is a french seam on this piece!

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The sleeves got attached.

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And the side seams were done up! I made a small slit at the neck so I could try it on and make sure it fit alright, which it did. The body was pretty huge on me but the sleeves fit nicely.

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For the hem I rolled the raw edge over by a half inch and basted it down.

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Then turned the edge up by two inches and whip stitched it in place.

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For shaping the neckline, I cut a small slit that allowed me to get into the garment, then I laced my stays overtop. Once everything was arranged nicely I used a pen to (roughly) draw out where the neckline should be on one half of the shift.

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I took that off and marked the neckline with a colored pencil. I cut half of it out, then used the cut pieces a guide for the other half.

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I folded the raw edge inward by a quarter inch, then folded that edge in by a third of an inch. I whip stitched the edge in place to create a channel for ribbon. I also left a small opening at the centerfront where I can thread ribbon through.

Beneath the opening I stitched two eyelets, where the ribbon can be poked through and tied into a pretty bow!

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This is what it looked like with the ribbon in place! I used a bobby pin to thread it through the channel. I use bobby pins to threat my corsets too, they are very handy!

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The final thing to do was hem the sleeves. I had already turned them under by a half inch but they had a raw edge on the interior and were too long. So I turned them under by an inch and a half and sewed that.

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And it was done!

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I had hoped to have some worn photos but it’s been a very overcast day, which means my sewing room doesn’t get much light and the photos don’t turn out very well. I’ll include worn photos in my blog post about making the stays which should be up next week!

In the mean time, here is how it looks on my dress form.

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I’m pretty happy with it! Not the most exciting project but it only took a day to make and it went really smoothly. I’d use the pattern again to make one with a different neckline…Though I would probably make it sixty centimeters wide, not eighty. And maybe use lighter fabric.

Thanks for reading!

 

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A look back at 2016

This post is long overdue. I’ve attempted writing it at least a dozen times, and I never get past the first paragraph. But I was determined to get it up before the end of the month, and I managed to make that deadline!

If you hadn’t guessed by the title, this post is an end of the year wrap up where I go through all the projects I made in 2016. I share my thoughts on each one, my thoughts on the year in general, and goals I have for the year to come.

I’ve written posts like this before, both in 2014, and 2015. Those posts were some of my favorite to write because it made me realize all I’d accomplished and gave me motivation moving forward. But I didn’t accomplish as much as I would have liked in 2016, and looking back on it has made me more frustrated than inspired.

It isn’t that the number of costumes I made that I find lacking or upsetting, it’s the amount of time I wasted. There were weeks that passed where I didn’t sew at all because I wasn’t feeling inspired. It made me realize how much I depend on motivation, and how lost I am without it.

As much as it sucks to look back on a year that I wasted a lot of, I learned a lot in 2016, and it’s made me realize ways I can improve in 2017. So it was worth something – and I like a lot of the things I made – it just wasn’t a good year for me.

Now onward with the costumes! I kept a list this year of things I completed, so this should be a bit more accurate than usual.

Then first project I finished got an honorary mention in my 2015 wrap up, since it was mostly finished then. But I put the final touches on it and declared it complete in January. It’s an 18th century riding ensemble, that consists of a skirt, bodice, embellished jacket, and hat.

The dress has some issues that make it unwearable without the jacket (they are fixable, I just spent so long on this project that I can’t bring myself to revisit it and fix it, even though it would only take a day or two) which is a bummer. But I love the jacket, and the hat, and how it works together in the finished ensemble.

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In the same month I also made a set of 1890’s foundation garments, including a petticoat, corset, chemise, and combination set. This is also when I began work on my purple taffeta dress, which I majorly blame for my lack of motivation in the months that followed.

To avoid working on the purple dress, I took on a week long break and made a women’s cotehardie, which was meant to coordinate with the mens cotehardie I made in 2015. The timeline on this dress was tight since I wanted to finish it before we got snow. I think I spent a solid four days working on it before declaring it complete.

I like how it looks visually – the brocade against the blue velvet, the buttons, and the large sequin embellishments. However the rush job shows in the fit of the shoulders and sleeves, which I’m not thrilled about.

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After completing that I was still avoiding my purple taffeta dress. However I had put so much work into the foundation garments for it that I decided to put them to good use and make something from the same era. That something was a turn of the century walking ensemble made from red plaid.

This costume really tested my patience (so much hand basting), but also proved to be a fun challenge (the plaid matching). I learned a lot about construction from this costume (collars!), and even tried a new hand sewing technique with the soutache designs on the collar and back. I stepped outside my comfort zone even further by decorating a home made hat with the wings of a bird.

Even though I struggled with this project at times, I don’t think it shows in the finished costume. And it’s by far my favorite thing I made that year, I really love it.

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Next I finally (after several months) finished the purple taffeta dress. The only thing I like about this costume is the hat. The rest, as far as I’m concerned is scrap material. It’s too tight and short in the bodice, and too long in the hem. The shoulders aren’t wide enough and the waistband is too wide. It’s a mess.

Working on this really sucked all the fun out of sewing and I regret forcing myself to finish it.

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My next costume was much simpler and a refreshing change. It’s a grecian costume that consists of a chiton, skirt, crown, and belt.

This was a costume I had been planning for ages and I was thrilled to finally make it a reality. The dress portion of this was very simple, but I invested a good twenty hours in the belt and crown. They were embroidered and embellished by hand, which took longer than I had expected. But I’m very pleased with the end result – the only thing I want to change is the chiton length, which won’t take more than an hour or two.

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It was around this time that I destroyed my neck while making a massive petticoat for my 1860’s evening gown. I regret pushing myself so hard on that one, and making a petticoat instead of a hoop skirt in the first place! This lead to another downfall in motivation, and I didn’t get much done for almost two months.

I split what little time I spent sewing between my civil war era evening gown, a cycling costume, and an 1860’s day ensemble. The day ensemble was the first to be finished…but I use the term finished loosely. It was supposed to consist of a blouse, skirt, and hat, but the skirt didn’t really work out and I didn’t have enough material to fix it. Which is why I only have waist up photos of this ensemble.

The skirt is a shame, but I do like the parts of this project I finished.

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I took on a quick hand sewing project after that and made a horned headpiece. This took a week or so, and was incredibly fun to work on. I love the variety of materials that can be used in these, and the challenge of bringing the shape to life. It isn’t historically accurate at all, but I think it looks quite believable in a way.

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The ball gown was finished next. This was one of my dream dresses. I worked on it for months and questioned whether I would ever complete it several times. I usually break elaborate projects down into pieces or steps so I don’t get overwhelmed while working on them. I did that with this project too, but there were so many pieces and each one was so time consuming to make that it felt like it would never end.

But eventually I did finish it, and I’m very proud of it. Especially the bodice – I think it’s lovely and it fits perfectly. The skirt doesn’t have quite the right shape, but the amount of hand sewing and work that went into each tier was insane, I’m so pleased I accomplished it. I like the headpiece too, I think it ties all of it together!

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After finishing that I wanted to make something simple that didn’t require an inch of lace. So I followed a pattern from The Cut of Women’s Clothes* and made a 1790’s round robe. This project wasn’t as simple as I had hoped, since I had to remake the bodice and figure out how it was supposed to go together without any instructions.

But I did appreciate the break from frills and lace, and I think the finished dress is quite lovely (though not particularly flattering). I altered a hat to match, and stuck a quilted petticoat under it. The dress was easy to get into and very comfy, which I appreciated!

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Around this time I made a pair of stays – which, like my previous pair of stays, fit horribly. And an 1880’s corset, which looks lovely, but has issues with the busk being out of alignment. Both took far longer to make than I would care to admit, and probably need to be remade in the future. But they did make good bases for things I worked on in the next few months.

I also finished my cycling costume, which had been in progress for weeks before it was complete. I blame the fact this had so many pieces. Including a hat, tie, jacket, shirtwaist, bloomers, shoes, and stockings.

Though it took a while to complete everything, I really like how this turned out. My only peeve is the collar on the shirtwaist. But I find the fit and proportions of this costume quite charming – and once again, it’s super comfy and easy to get into, which is a total bonus.

It was also my first time buying shoes to go with a historical costume, which made such a huge difference in how I felt wearing the costume. It was pretty amazing!

