RSS

Category Archives: The Making Of

Making an 1860’s Beetlewing Dress, Part One

If you clicked on this post thinking that title is an exaggeration, then you have severely underestimated me and the things I will buy on etsy.

I discovered beetlewing embroidery several years ago, when I was still really active on tumblr and this picture came across my dashboard. I thought it was stunning, and the fact that all the detail work was made from bugs fascinated me. But at the time I wasn’t doing a lot of hand work, and it never crossed my mind that I could make anything similar.

Over the past few months I’ve come across pictures of more extant garments that feature this technique. And after my tiny embroidery project earlier in the year (a stomacher), and an elaborate 1860’s dress under my belt,  I felt like I could actually take this on.

Beetlewing embroidery goes back hundreds of years, and from what I can tell, originated in China, Thailand, and India. I’m not sure how it came to be popular in Europe in the mid 1800’s, but it was, and the results are stunning. This pinterest board has lots of lovely examples.

My first “step” was buying the wings. I ordered 2,000 from this seller, which I’m really hoping will be enough.

The wings feel (and look) a bit like press on nails, but are a bit thicker and more brittle. Though they are wings, they aren’t like dragonfly wings – these are a firm shell.

A few other bloggers have made dresses featuring them, and they mentioned steaming the wings to make them flexible enough to poke holes in, where others used drills. I found this prospect kind of terrifying because I had a lot of wings, but luckily mine haven’t required either method. A sharp (large) needle goes through them and creates a big enough hole to get a smaller needle and a few strands of embroidery floss through.

The more time consuming part has been cutting off the point where the wings connected to the body of the beetle. It’s also sort of gross even though it’s all dried out.

As for fabric, I’ll be using 12 yards of lightweight cotton which I got from Hamed Fabrics.

The design isn’t fully figured out yet, but I know it will consist of a skirt, an evening bodice, and a day bodice. Which is very common for designs in the mid 19th century.

My inspiration for the bodice shapes, and the sleeves, is this ensemble – the skirt design is still kind of a mystery, but I’ll figure it out once the upper half is done. The embroidery pattern is made up, but influenced a lot but every other example I could find online.

The first step was draping – draping loose fitting bodices is always a pain, but I did the best I could.

I tried to change it up a little bit, so instead of the shoulder seam sitting at the top of the shoulder, it’s further back and gathered to add volume to the bust.

Here is one of the front pieces, with the shoulder gathered.

The back pieces, stitched together with french seams.

And here they are sewn together.

The side seams were done up as well, then the collar and hem were bound with bias tape made from green silk shantung. The front edges were also turned inward to finish them off nicely.

Now for the fun part – the beetles! I designed the embroidery pattern on paper, and fiddled around with the wings until I liked the shapes they made.

The paper was then placed underneath the fabric. I traced the stem design onto the right side of the fabric with a wash away pen.

And then the embroidery began! I didn’t do a great job documenting this, since I wasn’t sure it would work. I’ll make sure to take more photos of the skirt during these steps.

The stems were sewn with a split stitch. I outlined each one with two parallel lines of stitching, with a small gap between them, which is where I sewed gold seed beads. Then the wings were sewn on, and the “gaps” between the wings, as well as the base of them, were covered with green seed beads to make them look more like foliage.

I did as much of this as I could with a hoop.

  Then I sewed sequins around the design – a mixture of flat gold ones, faceted gold ones, and some that match the wings almost perfectly. 

Here is one section done!

However when it was all done, it felt a little sparse. So I added bugs. The bodies were made from embroidery floss and gold beads, with the beetle wings making up the wings. Then I embroidered on antennas and used faux black pearls as eyes.

I may make a video showing this process at some point!

After the embellishing was done I sewed in hook/bar closures, and gathered the waistline. However after a fitting I realized the waist was too small, so the gathering was ripped out and re-done.

Now time for the sleeves! It looks like a relatively normal sleeve pattern, but the twist is a rectangle gathered every 4″ to create puffs, which is sewn between these two pieces.

The top piece is the front (ignore the writing saying otherwise) – it’s narrower, so the puffs are more visible from the front and side of the sleeves when they are worn.

Here are the puffed portions after being gathered.

I sewed them onto a smaller piece of material so they held their shape.

Then that was sewn to the other pieces.

They looked okay, but were obviously missing bugs.

(I will never say that about anything else if my life)

I placed the bugs in the center of the gathering points, surrounded by sequins.

The side seam was done up, but I left the bottom few inches open to allow me to get the sleeves on and off. Then I turned the seam allowance inward with whip stitches to hide the raw edges.

The cuffs are made from interfaced cotton, with green silk piping trimming the edges. They are lined with more cotton, and close with two hooks/bars. Weirdly, these gave me a lot of trouble. I cut them the wrong length the first time, and had to re-do them. Then I gathered the sleeves to be too small and didn’t realize until after the cuffs were sewn on and the lining was in…cue me having to re-do it, again.

Here you can see the difference between the front and backs of the sleeves.

They were sewn on by machine, and that’s it!

And here are some worn photos – I don’t love the fit, I feel like it should be a little looser to provide more mobility of the arms. But I also really like how it looks.

(note, the ribbon is a placeholder to imitate the waistband of the skirt, it isn’t part of the bodice)

I think the proportion of the embroidery at the front is really nice, and I love the sleeves, the bugs with the gathering is really charming to me.

One things I’ll have to do before labeling this costume complete is make a corset cover. My corset is bright red, which doesn’t pair well with sheer white fabrics.

And that’s it! I’m not sure when the next post about this project will be done, since the skirt isn’t even started and the evening bodice is missing sleeves. But hopefully it will all come together nicely in the near future!

Thanks for reading!

 
30 Comments

Posted by on May 31, 2017 in 20th Century, The Making Of

 

Tags: , , , , , ,

Making a Striped Cotton Dress, Early 20th Century, Continued

Last week I shared the process of making the bodice and sleeves for my striped edwardian dress. Today I’m writing about making the skirt, the hat, and the adding the finishing touches.

Let’s start with the skirt. This took me a while to “draft” because it’s so narrow – I’m used to making skirts that fit over petticoats or hoops, and without those as a base I felt a bit lost!

So I began by cutting a rectangle of material, then cutting it in half. Which left me with two 22″ x 45″ish pieces. I pinned one of the pieces onto the front of the dress form and played around with the amount of volume I wanted it to have.

Then I removed the panel from the dress form, trimmed the top edge, and gathered it properly. This was repeated on the other panel as well.

I cut out another rectangle, and while the fabric was folded in half I cut across it diagonally. This left me with three gored panels. I made sure all the diagonal cut edges were sewn to straight edges (to prevent warping), with the wider ends at the hem so it would have the most volume.

I didn’t photograph this process because my floor was really dirty, but you’ll see the skirt laid flat in a minute and hopefully it will make sense then!

Here is the top edge.

I pleated this edge so it would line up with the pleat at the back of the bodice.

Then gathered it down, so the whole thing was the same width as the bodice waistline.

Speaking of the bodice, here it is which the fit updates mentioned in the last post. The pleats were tacked down, and the waistband was sewn on by hand with running stitches.

I also decided to add ruffles to the hem of the sleeves, since they were an awkward length. The ruffles are 25″ x 4″ strips that were folded in half to create a finished edge, then I gathered the tops by hand and whip stitched them on.

I matched the seams in the skirt with the seams in the bodice, then sewed it onto the waistband.

The front edges were folded inward twice to hide the raw edges. This was sewn down by hand, with more whip stitches.

I put it back on my dress form and used pins to mark where I thought the hem should go. Then I tried it on and adjusted the hem more – I’m so, so glad I tried it on during this stage, since it was an inch shorter than I wanted!

I marked my desired hemline with pencil, then measured three inches away from that and marked another line. This left me plenty of room for a pretty hem.

I folded the dress in half and pinned all the seams together, then laid it flat. I did this because the hemline was only marked on one side and I wanted it to be symmetrical.

This is before trimming…

And after!

I transferred all my markings onto the other side of the skirt.

Then turned the raw edge inward by an inch, and inward once again at the line I drew. This left me with a 2″ deep hem.

