Winter bustles (and new shoes!)

I know, it’s the middle of July, and where I am it’s the middle of summer. Despite that, I’m doing a post with pictures of winter bustle dresses. The main reason is that I got new shoes! American Duchess was having a sale, and I couldn’t resist, and I got the Victoria carriage boots. They’re black winter boots with bows in the front, and I really love them. It’s quite difficult to find proper warm winter boots that look good underneath a skirt, so I splurged, and suspect I’ll wear them quite a bit out of costume as well!

They’re so pretty!

 

Of course, having Victorian winter boots got me dreaming about wool and fur bustle dresses. So now I want to make one. I have a lot of fabric for other planned projects though, so who knows if and when that’ll happen, but until then, inspiration pictures!

Let’s start with some early bustle beauties.

La Saison 1874

Les Modes Parisiennes 1872

Les Modes Parisiennes 1874

Le Moniteur de la Mode 1874

La Gazette Rose 1873

The Englishwoman’s Domestic Magazine

 

There are also some beautiful examples from the 1880’s.

La Mode Francaise 1887

Le Salon de la Mode 1886

Der Bazar 1883

dessin original : ANONYME VERS 1870 N°9

1880s winter ensembles

 

Aside from these colored plates, I also found some black-white examples. I particularly love all the braiding on the first one.

early 1880s winter ensemble

1883 Winter

Written on border: "Jan. 1883" Printed on border: "No. 8." "Cloth and fur, either brown or grey. The under-skirt is edged with plaiting, and the over one is turetted. The readingote has a shoulder cap[e] and cuffs trimmed with fur. The waistband is fastened with a smoke[d] pearl buckle. Pattern of redingote, 3s. 1d."

MODE ILLUSTREE PATTERN Jan 7,1883- TOILETTE DE VILLE

Chintz in the Fries museum – How chintz was worn

My second post about the exhibition ‘Sits – katoen in bloei’ (Chintz – cotton in bloom) in the Fries Museum! My first post was about color and patterns, and before that I wrote this post, which has more terminology and history about the fabric.

In this post I’ll try to go into the specific chintz garments which were on display. What garments were made of chintz; how where they worn and in what context.

Also: all my pictures of the exhibition are now online on my pinterest board and facebook page, so to see everything you can go there! I took too many images for even two blog posts. For this post; click on the image for the full view.

Chintz on chintz

Most jackets and skirt combinations in the exhibition were made of 2 different chintz fabrics. A while back I posted a promotion image for the exhibition on Facebook with such a combination, and it sparked a question from some people. Were (chintz) print-on-print combinations really a thing?

This is the skirt from the promotion image, here worn with another chintz jacket.

 

Now I know that Dutch 18th century clothing, especially middle class (/small town/countryside), was quite colorful. There are a number of prints which show combinations of chintz with striped skirts, and ton-sur-ton skirts like this, this or this (same-color pattern & ground), and checkered or patterned aprons, checkered kerchiefs or with chintz sunhats. So different prints together is definitely seen. However, I couldn’t find any clear examples paintings showing a chintz skirt combined with a chintz jacket. This print might be. But then again, either jacket or skirt might also be silk, or a simpler European cotton or linen print, it’s difficult to see. The only example I could find which clearly shows chintz on chintz is  a doll. But given that the petticoat and skirt were often inter-changeable in the 18th century depending on the fancy of the wearer, this might be an example of skirts being mixed up. All in all, I wouldn’t take that as enough evidence that it was commonly done.