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Next up was my reattempt at an 1890’s day dress. My purple taffeta dress (attempt number one) turned out horribly, and I wanted to redeem myself. So I made a few design changes (which made it look a lot more like the dress that originally inspired me, from Crimson Peak), bought a better fabric, and focused more on the fit. I also referenced historical pattern books and used those as a guide which lead to a way better silhouette.

I like this dress so much more than my first attempt. I wouldn’t say it’s my favorite thing I made this year, but it’s up there. I consider it quite striking.

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I also put together a few dresses for my youtube channel (and posted 40 videos throughout the year, which I’m pretty proud of). My favorite of these is a blue dotted dress inspired by the 1950’s. Researching dresses from this period made me feel excited towards making my own clothes (not just costumes) and potentially creating more 1950’s inspired pieces. Though it isn’t somethings I’ve pursued yet, I’d like to venture into it more in 2017.

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I followed that up with a spur of the moment Donwton Abbey inspired costume made from things I had in my stash. This isn’t the best costume I’ve ever made construction wise, since I have little patience when working with chiffon. But I really enjoy the end result.

It was quite different for me, with the large harem pants and fitted sleeves. The bodice is loosely boned and heavily embellished. Though a lot of work went into it, the whole thing was finished in a week!

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My next costume was a commission, which was quite a big step outside my comfort zone. I was asked to make a light up ball gown for the Scottsdale Princess hotel. This proved to be a challenge, since I had to find Christmas decorations at the start of October, and only had 10 days to construct it. But I got it done, and I managed to correct a lot of the “mistakes” I made when making this dress for myself two years ago.

I’m especially happy with how the bodice of this turned out – I love the sleeves! And I think it’s given me the confidence to potentially take on commissions in 2017.

(the dress isn’t complete in the photo below, but it’s the final photo I took of it on my dress form)

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The next costume is a fun 1830’s ensemble, which consists of a bonnet, top, and skirt. I really enjoyed making this. As much as I like ruffles and lace, it’s nice to focus on the construction and fabric manipulation, which this project requited a lot of. Between the plaid matching, pleats, gathers, and piping, it was a lot of work!

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In October I revisited an 18th century Robe a la Turque I started on much earlier in the year.  It was a very hand sewing heavy project that included home made trim, hand beaded fringe, and a lot of sequins. The project has a vest like dress with a train, a skirt that is visible from the front, and a turban inspired headpiece.

My feelings on this are..mixed. I love the materials and a lot of the details. But the patterning in the bodice could be a lot better. It also needed boning, or some sort of support in the bodice which I didn’t add since I didn’t do a lot of research before starting.

I’ve come a long way since I first started on that project, but a lot of the issues were unfixable by the time I revisited it. So it’s frustrating to see those faults in something I recently completed, since I know I’m better than that.

But from a distance, I think it looks pretty great!

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Another 18th century project I finished is inspired by one worn in The Duchess. I made something inspired by it in 2014 and it was bad. Like really, really, bad. I’ve wanted to reattempt it for a while now, and when I saw this striped silk I new it was time.

There are a few issues with the fit of this dress – It’s a bit tight, and the waistline is too high. I also need to take the underskirt in, it’s got so much volume it flairs over the over skirt, which is a no-no. But I love the trim on this, the stripe matching, and the mobility I have in it. I really learned my lesson from my previous few 18th century attempts. This bodice is lightweight, but well supported so it doesn’t crumple at the sides or back.

I also very much enjoy the matching hat I made. Trying this on really made me feel like an 18th century lady, I was so sad to take it off! Once I make the necessary alterations I want to get more pictures of it.

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In December I made an edwardian evening gown, which I still haven’t got worn photos of. But I really like how this turned out. The construction isn’t my best, but the color, trims, and simplicity of the design make me really happy, and I enjoyed working on it a lot.

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I also made a few headpieces in December, including this antlered one!

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And finally, my Christmas costume. I’ve gone over my thoughts on this recently, and the remain the same. I like it as a finished ensemble, but It’s far from my favorite thing I’ve made this year.

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I also want to give an honorary mention to my 1880’s evening gown. I got this 98% complete (seriously, a hundred hours must have gone into it and it’ll only take two more to finish it)  in 2016 but moved on to other things after Christmas and didn’t complete it. In fact I still haven’t completed it – I got distracted by the materials I got for Christmas. But I will finish it soon, and hopefully have blog posts detailing the construction process following that.

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There are a few other things that I think deserve mentioning in this post, like my attempt at an 1880’s striped bustle dress. And my sequined 1890’s jacket. And a black 16th century gown.  And probably a few other things I’m forgetting that ate up 10 or 20 hours of time but never got completed. I think that was part of my problem this year, when I was lacking motivation I would try to kickstart it by making something new…but I didn’t put a lot of thought into those projects, so they either fizzled out before I reached the half way point, or I realized they didn’t fit or weren’t accurate and never bothered to complete them.

Which brings me into my costume related goals for 2017!

The first one is to try be more diligent. I’m great at working when I’m inspired, but I want to get to a point where I can push myself to work regardless of how motivated I feel. I’m not saying I won’t take breaks, but I don’t want to procrastinate and accomplish next to nothing for several months because I “don’t feel like it”. I did that last year and it sucked.

I’d also like to try and find more balance. I think my procrastination sprees partially happened because I got burnt out or bored. Having projects with a lot of contrast in progress at the same time should help. And I think finding things I enjoy doing outside of sewing would help me relax and feel less burnt out.

Another one would be putting more thought into the projects I take on. A lot of my unsuccessful projects were ones I made on a whim, didn’t sketch first, didn’t research, and didn’t have enough material for. I like taking on spontaneous projects since they can be a lot of fun, but I feel like spending a few hours thinking and researching before getting started would save me materials and time in the long run.

I don’t have project specific goals this year, but I would like to:

Focus more on foundations. I don’t put the effort into these that they deserve, I’d love to have a corset and petticoat that I’m really proud of and fit well. And potentially a chemise with some embroidered details.

Venture into other eras and silhouettes. I gained a new appreciation for the late 1800’s this year and challenged myself quite a lot with dresses from that period. I’d love to push myself even more and make a bustle dress, regency gown, and something elizabethan.

Remember my love of simplicity. I tend to forget how much I enjoy projects that are construction based. I love ruffles too, and I tend to be most attracted to projects that have lots of them. But I really enjoy making simple kirtles and structured jackets. I’d like to keep that in mind this year and potentially make an Edwardian suit, or more casual wear from the 1500s/1600s.

A bit of a silly “goal” – but I would really like to have a dress from every decade of the 1800s. I have dresses from the 1830s, 1860s, 1880s, and 1890s. Along with materials for dresses from the 1820’s, 1840’s, 1850’s, and 1870’s. It isn’t something I’ll push really hard to accomplish, but I should be able to do it and I would be thrilled if I did.

And that’s it! Thanks for reading. I hope you had a productive 2016 and that the first month of this year has served you well.

 
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Posted by on January 31, 2017 in Uncategorized

 

A look back on 2015

I’m a little late with writing this – but not as late as I was last year! So hopefully that counts for something!

Like the title of this post implies, this is going to be a look back on what I made in 2015. I’m going to share my thoughts on each project, my goals for 2016, and my feelings towards this year as a whole. And it’s probably going to be a long one since I made a lot of stuff!

Project wise this year was kind of weird. I don’t mean to be a downer, but i’m not very happy with what I accomplished this year. Not because of how many things I made – I finished more than twenty projects and the majority have multiple pieces, which I think is pretty respectable. But I didn’t enjoy working on a lot of the projects I finished.

When I started off this year I had a plan, and I was determined to stick to it. I had several big elaborate projects I wanted to work on and figured i’d make easy fashion projects in between. Those fashion projects didn’t end up being easy, I actually found them to be really time consuming and draining to work on. But I had the materials for them and they were part of my plan so I kept making them – even though I didn’t enjoy them at all.

That led to rut of sorts, where I didn’t want to work on anything. Especially the really elaborate projects I had originally planned. The enthusiasm for them wasn’t there at all, which is why I only finished one of the three projects I had planned at the beginning of 2015.

Luckily I did get back into the swing of things after a shopping trip to the garment district in October. I picked up materials for a slew of medieval projects which really restored my enthusiasm towards sewing. So I managed to finish the year on a high note, and i’m feeling very inspired and excited about my projects for 2016!

But before talking about those projects, it’s time to look back on 2015…

January: 

In January I started working on the underthings for my Tudor project, which involved making A Pair of Bodies and a Chemise.