It was sewn with whip stitches as well.

Now it was time for buttons. I spent a long time searching for suitable buttons on etsy but couldn’t find anything in my price range in the size I wanted.

So I decided to use coverable buttons. I was trying to decide between making them maroon or white when I realized another fabric I purchased in the garment district matched the stripes perfectly. I ended up using it and I really love how they look.

Before sewing them on I tried the dress on again, and marked where the snaps/hooks/bars should be. I sewed these on first, then used the buttons to cover the threads used to securing the closures to the fabric.

I also lined the waistband – here you can see some of the hooks, along with pencil markings for snaps.

In total there are seven hooks and six snaps. Hooks are placed where more support is needed – like at the collar and waistline. Snaps were used for the rest.

There are three snaps and one hook further down which keeps the skirt together – I used three more buttons to cover that stitching as well.

Here is the finished bodice. I’m really happy with how the closures for this turned out, front closures can be hit or miss but everything lines up nicely and it’s really easy to get into!

Now onto the hat! I based this on fashion plates in the catalogues I looked through when visiting McCalls. There were a lot of hats that were covered in flowers to the point where you could barely see the crown. I usually put flowers on hats, but this inspired me to go all out.

First came the paper pattern – I made a few of these before I got the “perfect” size. My original pattern is laid on top of the one I ended up using.

It was cut out of felt weight interfacing.

Then wire was sewn into the pieces.

I covered all the panels with white cotton sateen, and lined them with the striped material. For the brim I gathered the striped fabric at two points to create ruched lining, which I didn’t realize would need to be secured at the gathering point in the middle to sit properly – which left with these ugly dents in the material.

My solution to this was covering it with bias tape. Which just so happened to match the bias tape I made to bind the brim of the hat.

Here is the bias tape sewn on. In the photo above you might be able to see pencil dots, which were used as a guide when sewing it in place.

I also sewed together the crown of the hat, then sewed it to the brim.

At this point I liked the lining better than the front!

But after piling it with flowers the outer layer of the hat grew on me a lot! I wish I had only used pink flowers, and not brought in the small yellow ones. But I still really like it. I used an entire bunch of fake roses, a few sprigs of fake paisleys, fake ivy, and fake ferns.  Along with a sash of silk and an ostrich feather.

I think there may be room left for a few more roses, but I haven’t decided how high I want them to go up the sides of the hat. For now I’m calling it finished.

And that’s it for this project! I’m hoping we’ll have some nice weather soon and I can photograph it against a backdrop of spring flowers. I think it would suit that environment nicely.

Overall I’m really happy with this dress. I think the silhouette turned out very nicely – slim but still obviously historical (that’s more prominent when it’s worn by a person, not a dress form). I like how easy it is to get on, and how comfortable it is to wear. I also have a ton of mobility in it – I can raise my arms all the way above my head without any snaps popping or seams ripping! So if I get attacked by bees when photographing it in front of flowers I’ll have a chance to swat them away.

(or if I ever get invited to a historical event at a theme park I’ll know which dress to bring)

Another cool thing: This dress has maybe $35 of material in it. And that’s including the hat. But I’m really tempted to buy a pair of white shoes to go with it, which would nearly double that total.

And that’s it! Thanks for reading, I should have a fabric haul with the other materials I picked up on my recent shopping trip up soon!

 

Tags: , , , , , , , , ,

Making a Striped Cotton Dress, Early 20th Century

I recently took a trip into the garment district, and for the first time in years I didn’t have a list of projects I was shopping for. However I did have a list of materials to keep an eye out for, and one of those was lightweight cotton.

Lightweight cottons are incredibly versatile – they can be used for foundation garments from any period, gauzy dresses from the 18th century to the mid 1800’s, and more practical pieces from the beginning of the 20th century.

I’ve always found it difficult to find lightweight, soft, yet sturdy cottons that would work for these pieces. Especially since (for me) a big part of a garment looking authentic is it’s texture – which is one of the challenges with plain cottons. They don’t have a lot of it, and garments can look cheap or flat regardless of how well constructed they are.

Which is why I really lucked out when I came across this striped cotton. It has a faded look to it, and the dots buried in the stripes add a bit of life to it. I originally thought it was red and white, but it’s more of a mauve. It’s very soft and slightly sheer – exactly what I hoped to find, and perfect for an edwardian day dress, which is what I decided to use it for!

If you read my recent Progress Report you may recall me raving over fashion plates of 20th century ladies in antique magazines, which definitely served as inspiration for this style of dress. But my main reference was this dressit was listed on etsy, with a bunch of close ups which helped me figure out the construction.

I think the end result is pretty lovely – but let’s start at the beginning!

Step one was draping. This was tricky to drape, since I wanted the oh so glamorous pigeon breast shape, where volume from the bust carries down the the waist, which is cinched in with gathers. It’s very easy to over exaggerate this shape and end up with way too much fabric in the front.

I was also challenged by the pleats in the shoulder – they look okay here, but I was concerned the ends of the pleats would splay open when it was worn.

The back has a box pleat in it, for decoration more than anything else.

I transferred that to paper, then made a mock up. The pleats and amount of volume worked surprisingly well, so I moved on without any alterations.

I cut all the pieces out, then marked the pleats on the wrong side of the fabric with pencil. They were ironed, pinned, then sewn down by hand. I also gathered the front of the bodice pieces.

And the back. For some reason the pleat wasn’t symmetrical, which really bothers me! But I wasn’t sure how much fabric I would need for the skirt, and I didn’t want to waste any by recutting this piece, so I didn’t bother redoing it.

Then I cut out a “facing” for the collar, which will actually serve as a base for the lace trim that will be shaped into a collar.

This was pinned on top of the striped fabric to prevent the stripes from being visible through the lace.

(before doing this I sewed up the shoulder seam with a french seam)

For lace I used a gathered eyelet trim from Jo-ann’s (I removed the gathers with a seam ripper, then ironed it flat) and a lace I got in a grab bag when I went to Lancaster. I wasn’t a big fan of this combination at first, but I don’t have a lot of white lace in my collection, so my options were limited.

I sewed the lace together by hand, to create a single two inch wide unit. Then I pinned that onto the collar.

And here it is sewn down. I had to pleat and gather parts, but after ironing it looked pretty smooth. It’s a bit hard to tell with the lighting, but the closure point is on the left side of the collar, imitating the dress I based this on.

Now it was starting to look like a bodice! Since one of my goals for this was to keep it very lightweight, I decided not to fully line it.

Instead I sewed the interior seams as french seams, and created a facing that extended from the neckline to the waistline. This was cut from muslin, then pinned to the right side of the fabric. I sewed it on with a half inch seam allowance, then turned it inward to hide the raw edges. I topstitched a quarter inch away from each edge by hand to prevent the facing from shifting and peaking out. I also tacked the far edges of the facing every few inches.

Now onto sleeves! The pattern I created for this is pretty shoddy, but it worked! The sleeves have four tiers, three made from striped fabric, and one made of lace.

The top tier has the stripes going vertically, tier two has the stripes going horizontally.

Tier three is actually muslin, which the lace was sewn over, and tier four is more horizontal stripes. I’m really happy with how the sleeves turned out, I love playing with the grain lines in fabric, but it can be hard to do without wasting a lot of material – not to mention tedious. This was an easy way to sneak it in and add some interest to a simple dress.

The lace pinned together – ready to be sewn together, then onto the sleeves.

And here they are in all their glory!

I left the sleeves unlined, since none of the fabrics are prone to fraying. But I did the side seam up as a french seam.

Then the bottom edge was turned inward by a half inch. I loved working with this fabric since the stripes served as  guidelines for where to sew.

The tops of the sleeves were gathered down by hand and sewn onto the bodice by machine. Then the seam allowance was whip stitched together by hand. This isn’t the cleanest finish, but it was popular in the 19th century and avoids additional bulk in an area where mobility is important – so it works for me!

Now I did a quick fitting and the end result wasn’t great. Though the pleats looked nice on my mockup, during this fitting they bunched really badly above the bust. There was a lot of folded material at the sides too, which was frustrating.

I ended up mostly fixing this by tacking the pleats down further, and tapering the ends off almost like darts. I did this with pins on the left side, which looks a lot better than the right side.