Even though I still think it’s very pretty

 

So, in the end, I decided to ask the fashion curator of the Fries museum, and of this exhibition. She gave a presentation about the exhibition at the meeting of the Dutch costume society, and I approached her afterwards. Her answer: it was probably not common to wear a chintz skirt with a different chintz jacket. Mostly, chintz jackets would’ve been worn on top of the same chintz fabric skirt, or on top of a silk or wool skirt. Many chintz skirts would’ve been worn as underskirt (which you could still see when lifting the skirts a bit), however, she had also seen chintz skirt which were clearly meant as top skirt. In this case, if not worn with a same-chintz jacket, they would’ve probably been worn with a solid color jacket. This is not saying that you’d absolutely never would see a chintz jacket on a chintz petticoat, but it probably wasn’t the common way of wearing it. Similarly, the ‘onderst’ worn to fill in the neckline (see a section below for more info) was often made of chintz. With a chintz jacket, however, a solid (white) onderst was most likely worn, the chintz ondersts being worn with solid color jackets.

Girl’s combination of skirt and jacket.

 

In the case of this exhibition, she choose to display the chintz skirts and jackets together, as this was an exhibition specifically about chintz, and those are the items you want on display. Something I completely understand, as there’s only so much space, and you want to show as much as possible without cluttering. The only exception was this lovely combination of a chintz jacket with a corded quilted silk petticoat.

 

 

Oost-indisch bont

The apron in the image above is interesting. It is made of what we’d call ‘oost-indisch bont’ in Dutch, which would roughly translate to ‘east-indian motley’. It is a cotton fabric originally from India, and just as chintz, it was taken to the Netherlands by the east-indian trading company (hence the name). It was used mostly for aprons and kerchiefs, and just like chintz, it stuck around in many traditional costumes in the Netherlands. It’s funny how I’d now consider it a very typically Dutch fabric, while it actually came from Asia.

Another example of oost-indisch bont, here in apron and kerchief.

 

 

Onderst

I mentioned the ‘onderst’ before. This was the name given in Friesland, in most of the Netherlands we’d call this a ‘kraplap’, or ‘kroplap’, in Zeeland they’d say ‘beuk’, and I’ve heard ‘halsje’ in Noord-Holland. It’s an interesting garment because it doesn’t seem to have an international equivalent, at least in the 18th century. It’s very like a partlet, or a chemisette. But the term ‘partlet’ I’ve only ever heard for the 16th and early 17th century, and chemisette is a typically 19th century term. I believe that the 16th century partlet stuck around in the Netherlands well into the 17th, and eventually the 18th century. The image below shows a girl in ‘undress'(full dress would have a jacket on top) clearly wearing a partlet, this painting is from ca. 1665, so quite ‘late’ for a partlet.

Reynier Hals, Woman with Needlework, ca. 1665. Frans Hals Museum #franshalsmuseum #haarlem #art

It’s very difficult to still find images of the 18th century equivalent though, which might have several reasons. There’s not as many paintings of lower classes in the Netherlands in this century, and this item was most likely worn primarily in the countryside and smaller towns. Another reason is that it was generally covered by one or even two kerchiefs, which make it nearly invisible in the paintings and prints which do exist. However, we know for sure that they were worn, because there are many existent examples, and they show up in doll’s clothes and inventory lists frequently. The 18th century onderst was typically made with a front and back rectangle, sewn together at the shoulder seams and a ‘hole’ for the head (I’ve never seen any with a slit in front). It was attached by putting tapes from the front through loops in the back. Many would’ve been white, with or without lace (see the pictures of jackets at the beginning of this post), but there are also many chintz examples. They had a whole wall filled with them at the exhibition. Click for the full-size version and to read the text below.

Kraplappen, or 'onderst' as called in Friesland. Worn as a partlet or chemisette, this was a typical clothing item for Dutch women in smaller cities or on the countryside.

 

Sun hats

There was also a display of a number of different sunhats on display. These hats are made of straw, but have a chintz lining which extends around to the top to form a border (I think +- 10cm wide? Couldn’t see the top on these). They’re made of the most beautiful fabrics.

Loved this one. Look at the bird and the insects!