But my first project of the year was a cotton sateen polonaise circa 1790, which was intended to be worn over a embroidered satin gown. I finished the dress but the polonaise is currently living in my bin of death and I don’t think it will ever get finished. I could not for the life of me get this thing to fit and eventually gave up due to frustration. Quite sad – in it’s early stages I really liked how it was coming along!

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I did manage to successfully finish one project that month, and that’s my Silvery Blue Dress which is inspired by a gown in the show Galavant. I like how this turned out a lot, and I would like to expand this ensemble by making a cloak to go with it.

It’s also worth mentioning that this is the first of many blue dresses I made in 2015. More than a third of my projects this year were blue!

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February: 

I continued making Tudor underthings and managed to finish the Farthingale. Alongside that I made the Tudor Kirtle. This is one of my favorite pieces from the year. There was a lot of trial and error involved since I wasn’t very familiar with the silhouettes from that period. That made it quite challenging, but also very enjoyable since I had to get creative. I’m also really pleased with the beading on this dress, it was my first time doing such an elaborate pattern and really inspired me to include more beadwork in my future projects.

My next project was a three piece ensemble which I titled the “Fluffy Feathered Dress” which was inspired by Marchesa dresses. I like how this turned out, and I enjoyed parts of the process. I used a lot of sequins and lace on the bodice to create a variety of textures, which was fun. The rest of the dress was kind of boring to work on by comparison.

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March: 

At this point I became frustrated with my tudor project, so I decided to make a dress from materials I had around. This project ended up being titled the “Pleated Navy Gown“. I enjoyed the process of making this a lot. It was very quick, I made it in less than a week and I think it’s one of the most visually impressive things I made this year. I love the fabrics and the drape of the sleeve.

But this dress isn’t perfect. The bodice is really thick at points, and since it isn’t boned it doesn’t sit very nicely on my body. I need to figure out some way of fixing that before properly photographing this project.

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April: 

I started work on the foundation garments for my 18th century ensemble and managed to finish the Half Boned Stays and Chemise. I realize now that the stays are too big and the fabric for the chemise was way too thick, so both need to be remade in the future. That’s kind of a bummer, but at least i’ll know for next time.

This was also the beginning of my Cinderella dresses from hell, though at this point I only had the Petticoat finished. I think these were the main reason I became so frustrated and uninspired. These were very time consuming, not very enjoyable, and seemed to fight me at every turn. I really wish I had given up on these dresses and moved onto something else instead of working through the misery to finish them.

A project I like more is my Orchid Inspired Dress, which I made from materials I got during my birthday in the middle of the month. This project had it’s ups and downs but for the most part I enjoyed working on it, and I like how it turned out. Though as always, i’d do some things differently next time!

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May: 

I finished one of my Cinderella Dresses but my happiness towards that was overshadowed by my struggles to complete the second dress in the series.

I did manage to figure out the bodice of my Tudor Project, which was great. I was also working pretty intensely on my 18th century dress. I made a set of pocket hoops, the bodice, and dyed the lace for the skirt. Unfortunately that was the last time I worked on that project, and though it isn’t abandoned, I haven’t made any effort to finish it.

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June: 

I finished my Tudor Project this month, which was a huge accomplishment for me. The final pieces include two necklaces, a french hood, foresleeves, and lace cuffs. I have mixed feelings about this project – I love all the detail work put into it, and how the pieces work together, but I don’t think it was completely successful. There are little fit issues here and there and the level of mobility is really bad.

I think my expectations for this project were higher than what it ended up being, which is why I don’t feel completely happy with it. But I am proud of it! I think it’s the most elaborate thing i’ve ever made.

I also FINALLY finished the second Cinderella dress. Thank goodness. This turned out better than I had expected but I hated working on it, so that soured the end result for me.

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July:

This was my favorite month project wise. I got so much done and I love everything that I made.

After months of on/off work I finished a Brown Menswear Ensemble. I made the pants for these in January, the shirt in March, and the hat in July. Those pieces were simple compared to the doublet (which was made in November 2014) but weren’t a big priority of mine, so they took a while to finish. I like how this turned out a lot, I think it’s cute!

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I made my favorite project of the year this month, and that’s my Heinrich Inspired Dress (along with two matching headpieces). I adore everything about this, I don’t think I have a single bad thing to say! It was really fun to make and I think the end result is gorgeous.

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Another one of my favorites is this Taffeta Ensemble based off a portrait of Ana De Mendoza. The dress, hat, and chemise were all made in the same month. I really enjoyed making this. The hat and dress bodice especially. Everything went so smoothly! And I’d never made a hat like this before, so completing it really motivated me to attempt more elaborate headpieces.

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August: 

August was less successful. I had a lot of things in progress throughout the month – including an elaborate mermaid inspired gown which I ended up putting on hiatus. I also started work on my Damask Print Medieval dress, which was fun at first but turned quite frustrating at the end.

I managed to finish three projects. The most successful of the bunch is a Regency Dress and Bonnet made from floral curtains and cotton sateen. I liked this project but I didn’t feel very excited about it while working on it, it was just something to pass the time. And looking back at it I still don’t feel very excited about it! I think it’s cute but needs some alterations before I’ll feel comfortable photographing it.

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The other project I didn’t enjoy very much at all…it was messy, and boring, and quite frustrating at times since I was allergic to all the materials. But I managed to complete my Forest Sprite project. I also made a quick dress in five hours from curtains which was fun, I’ve called that my Ikea Curtain Dress.

September: 

This month my main priority was a Black Lace Dress, which I wore to my Uncle’s wedding. This project ended up being frustrating at times, but I think it turned out very pretty!

I also kept working on my damask print dress, and I made two skirts. One was a plain circle skirt, and the other is a ruffly horsehair skirt. Both were the subjects for youtube tutorials so I never blogged about them.

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October: 

I managed to finish my Damask Print Medieval Dress this month, and a pair of PJ’s inspired by Toothless! I really dislike how the Medieval dress turned out but I think the Toothless PJs are pretty cute!

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With that finished all my “commitments” for the year were done. I didn’t need to create projects for youtube content and most of my WIP’s were complete or abandoned, so I could start fresh! This is when my enthusiasm really came back and I got back to creating projects I really love.

The first of those projects was a Medieval Escoffin and matching Dress. I love this project. It was so much fun to make and I think the end result is quite stunning, and different from everything i’ve made before. I’m very pleased with it!

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November: 

I didn’t finish any projects this month, but I made a lot of progress on various pieces. One of those pieces was a Medieval Cotehardie. I also made a headpiece to go along with a Civil War Era Dress, a medieval hennin, chiffon chemise, and a gold brocade kirtle. I really like how all of these pieces turned out, though I haven’t blogged about any of them yet!

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This month I also began work on a 1630s dress, an 18th century riding coat, medieval mantle, lace chemise,  long toed shoes, and a Burgundian Dress.

December: 

I had a massive to-do list for December. I didn’t accomplish everything on it, but it still ended up being a very productive month. I finished my Burgundian Dress and Medieval Menswear Inspired ensemble, both of which i’m very happy with.

These two projects rank highly on my list of favorites for the year. I really like how all pieces come together to make something interesting and elegant. And since I was constantly working on a new piece of each project I stayed really enthusiastic, which let me pack way more hours of time and detail work into each element.

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And of course I finished my Christmas Project! Which I ended up being surprisingly happy with as well.

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It’s worth mentioning that a good portion of this month was spent beading a riding coat which isn’t finished yet, but is coming along quite nicely. I spent the week between Christmas and New Years Day working on this like crazy. So much beading!

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Now for the fun part – what’s next! I’ll actually have a blog post all about the fabrics I bought with my Christmas money, and what I plan on doing with them. So I won’t talk too much about my future plans, but I did want to share my goals. My goal is actually pretty vague – i’m a bit worried to commit to anything in particular, since that let me into a creative ditch last year!

But my main goal for this year  is to improve my general knowledge of historical fashion, and learn more hand sewing and fabric manipulation techniques.

I like reading and I like learning, but I like sewing more. So I don’t put a lot of effort into research or new techniques unless it’s related to a specific project. And I want to change that. I own a lot of really great reference materials that I look through when i’m stuck on something, but I haven’t read many of them cover-to-cover. And I definitely haven’t practiced all the techniques that are detailed in some of the books.