I think the folded material at the sides was caused by excess fabric in the back, which I fixed by gathering the center back portion down to be an inch and a half smaller. I also regathered the front panels so the volume was more focused at the front of the bust.

Later on I played around with foundation garments, and improved the shape even more – I found a ruffled corset cover made me look too barrel chested, but bust pads really improve the crinkling at the top of the corset.

With the fit fixed, I pinned on the waistband.

And that’s it for this post! Next up: the skirt, closures, hat, and finishing touches!

Thanks for reading!

 

Tags: , , , , , , , ,

An Orange Brocade Dress – Making a 17th Century Costume, Part One

It’s taken me longer than I had hoped, but I’m finally back with a “Making of” post! And it focuses on a project I’m really excited about: a seventeenth century ensemble.

I’ve wanted to make something from this period for a long time. It’s not a popular period for historical re-creation, but I’ve been attracted to it since I first started researching historical fashion. The high waists, bright silks, full sleeves, and jeweled decorations really appealed to me. And now that I know more about fashion from the 1500s and 1700s, I find the mid 1600s even more interesting since they are so drastically different than what came before them.

It’s also the period depicted in most of of Rembrandt and Peter Paul Rubens work, who are some of my favorite artists.

Despite my interest in the era, I haven’t completed a costume from the mid 1600’s. I’ve made some attempts, and even gotten pretty far! But bad fabric choices, fit issues, and poorly thought out designs have led to failure every time.

But this time I was determined. And luckily things went a lot better.

My previous attempts were based on simpler dresses that were free of decoration.  I’d still like to complete a dress of that style some day, but I thought success would be more likely if I went in a different direction.

Then I came across this painting and fell in love. I don’t like the mask, but textures, print, colors, and details really drew me in. I love the sheen on the dress, and how much depth it has. The amount of trim on it, and the paned sleeves looked like they would be a lot of fun to recreate. And I adore the hat, it helps balance out the proportions of the sleeves and skirt.

I couldn’t find a fabric deep enough in tone to match the painting, but I did find a lovely peach/orange/gold brocade in my price range. It’s from Fabric Express in NYC and cost $6/yd. I purchased eight yards but barely had enough material left to cut out the sleeves, so I should have bought more.

The trims are all from etsy. Seven yards of wide embroidered mesh trim (from HARMONYDIYLIFE), twenty yards of metallic embroidered mesh trim (from lacetrimwholesalers), and four yards of braided trim (from ddideas). I spent less than thirty dollars for the lot of them, and really lucked out in terms of color. They match the brocade perfectly. 

Once my materials were sorted, I did a bit more research and came up with a complete design (since the painting that inspired me only shows the top half of the bodice). I mostly used references from In Fine Style: The Art of Tudor and Stuart Fashion*, which has some great images of paintings and extant garments from the period. This ensemble was also helpful to me (especially for the skirt), since it’s more complete than a lot of seventeenth century examples.

The Dreamstress and Before the Automobile have made dresses from this period, and I found their write ups helpful in terms of understanding the construction.

When it came to the pattern I discovered two in my collection – one in Patterns of Fashion*, by Janet Arnold, and another in The Cut of Women’s Clothes* by Norah Waugh. I ended up using the pattern from Norah Waugh’s book, with a few alterations.

I used a trick mentioned in one of the blog posts linked above, and fitted my first mock up over 18th century stays.  I lowered the neckline, let out the waist, lowered the waistline, and made the front piece longer. I debated about cutting the front and sides as a single piece, but decided assembly would be easier with them separate, so that’s what I did!

Then I made the base layer. Which is effectively fully boned stays – there is so much boning in them. The channels were all marked onto cotton, then backed with medium weight twill and sewn by machine. I used plastic quarter inch boning to fill them, then assembled the bodice.

I did a fitting here, and realized the bodice was too big! Well, too big might be a stretch. but it wasn’t giving me the shape I wanted, so I removed a half inch of material from the side panels.

Then I cut out the top layer from the brocade which was backed with fusible interfacing. I wanted to avoid the bodice being thick, or heavy, but I also wanted the top fabric to be thick enough to hide the boning. I haven’t had any problems with that, so I’m glad I decided to interface it.

Lace was sewn into the seams (which were stitched by hand) and in a straight line on the back edge.

Lace was also sewn onto the front panels. A lot of lace. Three rows of embroidered mesh ribbon, with the wider embroidered trim near the neckline. I also cut out brocade strips from the “wrong side” of the fabric, sewed those down, and covered the edges with lace. This added more depth to the front of the bodice.

I basted the center front seam first, just to make sure everything lined up. Then sewed it by machine.

Then the side seams were sewn.

I pinned the top layer of fabric to the base layer. The tabs and neckline were cut without seam allowances, so I whip stitched the edges together. But the back edges, and the bottom edge of the front panel were folded over the base layer, then sewn down.

Now it was time to bind the tabs. I hate binding tabs. I always do a really terrible job – and that’s when working with lightweight cottons! I figured binding brocade would be impossible. Since I was already prepared for them to look bad, I decided to try a new technique and used half inch wide strips of leather.

(The Dreamstress did this for her 1660’s piece as well)

Both the top, and bottom edge were sewn by hand. I don’t think the end result looks great. But I liked doing it all by hand, and the leather curved around the edges better than I had expected. I also liked being able to snip the underside without worrying about fraying.

The underside.

And a close up. I cut the strips from a skin I bought on ebay a while back. I don’t think it was quite as soft/thin as the kid leather that is usually used for this, but it was easy to get a needle through. And my sewing room smelled like leather for days!

Next up was the lining – cut from two pieces of cotton and sewed together at the center front. There weren’t any raw edges on the tabs, so I didn’t bother lining them.

The lining was whip stitched to the base layer.

Then I sewed all the eyelets! It was a bad week for my fingers between these and the tabs, but the embroidery floss I bought matches the fabric really well and I’m happy with how they look.

And the lined interior. The back edge of the lining was sewn after I finished the eyelets so it would cover the loose threads.

I also fray checked the back of every eyelet, since brocade is prone to fraying.

Now I had something that looked like this!

I sewed the shoulder seam, then did a fitting. Which went surprisingly well. The waist is a little tight, but there isn’t any gaping in the back. And it fits my shoulders nicely.

I was even happy with the neckline!

I finished the bodice off with more binding. I used quarter inch wide gold bias tape for the neckline, and half inch wide bias tape in matching brocade to finish the armscye.

And that’s it for this post!

Thanks for reading, I hope you enjoyed! I should be back with another one soon.

 

Tags: , , , , , , , , , , ,

Making an 18th Century “Undress” Costume – The Skirt & Accessories

Today I have the second making of post for my 18th century undress costume to share! I’ll go through making the skirt and matching accessories. If you missed part one, it can be read here, and talks about making the jacket and stomacher.

I originally planned on making the skirt for this costume very simple – three panels of the brown material knife pleated down to fit the waistline. But the more I thought about it, the more concerned I was that it wouldn’t have enough volume. So I decided to make an open front skirt, with a petticoat made from the stomacher fabric underneath. Except I didn’t have enough of the stomacher fabric to make a petticoat. Which meant the dress needed to have a fake open front, which made it way more complicated.

Anyway, step one was measuring from my waist to the floor while wearing the proper foundation garments, which in this case were a *new* bum pad (new year, new bum pad, that’s what I always say) plus a cotton/tulle petticoat. Not accurate, but way lighter than quilted petticoats with less bulk at the waistline.

I wrote down the center front, side front, back front, and center back measurements, then used those to figure out the dimensions of each skirt panel. This was pretty easy to do since they are rectangular, with a sloped waistline.

18th-century-casual-1981

I didn’t take any pictures of the skirt panels in this stage because they were just giant rectangles. But here is how much fabric I had left after cutting them out – I quite literally cut it pretty close!

18th-century-casual-1982

Before doing much with those panels, I cut out and assembled the front panel. This was made from a forty inch wide piece of the woven polyester, with horsehair sewn into the hem to prevent it from rippling in the front.