 

These sunhats are a little different in shape than the better known round straw bergere hats. These ones might even be larger (although I haven’t seen a bergere in person, so estimating based on portraits), but the main difference is that the hole head is at the back. This creates a large shape only in front of the head. This shape has everything to do with the lace head dresses popular in Friesland in the 18th century. The lace caps started modest, but as fashion does, changed to rather extreme proportions. These caps are called a ‘Duitse muts’ nowadays, and they had one gorgeous example on display. This was my first time seeing one in person!

Look at all that lace!

 

The cap is worn on top of an under cap and an oorijzer, which would’ve helped keeping the cap in place on the head. The front is kept up by a wire running through the lace around the edge. The exhibition also had a little booklet showing a woman wearing both a cap like this and a chintz sunhat. The only thing which isn’t depicted correctly are the ribbons hanging loose. In real life, you have to hold on to those ribbons continuously because otherwise the hat would fall forwards. Although the wire in the cap is strong enough to keep up the lace, it wouldn’t be able to support the full straw hat!

 

 

Hindeloopen

The exhibition also had a large number of items from Hindeloopen, a town which nowadays is known for the chintz in it’s traditional costume. Although not worn daily since the 19th century, the town still keeps the costume alive. The chintz parts are the jackets, which is either long, called ‘wentke’, or short, called ‘kassakijntje (from cassaquin I believe).

For mourning. I love how you can see the faint outlines where the wax was folded and the indigo seeped through in this fabric.

 

The kassakijntjes were a little harder to photograph as they were further away on a wall, but here are three lovely examples. The construction seems the same as for the wentke, just shorter.

 

 

To finish off, another wentke, this time for out of mourning. It should be noted that this costume contains many other bits and pieces to form a full outfit. These items would never be worn with ‘regular’ 18th century fashion.

I love the top-stitching on all of these. All wentkes I saw had it, and it’s so neatly done.

 

Chintz in the 19th century

Chintz as fabric for clothing is very much an 18th century thing. However, it keeps very well, and as fabric was expensive, re-use was extremely common. Especially for the middle and lower classes, this meant that just because something was a bit old fashioned, didn’t mean it wouldn’t be worn anymore. We therefore also see jackets with a high waistline, worn in the early 19th century, in reused chintz.

This jacket below belonged to a lady on her marriage, and accounts show she had two other identically cut jackets. The other two were of fine muslin, this one is remade from a chintz skirt. This probably would’ve been more of a working jacket as the fabric was more old fashioned. But also more practical than the fine, thin cottons so popular at the time.

 

Another great example of re-use is the early 19th century girl’s jacket below. It is made of 76 different pieces of chintz fabric. Talk about piecing!

 

Unusual jackets

The two ensembles I started off this post with both had gorgeous chintz jackets. Because both are a bit unusual I wanted to show them in more detail.

The green jacket has a very interesting front closure of zig-zags, leaving little dimond cut-outs to show off the stomacher underneath. The zig-zags close with hooks and eyes center front.

 

I’d seen the green jacket in pictures before I went tot he exhibition, and it was one of the things I was most looking forward to seeing. It was stunning in person, but I think my favorite jacket was actually the other one I showed before, this red one. The color is so stunning in person. We know that this jacket was worn in the province of Noord-Holland.

 

This jacket is a bit unusual in several ways. Firstly, it laces in the front instead of closing with hooks and eyes. Practically all fancy jackets in this museum close with hooks and eyes. Front-lacing jackets exist, but these were all worn as under-jackets or for very informal occasions. This red jacket, however, is too fancy for that, it was almost certainly worn as a top jacket.

The other unusual thing is the neckline, 18th century necklines are generally square, this one is almost v-shaped. Additionally, it has a collar-like shape around the neckline. I’d never seen this before, and I commented on this during my talk to the curator of the exhibition. She confirmed it was unusual, but also referred to a portrait of a girl in a blue chintz jacket which also shows a collar like shape. I’d seen this portrait before but hadn’t noticed the collar, but it’s definitely there! It’s pointed instead of round, but it also shows a neckline in a (shallower) v. I’m taking this to mean that these type of collars weren’t unheard of, and I personally think the style is very pretty. If anyone’s ever seen any other examples of this style I’d love to see!