There are some really basic techniques, like blanket stitching or smocking that I don’t know how to do, since i’ve never had a project that requires them. This year i’m going to try and push myself to learn and practice those techniques, even if they are only used to create a sampler.

I think if I took a few hours each week to read through my reference books i’d have a more well rounded skill set and knowledge of historical fashion. Right now what I know is pretty limited to european fashion from the 15/19th centuries. And even that is a little spotty. I’m interested in learning more, and I have the books around to do so, I just need to take the time to read them!

As for project plans, mine are very loose because I never seem to be able to stick to the solid plans I make, and this year I don’t want to, I want to work on what I feel enthusiastic about and go with the flow. But I do have a few things I would like to accomplish and that includes:

-A draped gown. Probably inspired by the statues from the Metropolitan Museum of art that I was fascinated by. I have the fabric for this (ten yards of satin faced red chiffon).

-An 18th Century Project. I’d be happy just to finish the one I have in progress! But I have fabric for a turque and chemise a la reiene so the possibilities are endless.

-A 20th Century Project. More on this in my next post, since I picked up fabric for this on a recent NYC shopping trip!

-A Regency dress. I’ve made a few of these but don’t love any of them, maybe i’ll get one right this year.

-A big ball gown. Probably a Civil War Era evening dress – potentially made out of pink cotton sateen and lace that i’ve had forever.

-Something Tailored. Maybe a women’s suit? A riding ensemble? I’m not sure what.

Of course there are many more things i’d like to make. Another menswear inspired project is on my list for this year, and I want to make a women’s cotehardie very soon. I also have four projects I purchased fabric for over Christmas, which will keep me busy for the first half of this year. But I can’t list all my ideas, there are simply too many to share!

Also I think i’m going to, for the most part, be doing more of the same this year. I’m hoping to get more of my projects photographed, and take on a wider variety of silhouettes and era so my portfolio has a little more variety. But I think my blogging schedule will stay the same if not more frequent.

And that’s it! This post is massive so I’ll end it here. I hope you enjoyed my blog throughout 2015 and that you continue to enjoy it throughout the new year. And of course, I hope your year is off to a good start!

Thanks for reading!

 
21 Comments

Posted by on January 13, 2016 in Progress Report, Uncategorized

 

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Historically Inspired

Welcome to my historically inspired page! Here you will find all costumes that are historical recreations or garments  influenced and inspired by historical fashion.

This page only includes completed projects that were made entirely by me. If something seems to be missing it was probably removed due to poor documentation.

I’m constantly making new things and trying to keep this updated, so if there are any dead links they are probably for projects I’ll be posting about soon!

Each link leads to specific pages for the costume mentioned, which includes links to every post related to that costume, along with a brief description and photos of the completed project

1890’s Day Dress, the “Pumpkin” Gown

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1830’s Plaid, Pleated, Dress

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18th Century “Undress” Costume

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Sybil Inspired Edwardian Ensemble

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Pink Sateen Ball Gown, 1860’s 

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Cycling Costume, 1890’s

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Plaid Walking Ensemble,1890’s

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1790’s Round Robe

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Grecian Costume, Chiton and Crown

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Grey Plaid and Velvet Ensemble, 1860’s

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18th Century Riding Ensemble 

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Gold and Ivory Gown – Holiday Dress 2015

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Maroon Medieval Dress & Escoffin

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Civil War Era Dress

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Taffeta Kirtle & Hat

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Gold Foiled Dress, Heinrich Inspired

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Damask Print Medieval Gown

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Pleated Navy gown

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Silvery Blue Dress

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Orange Tudor Ensemble

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Brown Beaded Doublet

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Structured Chemise a la Reine

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Dewdrop Series

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Isabel de Requesens

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Blue Taffeta Hooded Dress

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1830s Floral Dress

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1830s Pleated Red Dress

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1840’s Pleated Floral Dress

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Christmas Costume, Glittery Gown

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Maroon Dress

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Striped Taffeta Dress

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Black and Grey Dress

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Pretty Pirate Project

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(Posts below were are projects, which are not very well documented or fully completed)

Red Renaissance Gown

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Red and Silver Gown

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Historical Costume Reference Book Reviews

This post has been planned for years I’ve just always put off writing it. As much as I like writing reviews, looking at a massive stack of books and trying to write intelligently about them is pretty intimidating. But I was determined to get it done, and I have! And just in time for the holiday season! I hope this is helpful for anyone looking to buy books, or if you’re just curious about the books I reference when making costume!

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I have two disclaimers before getting started. Firstly, I do not own the rights to any of these works. The copyright for each book belongs to the authors, publishers, and contributors, not me. In this post I’ve included two pages from the interior of each book which I believe falls under fair use. The photos are sized down or taken from angles where the pages aren’t usable for anything other than understanding the format of each book. They are not intended to harm the commercial value of the books. But I’ll happily take down any of the images if the copyright holders ask.

And the second: The links in this post are amazon affiliate links. This means if you buy something through the links I get paid small percentage of the purchase price for referring you to that item. It doesn’t change the price of the item, or the shopping experience at all.  But if you’re uncomfortable with this the links should be avoided.

Now onto the reviews!

I’ll start with some of the most popular, which also happen to be the first historical fashion books I got. They are a series of books called “Patterns of Fashion” which were written by Janet Arnold. There are four books in the series and I own three.

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Patterns of Fashion 1: Englishwomen’s Dresses and Their Construction  by Janet Arnold

This book focuses on women’s fashion from the 1660’s through the 1860’s. It’s primarily a pattern book but starts off with a fifteen page introduction, which includes quotes from magazines and journals, very brief drafting instructions, notes on how to cut dresses from limited fabric, and paragraphs devoted to things like making piping or pinked trim. I’m sure these notes are helpful for someone but I find them a little vague (and also confusing at times).

But this isn’t why I bought the book, so I’m not bothered by it. I bought it for the patterns!

Unlike a lot of pattern books, this series includes detailed drawings of the completed piece from the front and back, and usually includes drawings of the interior as well. There is also a paragraph or two talking about the dress, including what it was originally made from and any unique construction notes.

The patterns in this book are all made based on measurements taken from existing historical examples, so they are very accurate (as are the notes about each piece). But keep in mind that these patterns will require scaling up, and alterations to fit your measurements.

The patterns in this book are beautifully laid out. They are printed on a grid, which makes them easy to resize and they are filled with construction notes which make the intimidating and unusual nature of historical patterns a lot easier to tackle. The pattern notes are clear and concise – pretty much perfect in my mind! The patterns are also very detailed, with the trim placement and embroidery patterns documented as well.

The only thing I don’t care for are the pieces chosen for the book. Some of them are quite similar. It’s especially obvious with the two 1840’s and 1860’s dresses which have very similar sleeves and tiered skirts. Compared to Norah Waugh’s books which have fewer patterns but a larger variety it’s a bit disappointing.

I still think it’s worth it – over two dozens patterns for thirty dollars is a fantastic deal, even if you only use half of them. And the notes for each piece gave me a much better understanding of the construction progress for historical dresses.

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Patterns of Fashion 3: The Cut and Construction of Clothes for Men and Women  by Janet Arnold

This book focuses on mens and women’s fashion from the 1560’s through the 1620’s. It’s twice the length of the first one, with a fifty page introduction. Luckily the introduction in this book is a lot more interesting. It’s filled with pictures and the writing compliments them nicely.

The pictures range from patterns to etchings and paintings. It also has a lot of photographs showing the details on original garments from the 1500s. It’s really interesting to see close ups of the fabric manipulation, closures, stitching, and lining techniques. Things you hear mentioned a lot in other books but never actually see. I’d say the book is worth looking through just for those images alone.

The patterns in this book are documented in the same way as Patterns of Fashion 1. They are on a grid, with one page devoted to drawings of the finished garment and a brief description of the piece. The notes are just as helpful, and even more in depth since 16th century fashion was so complicated.

The thing I don’t like about this book is, once again, the lack of variety. I believe there are twelve mens doublet patterns, half of which are pretty similar. The variation in the women’s clothing patterns is good, but lacking some of the “classic” tudor styles. The examples are all very elaborate, which I find inspiring, but they are complicated and probably not the best for beginners.

Like the first book, I think it’s a good deal and the notes are very helpful whether you’re using the patterns included or trying to draft your own in an accurate way. If you have an interest in the periods it covers I would highly recommend it.