18th-century-casual-1997

Then I cut out a thirteen inch long strip. The top edge was cut with pinking sheers and left raw, and the bottom edge was turned inward twice and sewn down by hand.

18th-century-casual-1992

I gathered the ruffle by machine, then pinned it to the other panel, an inch above the hem.

18th-century-casual-1998

The ruffle was sewn on by machine as well. Since the ruffle was so dense the stitching wasn’t very visible. The sides of this panel were fraying a lot, so I finished them with bias tape that was sewn on by machine.

18th-century-casual-1999

Now back to work on the brown panels! I cut them so two 40″ wide panels would make up the back. The remaining panel was cut in half, with one half on either side of the ivory panel.

I interfaced the front of these panels with 12″ wide strips of medium weight fusible interfacing, which helped a lot with the shape. However I should have also lined the panels, because the interfacing looks terrible when the front panels flip back (something I struggled with when photographing this costume on a windy day).

The front edge of these panels were folded inward, then I sewed the folded edge to the ivory front panel.

18th-century-casual-2000

I thought this looked okay at first, but it was one of those things that looked worse the longer I left it on my dress form. It was very obvious from certain angles that the skirt was all one piece, rather than an open front gown with an underskirt, which was the effect I wanted.

dsc_2004

See? It was worse on this side for some reason.

dsc_2012

So I ripped out the stitches that secured them together. Then I sewed 20″ wide panels of muslin onto either side of the ivory panel, and evenly gathered the top. This time my plan was securing these panels together at the side seam, which prevents tension from being put on the front edge of the brown panels. Luckily, this worked and I could move forward!

dsc_2015

I turned the top ten inches of the side edges inward by hand, twice, to neatly finish them. This will be the point where the skirt opens.

18th-century-casual-2001

Then I figured out a pleating pattern I liked, and sewed the pieces together with french seams.

dsc_2017

The top portion of the sides were left open, these allow me to get the skirt on and off. I much prefer this to back closures, but it requires costumes with skirted bodices or jackets…otherwise it can look a bit awkward.

dsc_2018

The brown portions of the skirt were hemmed by hand. I turned the hem inward by a half inch, then an inch and a half.

dsc_2019

The finishing touch was binding the top edge of the skirt. I didn’t have enough brown fabric left to make bias tape, so I used the ivory material instead. Not the nicest finished, but it won’t be seen when it’s worn.

dsc_2095

I sewed a single eyelet into each end of the binding (so four in total, two on the back, two on the front) ribbon can be threaded through these to tie the skirt in place.

And here you can also see the back pleating pattern. The pleats on this were very finicky – I spent a lot of time redoing them on the dress form until the looked right.

dsc_2097

That finished up the skirt and jacket! Here it is worn.

dsc_2194resize

But it isn’t done, don’t be silly. Have I made a costume in the last year that doesn’t have some sort of accessory? Why would this be an exception?

Though I couldn’t find a style of hat that would pair well with this, I did find some knitwear accessory inspiration through the designs Claire wears in Outlander (side note; the designer has a really great blog that I would highly recommend). And I just so happened to have an interesting purple knit fabric collecting dust in my stash!

I decided to make a pair of mitts, and a shawl. The mitts were made using a pattern I found online (located here – but it appears to have been taken down), which I would recommend. But if you’re using knit fabric, don’t add seam allowances! That was my one big mistake, parts of it ended up too big.

18th-century-casual-1993

I finished the edges by turning them inward by hand, and left the mitts unlined.

18th-century-casual-1986

18th-century-casual-1985

I wasn’t super happy with how the laid on my hand (probably because I added seam allowance and they looked silly!), so I folded the pointed edge back and sewed it down with a button as decoration. This was actually very common during the time, and a convenient fix for me.

dsc_2091

Next accessory: A shawl, which could also be tucked into the neckline and used as a fichu/neckerchief. This was super easy, I cut it out from a corner of the knit material, then turned the edges inward by a half inch and sewed them down by hand. I didn’t do a rolled hem because this knit was fine enough that it didn’t fray much or unravel (thank god).

In the photos below I used one of my great grandmothers brooches to secure it in place.

dsc_2090

And that’s it! Here is the finished ensemble. I’m very happy with it. I really love the color palette and textures in this project. The fit of the jacket, the drape of the skirt, the embroidery…it all turned out even better than I expected, which is a rare and wonderful thing!

dsc_2179resize

I’ve already photographed this project and have a costume spotlight video filmed that goes into more detail. But it will probably take me a week to get that edited and posted. In the mean time, here is a little teaser.

dsc_2793-copyreszie

That’s it for now! Thanks for reading!

 

Tags: , , , ,

Making a Grand Pannier

Today I’m talking about 18th century skirt foundations – or more specifically, making a grand pannier.

This post was written as an accompaniment to my video on this project, where I switched between speeded up footage of the process and clips of me talking about how things were progressing as I worked on it. There are way more construction details (and frustrated rants) in that video than in this post, but I wanted to talk about it here too.

I took on this project because I decided mid last year to make an 18th Century court gown. I bought fabrics for it (for a total of $49 for 13 yards – still giddy about that deal) but at the time I had just finished an 1860’s ball gown, and took on an eleborate 1880’s evening gown a few weeks later. So there wasn’t a good time to start on it. Until now.

But before starting I needed to sort out the foundations. And it just so happened that Simplicity – who sell a grand pannier pattern which is a bit famous in the historical costuming community – emailed me and asked if I was interested in any of their patterns. So of course I said yes!

(For the record, I wasn’t encouraged to talk about this pattern and I bought all the other materials myself.)

You can purchase the pattern from their print on demand service here. Or try to find copies of the discontinued tissue paper version, the pattern number is EA363501.

Also for this project I used 5 yards of hot pink broadcloth, 10 yards of 1/4″ hooping steel, satin ribbon, and twill tape.

dsc_2022

I folded my fabric to be four layers thick, then cut out all the required pieces once. It was faster doing this way, but pretty hard on my scissors so I wouldn’t recommend it!

At this point I notched the pieces, but didn’t think to mark the circles or boning channels. I blame not having followed a commercial pattern in years for this oversight.

dsc_2028

I immediately – like, within five minutes got confused about one of the instructions and kind of did my own thing instead.

The pieces were all sewed together with flat felled seams – which was super frustrating. I found the notches extended past the half way point of the seam allowances, so raw edges stuck out and it was really hard to get them even. If I remade this I would definitely add a half inch to each seam, then sew down french seams or do wider flat felled seams. Something to make it a bit easier!

Aside from that, assembly was pretty easy. I found the instructions a bit confusing, but the construction was pretty intuitive when I ignored those.

After everything except for the side seams were sewn, I finally drew the boning channels and other markings onto the pieces. My fabric was thin enough that I could trace the design through the material which made it really easy to do, even this far into the project.

dsc_2041

Then the side seams were done up – as you might be able to tell, the top few inches of the centerfront were left open. This is how you get the pannier on and off.

dsc_2044

Instead of using the recommended bias tape, I made boning channels from twill tape and ribbon since they will be less prone to stretching. I also added a boning channel to the hemline, to give the skirt more support.

dsc_2070

The top edge was finished with bias tape, then I threaded ribbon through the bias tape to gather it down to my waist measurement. I’m not thrilled with this, I find it’s really prone to slipping down in the back, and it’s hard to gather evenly. I might swap it out for a straight waistband with an eyelet front closure in the future.

I also sewed all the ribbons in at this point. These ribbons are sewn just above the boning channels and tied to shape the skirt. The instructions said to do this after the boning was in, but that seemed frustrating so I did it beforehand.

dsc_2076

I boned this skirt with a mixture of things. I mostly used the new hooping steel, but the second boning channel has hooping wire in it, and the third tier has normal steel boning, which I will be swapping out very soon. I misread the material list and didn’t buy enough boning, so I had to compromise.

Also I ranted about this in the video, but feel the need to mention it again. What was commonly used for hoop skirts (hooping wire) was discontinued a year or two ago. It was made from two bands of steel covered with buckram or plastic. It was incredibly strong and supported skirts of any size beautifully. It was also around $1.50/yd.