A final thing I noticed about this jacket are little white thread loops on the collar. The curator didn’t know for sure what these were for either. One possible explanation might be to tie a kerchief of fichu in place? As before, if anyone has any idea of their purpose I’d love to know!

 

 

 

Hogwarts house bustle dresses

Yesterday marked the 20-year anniversary of the publication of Harry Potter. I didn’t actually read the book until a couple of years later when I got the translated version for my 10th birthday, but nonetheless I think this warrants a Harry Potter themed post!

So, inspired by this lovely Hufflepuff dress and this plan describing a Ravenclaw one, I thought I’d do some inspirations of Hogwarts house-themed bustle dresses! I tried to get both house colors in, which only failed for Slytherin as I couldn’t find any real green-silver dresses, so those are just pretty green.

Hufflepuff

Yellow-Black

robe en 2 parties | Centre de documentation des musées - Les Arts Décoratifs

Dinner dress ca. 1877

Dress,1872–74 Culture: American Medium: silk, cotton

ca 1870s two piece dress

 

Gryffindor

Red-Gold

Dress  1879  The Metropolitan Museum of Art

Abito femminile in due pezzi. | Atelier Compagnie Lyonnaise, Roma (Designer) and Gabinetto fotografico SBAS, Otello Ciuffi, Antonio Quattrone (Photographer)

Dinner Dress, circa 1880

Charles Frederick Worth, Evening Dress (Bodice & Skirt). Paris, c. 1885. (View 2)

 

Ravenclaw

Blue-Bronze

tumblr_mu88pgofYC1qf46efo1_400

A very bright blue French afternoon dress from the early 1880s.

Dress  1888-1889  The Metropolitan Museum of Art

Day dress ca. 1880. Blue & gold floral brocade with bustle back. Golden brown rouged silk trim at cuffs & front of bodice, which fastens center front with long line of covered buttons. Skirt tiers in contrasting fabric; silk with a bow at center front. Bonhams

 

 

Slytherin

Green-Silver

Promenade dress Emile Pingat (French, active 1860–96) Date: ca. 1888 Culture: French Medium: Silk, metallic

Circa 1874 Silk, Satin, and Taffeta Wedding Dress. Courtesy Of The Chicago History Museum.

Walking dress ca. 1885–86. Patrimonio Histórico Familiar PHF Pinterest & Instagram

Dress  1872  The Victoria & Albert Museum

 

Chintz in the Fries museum – color & pattern

Last weekend I finally got a chance to visit the current exhibition on chintz in the Fries museum, ‘Sits – Katoen in bloei’, or ‘Chintz – Cotton in bloom’. It was stunning! I had to force myself to look at one thing at a time, because as soon as I turned around I’d see so much more loveliness. We went on Friday and saw the exhibition, and then enjoyed a lovely day with talks on Saturday, organized by the Dutch costume society. This included a very interesting talk by the curator of the exhibition Gieneke Arnolli, and we took the opportunity to visit again after her talk and see some things we’d missed first time! (To all my Dutch readers: it’s definitely recommended, I’d go again for a 3rd if I lived closer by. It’s running until September 11th)

Purple chintz bed/wall hanging in the back (India, 1700-1725). Three jacket/skirt combinations in the front.

Seriously, I could look at this all day

Because I love chintz (see this post for a very extensive history and background), I’m going to split my blog about the exhibition into two parts. I’ve learned some more things, and because I now have loads of photos of the lovely chintz items I can illustrate this post with! Click the image for a larger version. I’ll also work on uploading all my images and link to those in the next post, as there’s way too much for even two blog posts.

For this first post: a little more about the use of color in chintz, and the various patterns.