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Patterns of Fashion 4: The Cut and Construction of Linen Shirts, Smocks, Neckwear, Headwear and Accessories for Men and Women  by Janet Arnold

I regret buying this book.

This isn’t a bad book by any means. In fact it’s really interesting to read through, and I’ve never seen anything like it before. It focuses on accessories and underpinnings for men and women, which isn’t the most exciting topic, but the introduction is filled with close ups of the detail work on garments from the 1500s and 1600s.

It has diagrams of the stitches used for openwork seams, eyelets, lace, and embroidery. It has pages devoted to the variety of cuffs that were worn, and another for collars. It’s fascinating to see that alongside photos of embroidery work done five hundred years ago. And like the last book, the photos are accompanied by descriptions. But the descriptions are a lot more brief, and the pages far more photo heavy than the previous book.

The patterns are well documented, with drawings of the embroidery motifs and lace patterns in case you want to recreate them.

The reason I regret buying this book is because I’m not at a point where I’m willing to spend forty hours adding blackwork embroidery to an undershirt. And even if I was, I feel like that information is available online. As far as the patterns go, I’ve never followed them. Because things like smocks and ruffs are very easy to draft on your own – they are just rectangles. There are a few patterns for gloves and collars that are unique, but also pretty easy to draft on your own or find elsewhere.

I think this book is best for someone who wants to make exact historical replicas. Otherwise it probably won’t get a lot of use. I’m hoping to take advantage of the embroidery patterns someday, which is why I’ve held onto it, but this isn’t a book I feel I need in my collection.

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Another silly complaint which I have about all these books is that I don’t like the size of them. They are maybe 11″ x 16″, and since they are thin and paperback they don’t stand up, even if you lean them against something. And they take up a ton of room when laid out on a table. Plus the pages are too big to scan, which is sort of silly since that’s what you have to do to resize the patterns. Though it isn’t a deal breaker for me by any means, it’s kind of frustrating!

The Tudor Tailor: Reconstructing Sixteenth-Century Dress by Ninya Mikhaila and Jane Malcolm-Davies

This is a book I bought when making my Tudor Ensemble, since Patterns of Fashion 3 didn’t have quite what I was looking for and I was completely clueless about this period. This came highly recommended on every blog I read, so I decided to give it a try.

To be honest, it isn’t my favorite book. Compared to other pattern books (like Janet Arnold’s and Norah Waugh’s) I find it uninspiring. The patterns and examples all seem to be lacking the exaggeration and detail work that that period was famous for. I don’t want to make anything from the patterns since they seem lackluster, where with other books I want to make everything!

But it isn’t a bad book! Much like the others it starts off with an introduction, except theirs is split into chapters. One of which focuses on the basics, another talks about the materials and dyes that were available, and another shows construction techniques. The pages are pretty dense, but it’s easy to read through and really interesting.

The patterns each have one page devoted to assembly instructions, with a photo (or drawings) of the finished piece. Each pattern has several variations, with the amount of material needed to make it listed. The patterns are also on a grid, which makes them easy to size up. I really appreciate the range in patterns – each one has a different silhouette, and they cover everything from dresses for the everyday tudor woman, to court gowns for the rich. It has mens patterns too, patterns for foundation garments, and patterns for headpieces.

I think this book would be good for beginners, since everything is much simpler than Janet Arnold’s, and it has more notes than Norah Waugh’s. If you find those patterns overwhelming, this is a better place to start. It’s also a lot more complete – you can make everything from foundation garments to accessories with it.

But as I said, I find the patterns lacking the exaggeration and detail work that I like in patterns. And for as simple as the patterns are, the lines are wobbly and the markings for pleats and boning are less clear.

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Corsets and Crinolines by Norah Waugh

This is by far the most used pattern book I own. Every corset I’ve made has been based on patterns from this book in some way or another.

Unlike the other books, there is no introduction. The book is split into chapters, with several dense pages of text between each pattern. This text doesn’t usually relate to the pattern, just the period that pattern is from. Some of the text is heavy, and since it was written seventy years ago it can seem a bit stiff. But I’ve read it pretty much cover to cover and enjoy how much information is packed into it, and how nicely it explains the transition between silhouettes and foundation garments.

In addition to her own words, this book includes samples from journals and newspapers. Some of these are silly (and in another language) but it’s interesting hearing about the foundation garments from the perspective of people who wore them.

The patterns are quite simple, made from a few pieces with only the boning placement marked. However the patterns aren’t on a grid, instead you use a key at the bottom of each page as a guide. The patterns also lack notes, which isn’t a big issue since corsets are quite self explanatory, but it’s very problematic when recreating things from her other book “The Cut of Women’s Clothes: 1600-1930“. Things like how the dresses close, and the order of assembly can be tricky to follow without anything but the pattern to go off of.

In addition to patterns on bodies, stays, corsets, and girdles, this book also has patterns for hoop skirts, panniers, and petticoats. It’s incredibly helpful for creating the proper silhouette for historical costumes and I would highly recommend it – though once again, keep in mind that alterations will have to be made for the patterns to fit you.

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Norah Waugh has two other books, The Cut of Women’s Clothes: 1600-1930 and The Cut of Men’s Clothes: 1600-1900.

Though I don’t own either of these, I have followed patterns from the Women’s book and had the opportunity to look through it. I really enjoy the patterns included in this book since the variety is a lot greater than what’s in Janet Arnold’s, with patterns from the 1600s all the way to the mid 1900s. It covers a huge range of styles and silhouettes, and no two patterns are alike.

As much as I like the patterns, as I said earlier, the lack of construction notes becomes a bit problematic with some of these patterns. They can usually be figured out with a bit of experimentation, but the way things are supposed to go together isn’t always clear since there are no notes.

A recent addition to my collection is 59 Authentic Turn-of-the-Century Fashion Patterns by Kristina Harris

You’ve probably heard me talk about this book before, since I used it for three recent projects. It’s quickly become one of my favorites since I’m a bit enamored with the 1890’s, and this is one of the few books I’ve found that focuses on that period.

This book has a single drawing of each finished garment, plus a paragraph long description of it. The garments are organized by date and season. Though it primarily has patterns on women’s fashion there are a dozen or so children’s patterns.

I find a lot of the patterns to be quite similar, but there are subtle differences between them. And at the price point (twelve dollars or so) It’s easy to forgive. The patterns aren’t on a grid, and there isn’t a key that makes them easy to scale up. Instead the edges of each piece have measurements listed. The patterns do have errors that I’ve noticed, the most major being that they often use improper fractions like 3 7/4″ or 9 13/5″, which is confusing at times!

Much like Waugh’s book, I wish the patterns had notes on them. To create poofy sleeves and gathered bodices the lining often has a completely different shape than the fashion fabric that goes overtop of it. But it isn’t always clear how they go together.

However I still really like this book. The variety in sleeve patterns is fantastic, and the skirt pattern I followed for my recent 1890’s dress was wonderful. It’s a great book to have around, and you can’t beat the amount of patterns you get for the price!

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The “Keystone” Jacket and Dress Cutter: An 1895 Guide to Women’s Tailoring by Chas Hecklinger

I’m not sure if i’m allowed to review this since I haven’t used it the way it’s intended to be used. I bought this as a visual reference for making fitted 1890’s jackets with flared skirts. And I’ve since used it as a visual reference for how double breasted jackets and shirtwaists should look when flat…then used that as a guide when draping similar garments.

But this book is intended to be a drafting manual. It includes instructions on how to measure yourself and how to create flat patterns based on those measurements. Since this is an older book, the instructions are stiff, but don’t seem very difficult to follow.

After the drafting system is explained it has pages devoted to garment diagrams, and a page of drafting instructions to go along with each one.

The diagrams cover everything from short fitted jackets to to double breasted riding coats with flared skirts. It also has diagrams and instructions for sleeve patterns and several shirtwaists. At the back of the book there are drawn examples of each piece.

Overall, this served the purpose I bought it for. It helped me understand what lat 20th century patterns looked like flat, which helped me drape my own equivalent. But I can’t vouch for the accuracy of the instructions since I haven’t followed them!

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Costume in Detail: Women’s Dress 1730-1930 by Nancy Bradfield

This isn’t a pattern book, but I keep it with my pattern books since I think it’s a great accompinment to them. This book has a unique format, with at least two pages devoted to each costume. Each costume is dated, with a paragraph of typed text about it. But the rest of the pages are filled with drawings and notes made by Nancy.