The only “replacement” I could find was from CorsetMaking.com. They advertised this as a great alternative. No. It’s not. It pretty much sucks. The more I think about it, the more bitter I am. It behaves more like corset steel than hooping wire and is very flimsy. The bottom few bones in this skirt are collapsing a bit in the worn pictures – and that’s without a dress on top of it! I’m really worried that it won’t support the dress, which is frustrating.

It’s also much thinner than hooping wire (.25″ or .29″) and more expensive at $29/$36 for ten yards. I think using two bones per a channel would help, but that means buying more of this ridiculously expensive poorly performing steel.

It would probably be fine for smaller hoop skirts, pocket hoops, lobster tail supports, etc. but I was really disappointed in it’s performance in this skirt. I will try gluing buckram over corset steel, or doubling up the zip ties they use in shipping before buying more.

dsc_2080

Anyway, I carried on despite that annoyance and tied the ribbons to shape the skirt, which worked remarkably well.

dsc_2082

And that’s it! I was originally very happy with the shape of it, but after getting worn photos I’m not as thrilled.

I feel like the top portion should be wider – it’s probably fine for 95% of people, but I’m tall, have broad shoulders, and don’t find the proportions as exaggerated or flattering as I had hoped. I don’t think that’s really fixable at this point, unless the petticoat performs miracles on the amount of volume there!

dsc_2134

I also need to take the bone in the hem in a little, so the overall shape is smoother. But that’s an easy fix.

dsc_2128

Other than that, I really liked this pattern. It wasn’t too difficult to put together and the most challenging parts, like the boning channels and ribbon placement were well marked and easy to transfer onto the fabric. I’d recommend it to anyone looking to make a grand pannier, though I would suggest a few of the alterations mentioned in this post.  Like the additional bone in the hem, extra room in the seams, and twill tape for boning channels instead of bias tape.

dsc_2130

Thanks for reading! I should have another “Making of” post up soon, maybe even tomorrow if I can get it together on time!

 

Making an 18th Century “Undress” Costume – The Jacket

It’s been a few weeks since I last posted. I was busy enjoying a break from social media obligations, but I’m back now and happy to be writing again! I have a ton of projects to talk about – both ones in progress, and ones I completed last year and never wrote about.

But I’m going to start the year off by talking about the first project I’ve completed in 2017: An 18th Century “Undress” Ensemble. It sounds a bit scandalous, but in this case “Undress” is used to refer to informal garments from the 1700’s, rather than anything that goes underneath them.

I decided to start on this after flipping through reference books in search of inspiration. The patterns for “undress” appropriate jackets in Janet Arnold’s  Patterns of Fashion 1: Englishwomen’s Dresses* caught my eye – and a quick search through my stash showed that I had almost everything I needed to make one…plus a matching skirt and some knitwear accessories inspired by Outlander.

dsc_2087

I’m really happy with material selection for this – I used 6 yards of a checked brown and black fabric from the Plaiditudes collection (my favorite), 2 yards of loosely woven polyester, and a yard of purple sweater knit. I don’t think any of these are historically accurate, but I love the textures they have.

I did have to buy two buttons, two yards of interfacing, a yard of muslin, and two packages of embroidery floss (which came to a grand total of $8) but everything else was from my stash.

18th-century-casual-1983

To get started I scanned, then resized the jacket pattern from Janet Arnold’s book and copied it to paper. When doing this I changed the scale from 1″ to 1 1/4″ – which meant my pattern ended up being considerably larger than the original one. This was intentional, since I knew it would be easier to size it down than size it up while trying to preserve the pleats in the skirt.

The end result was way too long waisted for me, but the width was almost perfect. I raised the waistline by an inch, changed the back curve, and added a dart to the bust, but otherwise it was good!

18th-century-casual-1995

Here is the mock up I made. This jacket is meant to be worn with a stomacher, but a pattern for that wasn’t included. So I pinned a piece of cotton to the front of my stays, then drew the shape I thought the stomacher should have onto the cotton.

18th-century-casual-1869

The stomacher was actually the first part of this costume I began work on, and one of the things that attracted me to this project. I was going through hand sewing withdrawal and wanted something I could work on in front of the TV – hand embroidery seemed perfect for that!

I browsed through a lot of stomacher patterns but most were more eleborate than I wanted (and could manage with my meager embroidery skills). So I freehanded my own design that was simpler.

I drew the design right onto my pattern, then scanned it and made a few changes in photoshop. The design was mirrored, then printed out and taped together.

18th-century-casual-1994

wanted to traced the design onto my fabric, which would have made embroidering it way easier. But the weave of the fabric I chose was too loose – pencils didn’t mark it, and ink would spread down the fibers and be visible in the end.

So I used the method I usually use for sequins: Trace the design onto interfacing, then ironing the interfacing onto the back of fabric. I used basting stitches to bring the design to the front, then got to work!

18th-century-casual-1870

I didn’t take any progress shots with my “blogging” camera, but I did post a couple on instagram. I used a split stitch to outline everything, then filled sections in using a satin stitch. I tried to pick colors for this design that had the same level of depth as the purple and brown fabrics I’m using for the rest of the costume.

Here it is finished, right out of the hoop.

18th-century-casual-1950

And after being ironed! I’ve attempted a few embroidery projects before but this is the first one I’ve finished. Considering that, I’m really happy with it. It isn’t as symmetrical as I would like, but the inconsistencies aren’t too major either.

18th-century-casual-1951

I cut the embroidered piece to the right size, then sewed it to canvas and cotton with the right sides facing each other. After turning it the right way out the edges were neatly finished. Plastic boning was inserted between the cotton and canvas to help it sit nicely, then I tacked the layers together by hand.

I added a ruffle to the top edge for a bit of interest, and tabs of ribbon so I can pin it to my stays. And that was it!

18th-century-casual-1974

The rest of the jacket pieces (except for the sleeves…more on those later) were cut from the brown checked fabric. The bodice of the jacket was assembled by machine with half inch seam allowances.

18th-century-casual-1884

The “skirt” of the jacket was hemmed by hand. Looking back I wish I had bag lined with instead – doing those points was fiddly, and this fabric frayed so much that I had to do a double hem. The end result is really bulky and the pleats didn’t set as much as I would have liked.

But in the past I’ve bag lined the bottom of jackets and the lining was visible and looks awful. I guess the answer would be facing the hem with fashion fabric, then sewing lining in…but I didn’t have enough fabric to do that. Sometimes it feels like you can’t win!

18th-century-casual-1883

I ironed the pleats in place and marked the pocket placement with basting stitches.

18th-century-casual-1885

The waist seam was sewn – this should have been easy, but getting the point at the center back symmetrical was a huge chore and still isn’t perfect. After redoing it four times I gave up.

With the skirt on, I turned the front edge and neckline inward and sewed it down by hand.

18th-century-casual-1949

Then the lining was sewn in. The lining is made using the same pattern and made from lightweight cotton. It has two bones at the side seams and center back, along with a bone from the dart at the front down to the waistline. These help support the points at the front and back of the jacket as well as the eyelets.

18th-century-casual-1948

Here it is after all those steps.

18th-century-casual-1947

Next up – the eyelets. Annoyingly I couldn’t find brown thread that matched, so I used black instead. These were sewn by hand.

18th-century-casual-1955

And on to pocket flaps! I traced the pattern onto cotton, then pinned the cotton to my fashion fabric and sewed around the line I traced.

I cut a generous slash in the back so I could turn them the right way out, then topstitched around the edges by hand.

18th-century-casual-1954

Messy on the inside, but the front is what matters, right?

18th-century-casual-1953

I sewed them on over the basting stitches with tiny whip stitches.

18th-century-casual-1956

I really splashed on the buttons for these. They were a whole 60c.

(I bought and sewed these on after finishing the rest of the jacket so you won’t see them in the next few photos)

18th-century-casual-1975

Now it was time for sleeves. I was not excited about these. My instant success with the fit of the jacket did not extend to these – I found the original pattern for them way too wide in the cap of the sleeve, too curved at the elbow, not curved enough at the armscye. They didn’t sit nicely or fit at all.

After a ton of alterations I got something I was happier with. And I freehanded a cuff pattern to go with it.

