1840’s Dotted Dress – Part Three

Today I have the final post about making my orange 1840’s dress to share! I planned on this going up sooner…but we all know how my blog plans go (the don’t).

However I can promise that this post will be followed by one with photos of the finished garment when worn!

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The last post ended with a finished bodice – (if you missed that post, it can be read here) but there was more work to be done! Like making the skirt, and a matching headpiece.

Because you need a matching headpiece.

The skirt was really easy – it’s just three 42″ wide panels seamed together, hemmed, and gathered down to match the waist measurement of the bodice.

After stitching the pieces together I folded the bottom edge inward by a half inch.

Then I folded the bottom edge inward by three inches, and stitched it down by hand to avoid visible topstitching.

Since the skirt was three panels, and evenly gathered, a seam didn’t fall at the center back. So I had to slash one of the panels and finish the opening with bias binding. This will line up with the back opening of the bodice and allow me to easily get the dress on and off.

The top edge was gathered down.

I turned the bottom edge of the bodice inward by a half inch. Then topstitched the skirt to the right side of the bodice. The raw edges were all hidden by a band stitched to the outside of the bodice. This was visible on the extant garment I referenced, which is why I chose to do it this way.

I ended up sewing the skirt on kind of unevenly – but it was intentional! this way it rests a little higher at the front.

That finished off the dress! Overall, I’m happy with this. However the fit could use some work (I would say it is a full inch too big) and it really needs a modesty panel. Since I used hooks and loops, my foundations were slightly visible at the back.

But as I said in my last post, I’m going to resolve that by swapping the loops out with bars, and having the back edge overlap by an inch (this will fix the fit, too!).

I think my favorite part of this dress are the gathers – I love the effect of hand stitched, dense gathers, and they are plentiful on this dress!

I’m also happy that I’ve finally (somewhat) successfully executed the tiny piping which was so popular during this period. It makes me feel more confident about some 1810-1820s pieces I’ve wanted to make for a while!

And here is the hem after being ironed!

As far as headwear, I decided this dress needed a bonnet. I based mine on a few references…but I won’t share them, because it looks nothing like them!

I decided to use a cheap straw hat as a base (this one, to be exact), which meant the design had to conform to the existing shapes of the hat.

I used the cap for the back of the bonnet.

And cut down the brim to form the front.

I stitched wire into the edges of the pieces to make them posable. This was a nightmare, the straw kept cracking and it killed my fingers. I don’t think I will ever attempt hand sewing with this straw ever again.

I lined it with a peachy colored silk dupioni. This wasn’t fun either, but there was less tension pulling on the silk so it was slightly more forgiving on my fingers.

I used a rectangle of silk to make lining for the cap, too.

Here the cap is attached to the brim – I mostly used glue for this, since my hand stitching kept tearing out.

I added ties and flowers, and the bonnet was done! Visually this is fine, and it suits the costume well. But I despised making this. It sucked having to alter my vision to the shape of the straw, and the straw was so difficult to work with. I had to glue a lot of elements and the end result is less durable than I would have liked.

But it is cute. So there is that!

Here is everything worn together! And as I said, a full post of photos will be up soon.

Thanks for reading!

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18th Century Redingote, Worn Photos

As promised, today I have the photos of my 18th century redingote ensemble to share! If you missed them, the blog posts about constructing this dress can be found here, and here.

For the fourth year in a row I went to the local pumpkin patch to photograph my newest piece. I really love this as a backdrop, there is something magical about it in the morning! The lighting is so pretty, and the contrast between the field, mud, pumpkins, and corn makes me smile.

My dresses always get a little dirty there, but it’s nothing a bit of water can’t fix, and I think the pictures make it worth it!

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This ensemble consists of a redingote, skirt, hat, and fichu, which I detailed the process of making in the posts linked above. It’s worn over a chemise, stays, a bum pad, and a cotton/netting petticoat, which I also made. The only pieces I didn’t make are the socks (charlotte russe), the wig (color.salon, ebay), the shoes (fraser, American Duchess*), and buckles (cavendish, American Duchess*)

If you want to see the layers in a little more detail, I have a video showing the process of getting into this – and a few clips of me wearing it! It can be watched here.

Now onto the photos!

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And that’s it! Thanks for reading!

Making an 18th Century Redingote

Todays post is about a real doozy of a dress that I made over the last two weeks. It consists of a redingote, petticoat, hat, and fichu. I even bought some fancy period appropriate shoes to go with it!

I’m going to split this into two blog posts – one about the redingote, and another about the accessories. Both posts should be published back to back, with photos of this ensemble following on Monday.

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This project was driven by the idea of making an 18th century witch costume. This has been in my head  ever since discovering this magazine page, which is the 1890s take on a 1700s inspired witch fancy dress costume.

I felt very strongly throughout making this that is was a witch costume. I think the hat made me think of pilgrims, which reminds me of the salem witch trials. The timeline for those things doesn’t even line up, but it was so clear in my head while constructing it.

However looking at it now, this costume doesn’t actually have anything that makes it “witchy”. So i’m not sure why I felt that way about it. But that was definitely in my mind while working on it (especially the hat)! And this motivated some of the choices later on so I thought it was worth mentioning.

As far as design, I’ve always wanted to make a tall 18th century hat, and been interested in redingotes since discovering them during my riding habit research a couple years back.

Then during a visit to Fabric Mart in PA I discovered an orange/brown striped silk taffeta which seemed perfect for an autumn themed 18th century ensemble. I combined that with a suiting fabric I had around, and some other scraps, and this piece was born!