There are a lot of unique notes and information in this book. In addition to sketches of the exterior of the costume, there are notes about the interior – how things were lined, what materials were used, where the boning was placed. How long the train was, and how much of the train was lined. Even things like the width of the fabric used, and the number of seams in a skirt are documented alongside detailed sketches. Technically things that can be learned through pattern books, but alongside the sketches it’s a lot easier to follow.

Ecspecially for things like lining and closures. Seeing how the fabric drapes over the closures, along with how they looked from the interior makes it seem more approchable. In addition to dresses, shoes, petticoats, hats, and chemises are all discussed as well.

Though I wouldn’t use this as a standalone reference for a costume, It’s a fantastic resource to use along side inspiration books (with lots of photos of costumes, but none of the construction) or pattern books that are hard to imagine in a three dimensional way.

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Those are all the construction focused/pattern books I own. Now I’m going to talk about inspiration books, which feature a lot of images of historical costumes, but very little information about the origin or interior of the garments. I use these when I’m not sure what to make, or when I want more references to build out a costume idea I already have. These first four are all illustrated, with no photos of costumes.

Complete Costume History by Francoise Tetard-Vittu (artwork by Auguste Racinet)

I originally discovered this when I took a class and the teacher had the large copy of this book. looked through it one day and fell in love with the full color illustrations that were packed onto every page, and the huge variety of styles it included.

I personally own the smaller version, which has two volumes. The first volume has the illustrations, and the second has more information about the drawings. The drawings in this book aren’t modern, they were created and researched in the 1800s, which means they aren’t the most accurate depiction of history.

But the drawings are beautiful. And every time I look through the book I find something new I want to make. Unlike most books it isn’t exclusively european fashion. It has pages devoted to Egyptian times, Ancient Greece, China, Africa, and Spain. In addition to hundreds of full page color illustrations it also has drawings of furniture, architecture, weapons, instruments, and even camels. It provides a well rounded image of not just what people wore, but also what they were surrounded by.

The only negative I can say about this book is that the time periods for each page aren’t labeled. They only have the country listed. Volume II does have additional information about each page, but it’s awkward switching between them. Now I know enough about historical fashion to know approximately which decade each page focuses on, but when I first got it I had no clue.

Also as I said earlier, this isn’t the most accurate depiction of history. If your goal is to make historically accurate costumes you’ll need additional references. Even if you don’t want to make historically accurate costumes you’ll probably want more references since most of these drawings only show one side of the garment, and don’t delve into the details.

But I love this book! Looking through it makes me happy and fills me with ideas. I would highly recommend it to anyone interested in historical fashion, regardless of whether they make costumes or not.

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Historic Costume in Pictures by Braun & Schneider

This book is quite similar to The Complete Costume History in that it consists only of pictures. Except this book lists the date on each page in addition to the country of origin, which I like. The drawings are more detailed in this book, though there are less of them, and the pages are in black and white.

The costumes plates in this book were originally researched and published in the later 1800s, so once again they aren’t the most accurate. But I still enjoy this book. When I got it I didn’t know very much about historical fashion, flipping through this gave me a good grasp on the various silhouettes and styles, how they evolved, and when they were popular. Since the information in it is limited, that means it’s easy to absorb. I’d highly recommend it to beginners, as long as they are aware that the drawings aren’t completely accurate and are willing to research the garments more on their own.

I don’t think I’ve made anything based on the drawings in this book, but I do enjoy flipping through it when in search of inspiration.  However I enjoy The Complete Costume History more and don’t think you need both.

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Victorian Fashions and Costumes from Harper’s Bazar, 1867-1898  by Stella Blum

I think this is a great book to get along with one of the ones listed above, since it covers the major decade they miss: The mid to late 1800s.

I purchased this early in the year since I was struggling to find references of garments from the 1890’s. Disappointingly, this doesn’t have a lot of pages devoted to that period. It’s far more focused on the bustle dress eras. But I’m very happy that I purchased it, since it’s made me enjoy, and respect a period of fashion I previously thought I hated.

Though these fashion plates were also drawn in the mid 1800s, they are very accurate since they depict the garments that were worn during that period.

This book has my favorite format of all the “Inspiration” books. Each dress is accompanied by a short, concise paragraph that talks about the style, colors, and when it was worn. It gives you enough information to research it further on your own, and some insights into how dresses were trimmed and the fabrics used.

Though the majority of the pages are devoted to full length dresses, there are many drawings of accessories. Headpieces, foundation garments, parasols, children’s clothes, shoes, and jewelry all have pages of their own.

I think this would be a valuable book for anyone who appreciates historical fashion in general. I didn’t expect to like half the examples in this book since I’m not a huge fan of bustle dresses, but I still really enjoyed reading through it and seeing how the styles evolved. It’s also been a fantastic reference for several of my projects, and served as the main inspiration for a few things I currently have in progress.

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Women’s Hats, Headdresses and Hairstyles: Medieval to Modern  by Georgine de Courtais

This is one of my most referenced books. It isn’t detailed enough to be a standalone reference on hats throughout history, but it’s a really great start and source of inspiration. I bought this when I knew very little about hats and after flipping through it once I had a basic understanding of  historical hats and what periods they belong to. Even now that I know more about hats, I’ll still look through this for ideas on what to pair with ensembles I’m planning.

The book has one page of numbered drawings accompanied by a page of text that explains each hat in greater detail. Something I like a lot about this book is that it talks about how hats evolve – it doesn’t just say “This is a flower pot hat, worn in the 1890’s” is says why they were called that and how they are different from the hats worn a few years prior. Along with how that style changed throughout the decade.

The book covers a huge range of time – from 1100 all the way to 1980, with the 1700’s and 1800’s being covered with the most detail.

A downside to this book is that the illustrations only show each example from one angle. The descriptions are very helpful, but short. So you don’t get enough information about each example to use them as your only reference when making a hat. The writing is also a bit blocky, and lacking line breaks between the explanations for each piece, so it isn’t enjoyable to read through in it’s entirety.

I’d still highly recommend it if historical hats are something you want to learn more about. It’s taught me a lot and was my main motivation for getting into headpiece making.

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Fashion: A History from the 18th to the 20th Century by The Kyoto Costume Institute

I think this is the prettiest book I own. And also the heaviest!

It’s a two volume set of books, which as far as I know have to be purchased together. The first book shows fashion from the 18th century to the early 20th century, and the second book is entirely 20th century fashion.

These books are beautifully put together, especially the first volume. I really can’t recommend the first book highly enough. The garments chosen are beautiful, and wonderfully styled and photographed. It’s incredibly inspiring to look through and made me fall in a bit more in love with historical fashion.

The photos mostly show the full length dresses, but there are pages devoted to the detail work and accessories. Each dress is accompanied by a very short explanation, with some having full paragraphs. Some pages have more text than others, but the real star of this book are the pictures. Most of the images are photographs, but some of them are paired with fashion plates and drawings.

Overall It’s a stunning collection of garments and photos. I’ve had it for almost a year now and I still really enjoy looking through it. It would make a fantastic gift, since not only is it a great reference, it’s also pretty enough that people who don’t really “get” historical fashion can enjoy it.

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Volume II however…Well, it’s not my cup of tea. I enjoy the first portion since the 1920’s dresses are beautiful, and a lot of the dresses from the 50’s are nice too.

The rest of it is a bit weird and I find the examples they chose for garments very odd. There are shoes made out of grass, dresses made from plastic, and a plethora of awkwardly shaped runway pieces. I understand that the uniqueness of these pieces are why a museum would have them in their collection, but I was disappointed by them. It didn’t feel cohesive with the tone of the first book. However if you like unusual fashion, and appreciate the more sculptural aspect of clothing you’ll probably really enjoy it.

Overall I think it was worth what I paid (a little more than twenty dollars). I would pay the same amount over again for just the first book, since I think it’s fantastic. But the second book isn’t my favorite, and I wish there was an equal amount of focus given to all the periods, rather than the 20th century getting a volume of its own, with the prior two hundred and fifty years compacted into one. More examples of fashion from the 1800’s and turn of the century would have made it a lot more enjoyable for me personally.

In Fine Style: The Art of Tudor and Stuart Fashion by Anna Reynolds

Speaking of pretty books, this one is a beauty! I purchased this as a visual reference since I wanted more examples of Elizabethan and mid 17th century fashion in my collection, something this book is filled with. Every page has at least one painting printed on it, and almost a quarter of the pages are taken up entirely by prints.