The colors and patterns or chintz are made on bleached cotton, making white the first color you see in chintz. Lines are made in a black/dark brown color. Aside from this, the main colors are often made with meekrap (red) and indigo (blue), and you see shades of red and blue a lot. Additionally, purple sometimes occurs, as well as yellow and green.

Chintz coupon with flower and tree motifs. Collection page: https://www.modemuze.nl/collecties/coupon-van-sits-met-motieven-op-witte-grond-contouren-zwart-en-rood

Beautiful wall-hanging with tree patterns and a wide array of colors.

Nowadays, we think of chintz mainly having a white ground, with colored flowers and leafs. But that’s quite a western view on chintz. Many chintzes for the Asian market were made with a read ground. In contrast, the English (and I believe also the American) market greatly favored white-ground chintz, and you barely see any colored grounds. Although the majority of Dutch chintz also has a white ground,  In the Netherlands, you see a relatively high amount of chintzes with colored ground. Mostly red, but also blue, green, purple, dark brown and even ‘spotted’ ground. I personally love these, and the museum had some lovely examples.

Girl's ensemble of red ground chintz jacket and chintz skirt. Fabric jacket: India, 1725-1775, jacket ca. 1760.

Young girl’s jacket in red ground chintz.

Girl's cotton dress (1700-1750), closing at the back. The petticoat is embroidered with silk on cotton in chintz-inspired flowers.

Dark brown ground on a girl’s dress

Pair of chintz sleeves with a blue ground. Cotton made in India 1700-1750, sleeves worn ca. 1760.

Blue ground sleeves

Chintz jacket, roses on a spotted ground (Fabric India, 1775-1790). Lovely pleats in the back, and a very low front. You can see the ground is made with tiny little dots instead of a full color. Collection page: https://www.modemuze.nl/collecties/sitsen-vrouwenjak-met-motieven-op-beige-grond-en-contouren-zwart-en-rood-0

Spotted ground on a jacket. This shows the pleats in the back

 

 

 

 

 

Interesting to note is that the colored ground chintz is mostly used for blankets/spreads, sleeves, baby caps and jackets. Skirts of chintz are most commonly white. All the sunhat linings in this exhibition were also with a white ground. For the kraplappen (I’ll go into their use in the next post!), you see mostly white but also some red.

Close-up of chintz fabric of an 18th century skirt.

Detail of a skirt.

Detail of kraplap, or onderst in chintz.

Detail of a kraplap, Indian chintz with a white ground.

 

 

 

In contrast, the town of Hindeloopen uses a lot of red ground in their traditional costume.

Details of a red ground chintz (India, ca. 1750) wentke from Hindeloopen. Collection page: https://www.modemuze.nl/collecties/sitsen-hindeloper-wentke-vrouwenjas-motieven-op-rode-grond-contouren-zwart-onderdeel-van

Detail of a Wentke from Hindeloopen. This might’ve been the prettiest fabric in the exhibition.

 

Traditionally, chintz practically always included white (either as ground or detail color), black (mostly lines), and both red and blue as main colors. However, in the Netherlands we also have a number of two-colored chintz. White-black, white-blue and white-red. These were probably specifically made for the Dutch market, and especially in Hindeloopen worn for very specific occasions.

Hindeloopen had a very specific mourning tradition, with up to 7 stages of mourning. Although chintz wasn’t worn for the heaviest stage (all black), the black-white chintz comes into play for the ‘slightly-less heavy’ stages.

Details of Wentke from Hindeloopen for heavy mourning.

Back of a Wentke for heavier mourning.

 

In an even lighter mourning stage, blue would enter the scene, and you get gorgeous white-blue ensembles for light mourning. As ‘out-of-mourning’ dress was mostly red, this relatively light-colored combo of white-blue would still clearly signal mourning.

Wentke from Hindeloopen for light mourning. Cotton painted in India, 1750-1800.

Wentke for lighter mourning.