Originally I was going to make the cuff a different style, but I didn’t have enough fabric for my first choice. And by that point I was too lazy to size the pattern up again just to trace the cuff out so I made something up.

18th-century-casual-1996

Everything was cut out. Then I marked the pintucks onto the top of the sleeves.

18th-century-casual-1958

These were pretty fiddly to do…

18th-century-casual-1959

But offer a smoother alternative to pleats or gathers, which I like.

18th-century-casual-1960

Then the side seams were done up.

18th-century-casual-1963

And I repeated the process with a silky lining. Not accurate, but makes getting a costume on way easier.

18th-century-casual-1962

I sewed these together at the cuff, then turned them the right way out and basted along the top edge.

18th-century-casual-1964

The cuffs were backed with interfacing, then sewn together. I used stitching to make guidelines a half inch away from each edge, then turned these edges inward by hand.

18th-century-casual-1961

I lined the cuffs with a heavyweight twill to help support them.

18th-century-casual-1967

Then I made a ruffle from the same fabric I used for the stomacher. Originally the tops of these were supposed to be visible over the cuffs…but that looked bad.

18th-century-casual-1965

After some trial and error I decided they looked best pinned to the interior of the sleeves. I neglected to finish the top edge before sewing these in place. The end result is hilariously messy. I’m kind of ashamed.

BUT I was an hour away from finishing this costume and really impatient, so I pressed on. I do plan on fixing this later, but it would have been a lot faster to finish them in the moment. I don’t know how my brain gets so excited to spent 15 hours embroidering something but can’t take an extra 10 minutes to neatly finish a raw edge.

18th-century-casual-1968

Luckily it looks nice from the outside.

18th-century-casual-1969

I sewed the sleeves onto the bodice, and that was it!

18th-century-casual-1971

Aside from a few details in the finishing (the point at the back, the hem, the interior of the cuffs…) I’m really happy with this. The fit is pretty great, I can get into it on my own, I love the fabrics, and it’s a bit different from what I usually do.

18th-century-casual-1973

Here is a crappy picture of it worn.

dsc_2114

In case the dirty mirror makes that photo too horrifying to look at – here is a photo of it worn with the skirt!

dsc_2194resize

And that’s it for today! Part two should be up soon, but I have a fabric haul to share first.

Thanks for reading, and I hope your year is off to a good start!

 

 

 

Tags: , , , , , ,

Making a Draped Velvet Dress

It’s that time of the year again! The time where I make a holiday inspired dress out of festively colored fabrics! In the past these have been elaborate gowns, and usually some of my favorite costumes that I make in a year. This years doesn’t rank that highly on my list, since it’s lacking the ruffles and beaded details that I gravitate towards, but I do like how it turned out! Especially considering that inspiration was tough to come by for this piece.

really wanted to make an elaborate 1950’s style evening gown, but I didn’t have the materials for it. The next idea I had and felt enthusiastic about was more appropriate for a snowy winter backdrop, which we won’t get until January or February. So I settled on this design: A “simple” draped gown made from red velvet.

Though this looks easier than my previous Christmas costumes it took longer than last years to put together. I’m far more comfortable with making structured, or ruffly gowns. Doing something sleek and draped requires skills I’ve never had to develop.

But I think I managed to do an okay job! Since the dress was lacking drama I paired it with some home made accessories with hopes it would dress the ensemble up. I think it worked out quite nicely, though it still isn’t my favorite project of the year.

christmas-2016-edit

The first step was playing around with velvet and pinning it to my dress form until I had a shape I liked. I really liked how it looked with the center gathered, a deep neckline, and off the shoulder draped straps (sleeves?) so I decided to go with that. Then I pinned cotton onto the other side of my dress form until I achieved a similar shape.

xmas2016-0983

xmas2016-0984

I transferred that onto paper and added seam allowances. Now I had a pattern to use for the base. Even though this dress looks loose and (hopefully) effortless, it has a stiff base layer that supports the shape and keeps everything in place. This is especially important for this project since velvet is heavy – keeping it up takes work!

xmas2016-0993

I debated about making a mock up but since the boning determines the fit, and boning is a pain to sew into mock ups I decided to make the real thing right away. But I was willing to restart if it was really off.

Luckily it fit perfectly! I decided to deepen the neckline, and make it more of a “V” than the sweetheart shape it originally had, but everything else seemed fine.

The base layer was cut from a cheap, stiff, quilting cotton. I cut each piece out four times, so the base is two layers of quilting cotton thick. This makes it more supportive and means I could insert the boning in between the layers of fabric rather than having to sew external boning channels.

xmas2016-0996

After adding the boning (all 1/4″ plastic bones) I turned the neckline inward.

In this picture the left is turned inward more than the right side to create the V effect I wanted. After deciding I preferred this I repeated the process on the other side

. Since the base layer will be hidden by velvet I sewed all these edges by machine.

xmas2016-0998

I sewed facings to the arm openings…then realized I forgot to support the highest points of the bodice, which also happen to be where the straps mount. This meant there would be nothing to support the straps, and they would flop outward.

So I sewed external boning channels made from ribbon on either side of the arm openings.

xmas2016-1009

I also turned the bottom and back edges inward.

xmas2016-1008

The final step for the base layer were the sleeve supports – which are just pieces of ribbon sewn to the high points of the bodice.

xmas2016-1011

Here it is on the dress form. The ugly side faces outward, since that will be the side covered by velvet.

xmas2016-1012

While it was on my dress form I draped velvet overtop and used basting stitches to mark the points where the velvet should be gathered or turn inward.

xmas2016-1013

xmas2016-1014

Once I took it off my dress form I smoothed out the edges, then used it as a guide for cutting out a piece of velvet for the other side.

xmas2016-1138

These pieces were sewn together across the front edge with a one inch seam allowance. Then I used pins to mark the gathering line at the front.

xmas2016-1140

It was gathered down by hand with running stitches. Something about gathering velvet is super satisfying, it’s thick enough to form cartridge-pleat-like gathers but has a wide enough weave that it’s easy to sew through. Every other part of working with velvet sucks, but it gathers beautifully.

xmas2016-1142

I roughly turned the edges inward and pinned the front panel onto the base layer.

xmas2016-1143

Then I pinned that onto my dress form and draped the skirt panel for the back of the dress.

xmas2016-1144

And I used that as a guide for cutting out the panel for the other side.

xmas2016-1147

The top edge was gathered down so there is more volume at the back of the skirt.

xmas2016-1150

Then it was sewn onto the bodice portion of the back panel, which was cut from the same pattern as the base layer.

The side seams were sewn up too, with a one inch seam allowance. I sewed all the seams in this normally – no french seams for once! Velvet is really prone to shifting and sewing the pieces together once was enough of a headache, so I just pinked the edges and decided to let them be.

xmas2016-1152

To make the neckline a little less extreme (and to incorporate a color I plan on using for next years project) I cut four inch wide strips of mesh. I folded the mesh in half so it was more opaque, then sewed it onto the neckline of the bodice in such a way that it extends three quarters of an inch past the base layer.

xmas2016-1163

Then I pinned the dress onto the base layer. I started at the waistline, then moved upward.

xmas2016-1167

I sewed the waistline of the velvet layer to the base by hand with whip stitches.

xmas2016-1172

I tried the bodice on at this point and the result was disappointing. The waistline looked fine, but the velvet was really droopy in the bust area and I couldn’t see how to fix it. I didn’t think the bodice fit my dress form well enough to adjust the draping there, and the dress didn’t have closures yet, so I couldn’t wear it while adjusting it.

After a few days of procrastinating I tried pinning it to my dress form and that worked amazingly well. In ten minutes and with a bit of pinning I had fixed the droopiness. I’m glad I found an easy solution, but I sure wish I had tried it a few days earlier!

xmas2016-1173

After smoothing out the edges a bit more I took the dress off my dress form, then sewed around all the edges with slip stitches so they are secured to the base layer.

xmas2016-1175

I also folded the bottom edge of the straps inward, and the material at the back of the bodice. The photo of it finished is a bit blurry, but you get the idea!

xmas2016-1182

Then I sewed closures in, which are eyelets embroidered with matching thread.

xmas2016-1188

At this point I decided to finish the dress in two days so I could photograph it that weekend (made more difficult by the limited hours I could work on it and have good enough lighting to film the process) so photographing my progress fell to the wayside. Sorry about that, I’ll try to explain everything I forgot to photograph!