This book really focuses on the details, often cropping paintings to highlight the embellishment or textures used on the garments. It also pairs paintings with photographs of similar items to what’s worn in them. For example a chemise with blackwork embroidery is on the page across from  a tudor portrait of a woman wearing a blackwork embroidered partlet.

Even though the real star of this book is the artwork, there is a lot of text too. Far more than I had expected. To be honest I haven’t read a lot of it, since I purchased it primarily as a visual reference. What I have read was well written, but not especially captivating.

My only peeve with this book is the formatting. Large portions of pages are often left blank because of photo placement, ands sentences run on between several pages. For example “The embroidered waistcoat is clearly decorated in a similar manner to a waistcoat in the Fashion Museum, Bath. Wheras” – that sentence continues three pages later. It seems poorly planned.

Another note is that this book is divided into chapters such as: Dressing Children, Dressing Men, Dressing Women, Painting Dress, Dressing Across the Borders, etc. This is nice because it means all the examples within a chapter are relatively cohesive, since they have the same theme. I’m sure that makes it nicer to read too.

But I’m used to historical fashion books being sorted by date, with the earliest examples at the beginning. And in this they are scattered all over within the chapters. From the perspective of someone trying to use it as a reference, it can be difficult finding what I’m looking for. It usually means I have to look through the entire book to find anything – but it’s a beautiful book, so that’s usually a treat more than anything else!

Overall I love looking through it and the examples they chose to include. They never cease to inspire me. It’s visually pleasing from the outside too, and would be a nice coffee table book in addition to being a wonderful reference.

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20,000 Years of Fashion: The History of Costume and Personal Adornment by Francois Boucher

I think out of all the books I own, this one has the most “complete” coverage of historical fashion. It begins with prehistoric fashion before moving into things from the early third millennium. Egyptian artwork and how it depicts costumes has two chapters of its own – and so do many other periods that don’t fit into most historical fashion books. I reach for this when working on medieval projects, since it has far more examples of artwork from the 1000-1200s than any other book I own.

The book is quite text heavy, but every page is dotted with pictures that help give you a sense of the period. I’m not a huge fan of how this is written, it’s readable and interesting but not compelling. My attempts to read it from cover to cover have been squashed, but I do enjoy reading pages related to what I’m currently working on.

The pictures are a mixture of paintings, fashion plates, sculpture tapestries, and photographs. To get inspired I always flip to the pages about the period I’m planning on making something from. Though the pictures aren’t as pretty as other books, they pick a lot of unique examples that differ from what you usually see on pinterest.

It’s a book I’m very happy to have in my collection, but probably not one I would recommend as a gift since it isn’t as immediately exciting as the others.

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I have one technique focused book to talk about and then I’m done!

This is called The Art of Manipulating Fabric by Colette Wolff. The cover caught my eye when I was browsing, and the reviews won me over.

I don’t use this book very often, but it’s fascinating. Each page describes multiple techniques and has instructions on how to do them. The instructions are usually paired with diagrams that show the steps.

It begins with basic things, like making ruffles. Then moves onto similar, but more elaborate things that use the same techniques, like fluting and furrowing. It also has picture examples of everything – including gathering examples that show the fullness of of fabric when it’s gathered to be one half, one third, or one quarter of it’s original length.

The techniques get more complicated as the book goes on, but still cover basics like shirring, godets, pleating, and making simples flounces. A lot of the examples go far beyond the level of patience I have, but it’s still neat to see instructions about them, and how they look executed perfectly in the examples.

It’s an interesting book to have, regardless of your skill level. Since it covers the basics it can work for beginners, and I guarantee that no matter how long you’ve been sewing there will be something in here you’ve never seen before.

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Some other books I own but don’t feel comfortable reviewing yet include:

Authentic Victorian Dressmaking Techniques – I’ve referenced this for specific projects a few times, but haven’t read it from cover to cover. So far I like it and how they touch on things not usually mentioned in modern sewing manuals.

The Art of Sewing Books – I got these at a vintage book store. I like the way they are laid out and the diagrams but they aren’t relevant to what I’m currently doing so I haven’t read them.

Women’s Institute of Domestic Arts and Sciences manuals/textbooks – My Great Aunt gave me these and they are wonderful. I love the way things are explained and the huge variety of techniques. If you can find them I’d highly recommend them, they are really useful and also a piece of a history since they were printed in the 1920s!

That’s it for reviews! I hope you enjoyed this and found it helpful.

It would be nice if the comments were a bit of a discussion – are there any historical costume books you would recommend? Any I liked you that didn’t? Ones on your wish list?

I’m hoping to get “Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette”  for Christmas and am keeping my eye on “Art Nouveau Fashion” – I want more picture books!

Though I used amazon links in this post, remember to look around for better deals! A few of these were purchased from Barnes and Noble since they were cheaper there AND had $10 off coupons for Black Friday. A fifty dollar book on amazon cost me $28 with free shipping from B&N. Book prices also change all the time, so if something is too expensive keep checking back – I’ve seen prices drop from $55 to $38 in a day.

I think that’s all I have to say for today, thanks for reading and I hope you have a nice Thanksgiving – or if you don’t celebrate, then a really fantastic week in general!

 

 

 
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Posted by on November 22, 2016 in Reviews & Hauls

 

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Fabric Haul, April 2016

Today’s post is an exciting one…or at least it’s exciting for me, because it’s a fabric haul! Which means new materials and new projects to work on.

The week before my birthday my dad and I went into the garment district and this is what I got during that trip – plus a few Jo-anns purchases since I couldn’t find everything I wanted in NYC.

This post is a bit different than usual, since I don’t have many sketches to share. Most of my future plans are in the idea stage and haven’t been transferred to paper yet, or are based off of paintings. But i’ll do my best to describe each project and include my inspiration photos!

Here is my swatch sheet that I made after getting home. I managed to get (almost) everything I need for seven projects which is fantastic.

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Now lets go through them in detail!

The first fabric I bought is for an Elizabethan ensemble based on this painting of Anne of Denmark. I plan on following the silhouette and detailing quite closely, but i’ll be making a few changes, as I always do. I’ve been wanting to take on an Elizabethan project since I got “In Fine Style: The Art of Tudor and Stuart Fashion” for Christmas, and this seemed like a good piece to start with.

I’d hoped to find a fabric with a larger, more subtle pattern, but I didn’t see any others that were green so at the end of the day I came back to this one and bought eight yards. It isn’t quite what I had in mind, but I do really like it! I just hope it isn’t too overwhelming once I make a full dress out of it!

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To go along with that I bought buttons! I don’t think metal buttons are very accurate for this period, but I fell in love with the shape and details of these so I bought them anyway. I thought I would have to order buttons for this, so finding ones in person was a pleasant surprise!

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This costume will mostly be trimmed with lace, which I already own and small gold ribbon, which i’ve ordered online. But I came across this gold/green cording which I thought would look nice on the bodice, so I got three yards. I also picked up two yards of velvet ribbon for the rosettes and two orange pheasant feathers for the hat!

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For the partlet and ruff I got a sheer cotton fabric. This is a really neat fabric considering it’s weight and color. It has a subtle plaid pattern  woven through it and parts of it have a sheen almost like mirror organza.

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From Diana Fabrics I got a plain cotton striped shirting, which is for a cycling ensemble I plan on making soon. I already have the other materials for this project (buttons for the shirt, plaid for the pants, and wool for the hat) so now I can get started!

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Also from Diana Fabrics I bought three yards of this striped silk taffeta. I love this fabric, unfortunately I didn’t buy enough of it to actually use it. I thought it matched another fabric I bought and would work for an 1880s bustle dress but it doesn’t at all. Hopefully on my next trip in they will still have it, then I can get another two yards and have enough for an 18th century Robe a La Langlaise!

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Speaking of the 18th century, I got a whole bunch of fabrics for an ensemble from that period. This is based on a few paintings from the late 1700’s and incorporates the loose wrapped headpiece (“turban”) trend that was popular at this point in time.

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I wanted this costume to have a warm color scheme and incorporate textured metallic fabrics, so when I saw this I grabbed it up right away! It’s a striped organza made from pink and gold threads so it has a two tone shift. It’s really striking in person, and might be a bit overwhelming, but I love it a lot.