 

Finally, you see red-white chintz in Hindeloopen as well. This was called ‘milk & blood’ chintz, and was worn by the bride.

Jacket from Hindeloopen, kassakijntje (cassaquin). White-and red chintz was called 'melk & bloed', or 'milk & blood' chintz and in Hindeloopen was worn by the bride. Collection page: https://www.modemuze.nl/collecties/sitsen-hindelooper-kassakijntje-met-motieven-op-witte-grond-contour-rood

Milk & blood chintz on a kassekijntje, or cassaquin from Hindeloopen

 

 

Something else I’d never seen before this exhibition was the use of gold. This was usually reserved for the Indian upper class instead of export, and therefore very rare in European chintz. Nevertheless, the museum had a couple of sleeves and a spread with leaf gold on display.

Sleeves form Hindeloopen, showing rare chintz with leaf gold (India, 1700-1750). Usually meant for the Indian royalty, this chintz was rare in Europe.

Detail of sleeves from Hindeloopen with leaf gold.

 

 

Although not really a color, something very specific about chintz is it’s glaze. I’ve seen a lot of reproduction patterns which feel like chintz, but don’t have this shine. It’s gorgeous though, and definitely best experienced in person. Although some chintz has lost some of it’s shine (it can wash off), the museum had a piece of a roll which is still in an amazing condition.

Piece of two-tone chintz still on the roll and in very good condition. The angle of the picture makes it catch the light.

 

 

Pattern wise, all chintz has flower inspired patterns. Originally, these were very stylized and oriental in appearance. However, the European marked also started to influence Indian makers. Although it’s exoticism was a big draw of chintz, you do see it becoming just a little more European in style as well. From very large, asymmetrical patterns and stylized flowers, you start to see more geometrical patterns and more natural flowers.

Detail of chintz kraplap or onderst.

Indian chintz, flat flowers and asymmetrical placing.

Two chintz jackets made of the same fabric (India, 1775-1800). The naturalness of the roses shows how the Indian fabric printers were influenced by European taste. Chintz made in India, but for the European market. Collection page: https://www.modemuze.nl/collecties/sitsen-vrouwenjak-met-roosmotieven-op-witte-grond-en-contouren-zwart-en-rood

Back of a jacket. Chintz made in India, but the rose motif is distinctly more European looking.

 

 

 

Additionally, you also get European cotton prints imitating Indian chintz. Some is of high quality, but most of the time the European prints are just a little less in quality.

Ensemble of informal jacket and skirt. Jackets like these were most likely worn as 'undress', informal wear. The sleeves are of higher quality Indian chintz, the main part of the jacket of european cotton. Jacket: 1740-1770. Collection page:https://www.modemuze.nl/collecties/informeel-vrouwenjak-met-rijgsluiting-lijf-van-bedrukt-katoen-en-mouwen-van-indiase-sits

Detail of an informal jacket. The sleeves are made of higher quality Indian chintz, while the body is European cotton print, which would’ve been cheaper.

 

 

And despite the flower theme, you get other motifs as well! Little insects and birds show up in chintz, but every now and then you get other patterns. On blankets you see heraldry, but also more animals and people. There was a skirt with hunting scenes. And one of the skirts had a very unusual border of ships of the West-Indian Company.

Details of a chintz skirt with hunting scenes along the border. Fabric has the stamp of the United East Indian Company, 1750-1775.

Detail of a skirt border showing hunting scenes amid the flowers.

Chintz jacket, early 19th century. Remade from older fabric (India, 1700-1750). Fabric details

Exotic bird on a jacket (re-made from skirt fabric).

18th century skirt (Dutch cotton print, 1775-1800) with an unusual border with WIC (West-Indian Trading company) ships. The front is flat, the side and back are pleated to the waistband. Collection page: https://www.modemuze.nl/collecties/sitsen-vrouwenrok-motieven-op-witte-grond-contouren-zwart-en-rood-1

Unusual skirt border, showing ships of the West-Indian Trading company.