After a fitting I realized the bodice was a bit big – it stayed in place when worn, but wasn’t as flattering as I wanted. I ended up taking it in near the side seams with darts.

I also realized that the straps looked pretty pathetic, which I was expecting. They were really narrow and lacking the draped effect I wanted. So I cut out two rectangles, hemmed the edges with a cross stitch, and gathered the short edges down to approximately two inches. These were pinned just underneath the existing straps. I sewed the gathered edges to the base layer, with the top edge secured to the bottom of the ribbon sleeve support.

xmas2016-1195

I sewed up the back seam with a one inch allowance and left the top ten inches open. I folded the edges of the unsewed portion inward, then sewed them down by hand. Three snaps were sewn to the opening to keep it closed. Then I sewed a velvet modesty panel to the back, it’s mostly to prevent skin from showing through the eyelets, but I extended to past the opening left in the skirt, since snaps aren’t super reliable.

The hem is a half inch rolled hem sewn by hand. It might be my least favorite hem I’ve ever done – the sewing is fine, but it’s SO uneven. I leveled it while the dress was on my dress form and though it looks perfect when worn, I swear there are four inch discrepancies between each side. I have no clue what happened.

After a fitting I noticed the dress was gaping away from my shoulders. It fit the bust fit fine, but the weight of the velvet I added to the straps made the high points of the bodice fold outward. So I sadly had to add over the shoulder straps, which did not go with the design I planned. But it meant I got to use some of the glittery velvet ribbon I’ve been hoarding since last Christmas, which was nice.

In future I would shorten these straps – I sewed them on the night before wearing it, and did not do a fit check. They stay up but only if I stand very straight, which is kind of annoying.

The final touch were a few velvet poinsettias and sprigs of pine that I glued on.

xmas2016-1744

I was worried these would take away from the simple elegance of the dress, but I think they add a lot to it. It makes it more interesting it and ties the dress and the accessories together.

xmas2016-1747

Only thing I regret is placing one pine sprig in such a way that it digs into my armpit. That was a bad decision.

xmas2016-1748

Speaking of accessories – this dress has three! The first is the headpiece I made last year, which you can see a tutorial of here.

The other two are new additions – a staff, and a necklace. I thought the dress was a bit boring on it’s own, and these made it more exciting and costume-y. They were also really easy to make.

For the necklace I used two strands of red glass beads I got from Jo-anns, plus a crystal pendent. These were threaded onto some 6lb fireline with a clasp at the back. Then I used some thread to tie a piece of chain to the clasp, which hangs closer to the throat. I also tied three smaller crystal beads onto it. The whole thing isn’t very sturdy, I really should have bought a heavier thread, and chain that was meant for beading, not for sewing onto garments, but it’s pretty!

xmas2016-1749

xmas2016-1752

The staff took longer to make, but it wasn’t very challenging either. My dad and I went hunting for appropriate sticks in our backyard and eventually found a small pine tree that had been cut down a few years prior. We broke off the branches and he cut off the bottom twelve inches so it would fit in the car.

Then I decorated it. Since the bark was spiky I glued ribbon around the point I planned on grasping it. I also glued on glittery pine cones, fake glittery pine branches, and velvet poinsettias to make it more exciting. There is a strand of lights on it took, which unfortunately don’t show up well in photos.

I was worried I didn’t get enough to decorate it (I was too cheap to buy the garlands – the ones I liked would have been thirty bucks). In total I spent fifteen dollars to decorate it and I have a ton of flowers leftover.

christmas-2016-edit

And that’s it! As I said, it isn’t my favorite Christmas costume, but I like how it turned out. Especially with all the accessories – I think they really bring it together.

I’m also glad I pushed myself a bit, maybe I’ll do more things with draped details in the future.

Thanks for reading! A post with photos will follow this one! And if you want to see videos of me constructing then click here!

 
9 Comments

Posted by on December 18, 2016 in Fashion & Fantasy, The Making Of

 

Tags: , , , , , ,

Making a Green Edwardian Gown

This weeks project is one I’ve had roughly planned ever since I saw the first season of Downton Abbey and fell in love with this dress. I love the deep green color, and how elaborate it is while still being simple in design. Back in April I bought four yards of green satin faced chiffon with plans to make something similar.

Unfortunately I couldn’t find an eleborate lace in a matching color, so I decide to make my dress a bit simpler. After some more research I came across this dress, which I really like (especially the lace undershirt and use of black netting), along with these dresses.

The finished dress takes inspiration from all of them – plus some stuff I made up!

dsc_1133-2

I didn’t take any pictures of the drafting process, but the bodice is a simple three panel pattern with darts to shape the back and front. The skirt is also three pieces, with a straight front, flared sides and a bit of gathering at the back.

dsc_0860-2

I cut all the pieces out from a light green polyester charmeuse that I picked up for $4/yd during my shopping trip in Pennsylvania. It was a tight fit, but I managed to get all the pieces cut from the three yards I had.

The skirt panels were sewn together with one inch seam allowances. I left the edges raw, and facing outward since the satin faced chiffon will cover them.

dsc_0870-2

I leveled the hem since it was a bit wonky, then sewed horsehair braid into it to give the skirt a bit more body. I also sewed the darts into the bodice, and the waist seam.

dsc_0873-2

Then I repeated the process with the bodice – here you can see it on the dress form, along with some matching appliques I found on etsy. The darts on this didn’t turn out very well since satin faced chiffon is a pain to sew with, but luckily it wasn’t too noticeable in the end.

dsc_0875-2

I cut the skirt out of satin faced chiffon too, then sewed the pieces together. I trimmed the hem and turned it inward by a half inch, then inward by another half inch to create a rolled hem that was whip stitched in place by hand.

dsc_0897-2

I sewed the chiffon to the charmeuse around the neckline, with the right side of the satin facing the wrong side of the charmeuse. Then I basted the layers together around the arm openings and waistline.

I sewed some black lace around the neckline by hand, then placed the appliques. It took me longer than I would like to admit to get these symmetrical, but I’m happy with the end result.

dsc_0970-2

I should mention that the appliques match the fabric perfectly, but something about the sheen of the chiffon makes it look teal in photos rather than the emerald green it actually is.

(I made sure to confirm this with every member of my family so I know I’m not crazy)

I’ll edit the color balance in worn photos of it if it becomes necessary, but I couldn’t be bothered for the progress photos.

dsc_0971-2

I sewed the appliques on and now it was time for sequins. A couple years ago a follower of my blog (I’m not sure if she would want her name mentioned) was kind enough to send me some beautiful vintage sequins. I’ve used the clear ones on a few projects, but this was the first time I had a project suitable for the black ones.

I can’t even tell you how excited I was to finally work with these – look at all those colors! They are black but shine purple and green, almost like an oil slick effect.

dsc_0975-2

I started off with just a few around the neckline, and some on the sides of the waistband (which is just a gathered rectangle of mesh).

dsc_0976-2

But I quickly came to my senses and realized it needed way more sequins, which led to this!

dsc_1112-2

This shows the sheen of the fabric (and the sequins) a bit better. I think it’s a pretty dreamy combo!

dsc_1094-2

After a fitting I realized the lining was visible below the hem of the satin faced chiffon, so I raised the hem with a horizontal dart a few inches below the waistline. This way I didn’t have to mess with the horsehair braid in the hem.

dsc_0991-2

Speaking of the hem, I decorated it with some green lace that was stitched on by hand (which once again, matches the fabric but doesn’t look that way in photos) and more sequins. The trim had little swirls that were perfect for embellishments.

dsc_1102-2

I sewed the back seam of the charmeuse and satin faced chiffon separately, and left the top eight inches of the skirt open. Then I turned that edge, along with the back edge of the bodice inward by an inch. Then I turned it inward again and whip stitched it down.