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I tried to find a striped material that would compliment the organza, but they were all out of my price range. And the silks I found were a little more textured or pink than I wanted, so I went for a polyester shantung instead. It’s a light copper color that looks gorgeous with the organza. I got this at Amin fabrics, along with a few yards of pink taffeta which is a base for the organza.

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Since I couldn’t find a striped fabric I went back to the shop where I bought the organza (Zahra fabrics) and got two yards of a similar material, just in a different print. I’m going to use this for ruffled trim, which will hopefully jazz up the slightly boring shantung!

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Here are the materials all together, and you can see how the striped fabric looks over the pink taffeta.

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At a trim shop I found some pretty organza ribbons that were a dollar a yard, so I bought two yards of each. I think one of these might work as a sash for the costume,  and even if they don’t I’ll find a use for them someday!

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At Zahra fabrics I got four yards of an orchid colored satin faced chiffon. This is for a grecian inspired project I want to make soon – it won’t be historically accurate at all, but it will be very pretty!

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They also has a textured silk that I really liked, and matched the color scheme I had going, so I got a yard of it.

The final fabric for this project (on left) is a plain linen that I bought from Jo-ann’s. I’d hoped to find a foiled linen that had gold flecks in it, or something more interesting, but didn’t see anything like that. And when it comes to plain linen, it’s cheaper to buy it from Jo-ann’s with coupons than in the garment district.

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For the same project I got a bunch of beads and sequins from Beads World. I’d like to make a crown or shoulder piece with a floral pattern, and I thought these would work well for that.

Even though i’m not completely sure what this project will look like I really love the color palettes and fabrics I ended up getting for it. It’s made me realize that I don’t work with purple fabrics often enough!

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These things weren’t on my list, but they had them in the sale section at the front and I couldn’t resist. I use gold beads all the time so I thought these would be a good addition to my collection, and the leaves were too pretty to pass up! Ecspecially at $2 a bag.

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I also got some red beads and a tiny crochet hook. I’m going to attempt to teach myself the process of crocheting a beaded rope, and thought these would be good to start with!

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At Hamed Fabrics I came across a striped home decor fabric and fell in love. I had no idea what to do with it until I remembered this fashion plate. This project was on my list of tentative plans, but I didn’t think I would find a fabric in my price range that would work for this.

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But clearly I was wrong, because this is perfect. It’s a dark pink organza with opaque stripes that are outlined in gold. It’s such a pretty color, the texture is lovely, and looks gorgeous when it’s gathered.

Best of all is that it’s 120″ wide so I only had to buy five and a half yards, which came to a total cost of fifty five dollars.

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To go underneath that I bought a polyester taffeta (on left) and as a contrasting fabric for piping and bows I got a pinstriped gold fabric. These all look wonderful together and i’m really excited to use them.

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From the same shop I found a striped polyester organza with opaque off white stripes. This was another fabric I was happy to find, since it reminds me of the ones used for this Chemise a la Reine. I plan on making something inspired by that painting and some of my favorite John Hoppner works from that period (like this and this). The end result will probably be a very light, yet structured dress.

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I bought some shantung to go underneath it, but I might use a  lighter weight fabric as a base to keep the gauzy effect.

I also got two yards of silk taffeta to create a sash and trim the hat. This taffeta is the exact same one I used for my Royal Milk Tea costume back in the day, and was also used to trim a Chemise a la Reine-ish dress I made a couple years ago!

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From Amin Fabrics I bought this soft dotted net, which i’ll use to make neckerchiefs for a few projects. And at Zahra fabrics I found the same maroon/brown material I bought a few years ago. When I purchased this the first time it was for an 18th century project that ended in total failure, then the remaining yardage was used for my 1890s Paid Ensemble. I loved that fabric a lot and was sad to use it up, so I jumped at the opportunity to get more of it.

I bought three yards and I think i’ll reattempt that 18th Century project someday – three yards should be plenty for a jacket.

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Another good find from Zahra fabrics was this brocade. It’s the same type of material as the one I purchased for the Elizabethan project, but is in a much brighter shamrock green that my camera refuses to do justice. It has gold stripes woven throughout and is ridiculously pretty.

Unfortunately they only had three and a half yards, which isn’t enough for the dress I had in mind. But I bought it anyway and am determined to do something with it someday!

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From the same shop I got four yards of dark green satin faced chiffon (on left) and two yards of a striped jacquard. I was going to use the chiffon for an edwardian dress, but didn’t find any lace that matches it. So I need to browse etsy for something that will work, or put the project on hold for now.

The jacquard was supposed to be for a bustle dress, but I didn’t find anything that matches it. So that’s on hold for now as well!

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A project I did manage to get all the materials for is a very simple Victorian riding habit. I’d never seen one of these before but fell in love when I saw this picture. I’m not sure why I like it so much, but I think it’s very striking!

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I must have looked at hundreds of black suitings before picking this one. I wanted something that would look nice when it was draped and this is the only one I found that had a subtle sheen to it and was in the weight I needed. So I got six yards, which should be plenty.

I also found some filigree metal buttons on etsy which probably aren’t accurate, but should add some Victorian flair to this simple design.

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At Joann’s I got a yard of white cotton sateen, which i’ll use for the collars and cuff. And at Hai Trimmings I bought a bundle of rooster feathers for the hat. I fell in love with these last time I went in but didn’t want to buy them without a purpose, so I was happy to finally have a use for them!

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From Hai Trims I also got more of these resin “stones”.I bought orange ones on my last visit to the garment district, and couldn’t resist getting more this time around. I picked up three packets of the blue ones…

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And three packets of the green ones.

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The last notion-y things I bought are fluffy ostrich feathers – three in a warm white color, one in ivory.

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And a bunch of smaller ones in a warm white, plus two raspberry colored ones. I have a couple projects in mind that require light colored feathers, but I mostly got these just for the sake of having them around.

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The raspberry colored ones were bought for an Edwardian project (inspired by this), but I didn’t find velvet in the color I wanted so that project is on hold for now. However I did find this lace, which is hideous in that kitschy way that makes it perfect for something from the early 1900s, so I bought a yard of it with that project in mind.

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I bought a bit of red cotton sateen just for the hell of it. I thought this might be fun for an 1830s dress, similar to this one. I’ve used this material for a few projects in the past and it’s great to work with and super cheap, so getting more seemed like a good idea even without a plan in mind!

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The final two fabrics I bought are for a dress based off this one. I came across this dress recently and was immediately obsessed with it. The shape! The flowers! The draping! And the ruffles…what more could you want?

I’m not sure why but right away I knew I wanted this dress to be made from velvet. I planned on using black velvet for the dress, but the draping isn’t very visible on black, and the other dark colors (brown, blue, purple) weren’t as elegant as I liked. I wanted green, but couldn’t find any, so I choose this dark raspberry colored one. If it looks familiar that’s probably because I bought some on my last trip for a different project.

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To trim the dress I bought silk satin. The edges of this are slightly discolored, which I’m frustrated by, but it seems to be unavoidable when buying ivory fabric from the garment district (I swear the shop lighting hides all fabric flaws).

For the ruffles of this dress I bought matte black tulle, which I think go nicely with the silk and velvet.

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That is everything from the garment district but I did make a few sneaky Joanns purchases that I wanted to include. On my most recent trip there I was really impressed by the new (summer?) collections and trim selection – everything was nicely stocked for once and I saw a lot that I really liked.

I ended up getting five yards of pink chiffon that has an iridescent vine pattern on it. When it catches the light it reflects all the colors you can imagine. It’s really, really pretty. Probably one of my favorite fabrics I’ve ever seen. I got two yards of it in an off white color as well.

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Then to go with that I bought one yard of a textured organza. This has satin flecks in it, a mottled pattern, and glitter woven into the base. This one was ridiculously priced ($30 a yard!) but with coupons it was half that, and a little more justifiable. I have no idea what i’ll use these for but I see some sort of medieval inspired dress that looks like a bridesmaid gown in their future…

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The last thing I bought was this trim! Which I was also very impressed with. I got two yards of it which is enough to edge the cuffs/waist of a dress. Not sure what it will get used for either, but I liked it enough that I didn’t care!

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And that’s everything! I’m currently working on my Civil War Era evening gown and a few other projects so I won’t be using any of these materials in the immediate future, but they will be making more appearances on my blog soon!

Thanks for reading!

 
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Posted by on May 6, 2016 in Reviews & Hauls

 

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