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My inspiration was originally this piece, but that was more of an inspiration to make a redingote, not something that shaped the design. For the collar and cuff details I used this as a major reference. And I used more elaborate examples, like this, to justify the long impractical train.

To be honest, I didn’t do a lot of research on redingotes prior to making this. I was too impatient to delve deeply into it before getting started!

From my understanding, “Redingote” was a term used to describe riding and hunting costumes for both men and woman (interchangeable with the riding habit). But *most* plates and pieces described as redingotes have a skirt extending from the waist to the ground, and are ofter paired with contrasting petticoats.

Women’s riding habits were usually two matching garments, with a shorter flared jacket and skirt with side closures.

It also seems that the term redingote was later used to describe open front day dresses that lacked the practicality that most riding habits have, but still have some of the military style detailing. Mine definitely falls into the latter, impractical category.

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This project began with a bodice mockup. It’s three pieces, with the collar incorporated in each piece (as opposed to being sewn on later). I also used very appropriately themed mock up materials!

The mock up fit pretty well, I was thrilled with how the collar looked. There were only minor alterations to be made at the centerfront and straps.

For the first time in a long while, I made this bodice without a heavy duty base layer. I was worried the seams would get too thick if I did, and lighter dresses are always more comfortable to wear. So I cut the “base” from quilting cotton.

The lining is a suiting fabric I bought online for $3 a yard. It’s a low quality suiting, but I like the texture it has. And it’s a weird greyish light brown that matches the brown stripes in the taffeta really well.

And the exterior is the striped taffeta! Carefully cut out so the back seam would line up.

The cotton and suiting were layered, then assembled together. The cotton adds a bit of stiffness to the flimsy suiting.

The seam allowances were turned inward and stitched down to create boning channels.

The bones are all plastic, purchased from onlinefabricstore.net.

The construction process was repeated with the silk taffeta. This material was on clearance for $8/yard, which is hard to beat for silk! Five yards of it went into this dress.

I managed to get the back seam matched up without basting – I was very pleased!

I sewed the lining to the silk with the right sides facing each other – I stitched around the collar and waistline, only leaving the arm holes and front edges open. Then I turned it the right way out and used embroidery floss to stitch around the edges. This added a bit of texture, which I liked.

Unfortunately as a whole, I didn’t like it. It looked dull.

The suiting didn’t have enough contrast with the silk, and the collar didn’t look as big and dramatic as I wanted. I didn’t have enough material to recut things, so I decided to sew piping around the collar. This made it appear slightly larger, and more interesting with the addition of a new fabric.

This piping is made from brown poly taffeta over cotton cord. I had the taffeta leftover from the brown doublet I made several years ago. The piping was made by machine, but sewn on by hand.

All the raw edges were turned inward and tacked down with whip stitches. Unfortunately these are on the outside of the bodice, which I don’t like, but they are hidden by the collar.

The sleeves were a lot of trial and error. I based them on a Norah Waugh pattern, but they ended up totally different. I cut the sleeve cap way down and played around with the width. I wanted them to be tight, but allow more mobility than the original pattern did. I also wanted to get them on and off without having to add closures at the wrist.

Boy were these a terror. The mock up looked good, but the finished sleeves were an inch too big! I took them in three times before the looked okay. Then I made the cuff, and sewing those on made the sleeve too tight. So I had to remove the cuff, remove the lining of the sleeve, let the sleeve out, then resew on the cuffs.

They still aren’t perfect – they are a little wrinkly and baggy around the upper arm. Maybe i’ll redo them someday.

The cuffs were made from the same suiting, but I backed them with interfacing. The edges were turned inward by hand, then piping was sewn on.

The piping for these was made very carefully, there are gaps without cord so the pieces can overlap without additional bulk. And the cord ends before the seam allowance starts, so there isn’t bulk there either.

The sleeves were finished with a lace ruffle. I used a lace with a feathered trim, which adds a really nice texture.

The lace was gathered by machine, then whip stitched into the cuffs by hand.

Here it is on the dress form. At this point the only thing left were closures, and the skirt. The closures consist of 6 hooks and bars that secure the bodice one inch to the left of the center front.

The buttons were placed on either side of the closures, spaced evenly from the center front. I planned on looping lacing made from taffeta around these, to create an effect similar to the one seen in my main reference. But the lacing wouldn’t stay on, the shank of the buttons wasn’t long enough.

I don’t mind it without the lacing, but I still want to add it at some point since it was part of my original plan.

I don’t have many pictures of the skirt, because it was made in three hours the day before photographing this costume. It’s two 63″ x 58″ rectangles sewn together, with the bottom edges rounded out. I turned the edges inward by a half inch twice, then whip stitched them down by hand.

The top edge was pleated with 1/4″ pleats, then sewn to the bodice.

I left the top edge of this raw, and didn’t whip stitch the seam allowance down since i’m not completely sure if I like the skirt positioning. I think it sits too far back at the bodice, so I might redo the pleats before finishing it properly.

And that is it! Overall I like this garment. My only complaint is that it’s a little big. My seam allowances must have gotten screwed up somewhere, the silk is almost baggy on top of the lining (though this could also be related to the lack of a thick base layer). The sleeves are still a bit big too.

But it was really comfy! And I think the fabrics and proportions work really nicely in the finished piece.

Thanks for reading – keep an eye out for the following posts!