The back closes with hooks and bars. I sewed the waistband down to either side of the closure point, and when it’s worn the waistband ties in a bow.

dsc_1100-2

It isn’t the prettiest bow, but it’s still a bow!

dsc_1113-2

Now it was time for sleeves! These are just simple straight sleeves I drafted, then cut from the satin faced chiffon and charmeuse. The hem is finished with black lace, and a doubled band of netting. I embellished the hem with some sequins and finished the top edge with lace binding.

dsc_1116-2

The arm openings of the dress were finished with lace binding too, then the sleeves were sewn on by machine.

dsc_1132-2

There are a few pulls in the sleeves that I’ll have to steam out, but other than that the dress is finished! I really love how it turned out. It’s the elegant, sparkly, simple, edwardian gown I’ve always wanted, and I can’t wait to get photos of it!

dsc_1118-2

The construction isn’t my best, but I don’t think you can tell from the finished dress. I think it’s pretty lovely for a week and a half of work and less than fifty dollars of material!

dsc_1131-2

I intend to wear that dress over a blouse, as inspired by this dress. I don’t think it’s necessary for modesty like it is with that gown, but high lace collars are a big part of the early 1900’s, so I wanted to have the option.

I made this from scraps of silk satin I had leftover from a chemise, and a piece of lace that was slightly larger than a fat quarter. Since I didn’t have enough lace for the whole blouse, I made half of it from muslin, and used lace trim down the center of the sleeves and back.

dsc_1127-2

I don’t think I took any progress photos of this, but it was pretty easy to make. There was just a lot of hand sewing since the lace was sewn to lace trim, then basted to satin.

I used another lace around the cuffs, and added a few sequins for a bit of interest.
dsc_1128-2

The back closes with snaps.

dsc_1130-2

I think they look very pretty together!

dsc_1133-2

To finish off the ensemble I made a headband. I started with a strip of black mesh, then chopped the lace trim I had leftover from the hem into tiny appliques. These were sewn on by hand, with gaps left in between.

dsc_1108-2

I covered the gaps and edges with sequins, then whip stitched the visible netting inward.

dsc_1135-2

And the final touch were some dyed feathers I got in the garment district last year. I glued most of these onto the underside of the headband with E6000.

dsc_1153-2

dsc_1155-2

And that’s it! I haven’t tried all the pieces on together, but I plan to this weekend so I can get photographs of it. It’s so different from the other projects I’ve been working on recently and I adore the end result. Though part of that probably has to do with the materials – emerald green satin faced chiffon and vintage sequins do a lot of the work for you!

Thanks for reading!

 

 

Tags: , , , , , , ,

Making an 18th Century Robe a la Turque (or something similar), Part One

Last month I finally felt brave enough to revisit a period I always seem to fail at: The 1700’s. The eighteenth century seems to be the favorite of historical costumers, but my attempts never seem to turn out well. In 2014 I devoted October to 18th century projects which ended with two finished dresses that both sucked. Last year I made a more elaborate ensemble, which I like…but the skirts hem is uneven, and I can barely lift my arms when it’s worn.

Earlier this year I had some success with a 1790’s dress, which gave me enough confidence to attempt 18th Century October again. The plan was to complete a Robe a la Turque, and a striped Robe a L’anglaise. I didn’t end up finishing these in October since the month was busier than planned, but I did complete both projects in November! And today I’m going to talk about one of them.

I came up with this design and purchased the fabrics for this back in April. It’s supposed to be a Robe a la Turque, but 18th century garment classification is hard and I haven’t researched it that thoroughly so I’m not sure if this qualifies as one or not. I think it is just a zone front gown, but I’m going to style it like a turque and it has features that were common on them.

DSC_5195

The fabrics I got are very warm in color – orange shantung, iridescent organza, and pink taffeta. I based the color scheme and design on this painting.

All the fabrics are polyester and not particularly accurate to this period

DSC_5229

The first step in making this was creating a pattern, which I draped on my dress form, then transferred to paper. I turned the pattern into a mock up which actually fit pretty well!

dsc_7466-2

I originally cut out and assembled the bodice with a straight waistline. Only after doing this did I realize the back should be pointed. So I did a bit of adjusting, then recut the bodice. This is actually still wrong, the back panels should have continued down to form the skirt, but I didn’t know that until recently.

dsc_7469-2

I cut out the lining from lightweight cotton.

dsc_7470-2

Then from shantung. Everything was assembled with half inch seam allowances, then sewn together with the right sides facing each other. I stitched around each edge by hand.

dsc_7471-2

The very front edges were turned inward by a half inch as well.

dsc_7472-2

And trimmed with piping. I used gold spandex for this piping which was really dumb. I forgot that I have gold brocade that would look better and be more accurate.

dsc_7473-2

I wanted to add interest to the front of the bodice, so I sewed on some glittery organza ribbon.

dsc_7474-2

Then I outlined the ribbon in sequins. And this is where I abandoned the project and chose to focus on my Civil War Era dress instead (this was months ago) since it seemed weird having two very detailed projects in progress at once.

dsc_9275-2

I resumed work on this at the end of September, where the first thing I did was cut out the overskirt. This was cut from the same shantung as the bodice.

dsc_9284-2

I turned the edges inward by machine.

dsc_9288-2

Then made a TON of piping and sewed that onto the edges.

dsc_9283-2

The reason I did all of that by machine is because the edges will be covered with puffed trim. I made the puffed trim from strips of organza that had the edges ironed inward. I left the wrong side facing up since I like the texture it has.

dsc_9280-2

The trim was created by gathering and sewing down the organza every inch. I’m going to make a tutorial on the process in the future, but “The Art of Manipulating Fabric” covers the process nicely (I reviewed that book here).

To make it a bit more interesting I sewed three sequins above each puff. This process went surprisingly quickly, I had it done in a few days (while also working on other things) and zoomed through it while watching TV.

dsc_0648-2

The top edge was gathered down and that finished the overskirt!

dsc_0650-2

As much as I like the detail work on this, I really regret not taking more time to shape it. I cut the train in a bit of a rush and didn’t realize how ridiculously long it was until after finishing all the detail work. And at this point it was too late to cut it. I’m really hoping it will look less silly when it’s worn.

dsc_0651-2

I worked on this project a bit backwards, and I’m blogging about it in the same order as I constructed it. Which means now it’s time to talk about the petticoat/underskirt which can be seen above.

This is a relatively simple garment, made from rectangles that are gathered and sewn together. But it took me a month of on and off work to finish between the other things I had going on. By the time I finally finished it I was so sick of looking at it that I stuffed it in my closet.

I made the lower portion first, which will eventually form a ruffle. This was made from strips of striped organza sewn together, which was then sewn to taffeta to give it the opacity needed.

dsc_9289-2

dsc_9292-2

Both edges were hemmed, then I gathered the ruffle down to half its length. I did this by machine at first but didn’t love how it looked, so I did it again by hand.

dsc_0581-2

The upper portion of the skirt is also made from rectangles. The front panel was cut entirely from taffeta and organza, but I didn’t have enough left for the back panels. So I cut them partially from cotton, which is hidden by the overskirt when the costume is worn.

dsc_0580-2

After sewing the side seams for the upper panels I topstitched the ruffle onto the bottom edge.  Now it was time for even more puffed trim. I made, and sewed the trim all the way across the point where the ruffle was gathered.

Then I roughly pinned the skirt to my dress form, which made me realize the front was too long.

dsc_0586-2

I ended up cutting the waistline on a slope, and raised the front by three inches.

dsc_0620-2

I left the front ten inches of the waistline smooth, which makes the front of the skirt flat, and gathered the rest down until the top edge measured twenty eight inches.

dsc_0623-2

I turned the top few inches of the back edge inward twice, by hand, to prevent it from fraying. I left this portion open so I could get the skirt on and sewed the rest of back edge into a french seam.

The waistband is another rectangle. The top edge of the skirt is tucked between its layers to hide any raw edges, and it closes with three hooks and bars.

dsc_0641-2

Was it worth a month of work? Probably not. But I do like how it turned out, the fabrics for this project make everything look so pretty!

dsc_0814-2

And that’s it for this post! The bodice beginnings, a skirt, and an overskirt, how exciting. The next post will show the completed bodice, the process of making sleeves, and making a matching headpiece.

Thanks for reading!