 

 

 

That was it for today, in the next post I’ll go into the different items of clothing (jackets, skirts, etc), some particularities of the items and how they might’ve been worn. I’ll also include a link to all my pictures in that post, as I have way more than fit into a blog!

Depot visit – Gemeentemuseum Den Haag

The website ModeMuze brings together the fashion collections of several large Dutch museums. Aside from having an online collection of the items, they also write blog posts about items, and organize a lot of events! I went to one of them recently, where we got the chance to see some items in the Gemeentemuseum in the Hague up close, presented by the fashion curator Madelief Hohé.

In this post some pictures of the visit, as well as some of my own observations. This is a selection of the items, I’ll post these and some more on my Facebook page for who’s interested!

 

We saw a lot of 18th century things. Let’s start with this gorgeous blue silk Anglaise. Below is the museum’s picture, click to go to the collection page.

 

These are my pictures. This is a shot of the lining of the bodice. You can see the bodice was lined in linen, while the skirt is unlined. You can also see the stitching lines from the back, where the folded silk was stitched to the (unfolded) lining. You can also see the skirt is cartridge pleated onto the bodice, leaving quite a large allowance.

foto van Atelier Nostalgia.

A shot of the top of the bodice lining, also showing the robing (pleat over the shoulder). What I also liked was the little blue wool tapes attached to the shoulder corners for extra protection of the silk fabric. The little cord you see was in the neckline. Although the front closed with hooks & eyes, there was a little tunnel at the top for a cord to pull the dress close to the body.

foto van Atelier Nostalgia.

The dress closed center front, the center front flaps attached to the robings on either side. On top of the center front panels, these little horizontal strips ran, with the pleats on top, as you can see in the bottom left corner. They were lined as well, and closed with hooks & eyes. As you can see in the official museum image, the fichu would be worn on top of the dress, but underneath these flaps. I’ve seen this a lot on other Dutch jackets and gowns, so I believe this was most common in the Netherlands. The curator also mentioned that comparisons of collections show a relatively high amount of blue dresses in Dutch museums, which this is a gorgeous example of!

foto van Atelier Nostalgia.

The back of the dress! You can see the folded back pleats run into the skirt. They were very narrow. The back is heavily pleated with tiny pleats. If you look closely you can see that the threads running through the cartridge pleats actually extend a bit below the bodice to keep the pleats in place.

foto van Atelier Nostalgia.

An inside picture of the hem. The fabric was folded over for the hem, and on parts of the skirt this blue wool tape was attached to protect the fabric. I found it particularly interesting that it wasn’t actually attached all the way around on this particular dress!

foto van Atelier Nostalgia.

 

On to the next item, a stunning pair of stays in light blue. I couldn’t find an official, full image of these. The stays were continuously boned, but the stitching was covered both back and front. The tabs were covered separately, as you also often see in linings. The stays weren’t bound, as they were covered completely I think this wouldn’t have been needed.

foto van Atelier Nostalgia.

A view of the linen lining, stopping just before the eyelets. Again, the tabs are covered separately.

foto van Atelier Nostalgia.

The top, showing off the eyelets. I also love how tiny the tape is which covers the seams. It was super thin.

foto van Atelier Nostalgia.

 

More 18th century! This was a chintz jacket, below is the inventory picture, again, click the link for the official page.

My pictures. This one shows the back, and how the sleeves were actually cut on. I hadn’t seen this on 18th century garments before.

foto van Atelier Nostalgia.

The ‘skirt’ part of the jacket layed open (again, the jacket is on its back on the table). The whole jacket was lined in wool. I love how extremely wide it is. You can also see the deep pleat at the center back.

foto van Atelier Nostalgia.

The center front closed with hooks and eyes, but again also had a cord running through the neckline, you can see a tiny bit of gathering at the top. You can also see the stitches where the hooks & eyes are attached if you look carefully.

foto van Atelier Nostalgia.

The back pleat of the jacket, with a little stitching to protect the seam from ripping.

foto van Atelier Nostalgia.

 

Next up are two 18th century skirts, neither of which I could find a good full picture for.

First is a petticoat, made with matelasse, or ‘zaans stikwerk’. It’s quilted in a way, but through the little channels small cords would also be drawn to create the 3d effect.

foto van Atelier Nostalgia.

Showing the inside and hem. Again, a wool tape was attached on the inside. I found it interesting how the tape actually extends a couple of mm from the silk hem.

foto van Atelier Nostalgia.

The top of the petticoat wasn’t quilted, as this wouldn’t be seen anyway. Probably also to reduce some bulk. This is the front of the petticoat, which isn’t pleated.

foto van Atelier Nostalgia.

The back, however, is pleated to the waistband!

foto van Atelier Nostalgia.

 

Another skirt, this time in a glazed wool damask. Such a stunning fabric! The skirt is pleated to the waistband.

foto van Atelier Nostalgia.

A close-up of the fabric.

foto van Atelier Nostalgia.

The inside, showing the selvages are used for the main seams. No tape covering the hem this time, instead a narrow cord is stitched to the hem to protect it. You still see this method being used in some skirts of traditional Dutch costume!

foto van Atelier Nostalgia.

 

As a final step, we take a big leap from the 18th century to the 1840s. It’s the dress on the left of this image. Click the link for the official page.

This image shows that the center front point of the bodice isn’t actually attached to the skirt all the way. It’s definitely boned though! The point is finished with thin piping, and look how prettily the lines are matched!

foto van Atelier Nostalgia.

A slightly odd image, but it shows that the boning center front doesn’t actually extends all the way up, only to the fold in the fabric.

foto van Atelier Nostalgia.

This is the center back closure. The skirt is heavily pleated onto the bodice and actually consists of 2 layers! The top one is silk, and forms the top of the 2 flounces. The bottom layer is made of netting, but the bottom edge of the skirt is silk again to form the bottom flounce. Less need for the expensive silk! I also liked how there’s a small modesty placket beneath the eleyets, and how there’s a hook & eye closure at the bottom (& top, not in this image).

foto van Atelier Nostalgia.

The top of the back closure. Pretty lace at the top, and the neckline was finished in piping even tinier than around the bottom of the bodice. This was 1mm wide at the most! I also love how there is a small bit of flossing at the top of the bones in the back.

foto van Atelier Nostalgia.

Final image, showing the side back seam & sleeve insert, which is again piped. You can see how the seam isn’t a ‘normal’ seam. I was wondering how this was done, and the day after the visit saw a great blog post by the Fashionable past. She does it by cutting the fabric ‘bigger’ than necessary to the sides, folding the fabric over and stitching it down to create the effect of a seam. I suspect that on this dress though, the side back was actually cut separately instead. See how the lines match up perfectly? You can’t get that if you fold the fabric, it would shift slightly.

foto van Atelier Nostalgia.

A visit to Bath

The first week of May I visited Bath with a friend. The main incentive was the Victorian ball held there, but we also took the time to visit the city and a bit of the countryside. More about the ball later, but for now pictures of the rest of our visit!

We arrived in Bath late Wednesday morning. After dropping off our things we went into the city to just wander around a bit. Wandering turned in to visiting loads of shops very quickly… Just a warning: Bath isn’t very good for your wallet.

After browsing the shops and getting some souvenirs, it was time for tea! My friend arranged a high tea in the pump rooms for my birthday, and it was really great. It’s such a lovely setting, and the food was very good.

foto van Myrthe Tielman.

 

After tea we had just enough time to visit the Roman baths, which originally gave the town its name. The whole museum around the baths was very well set-up, and it was definitely an impressive place to visit! This picture is of the King’s bath, which is the original hot spring. You can see the windows of the pump rooms above the bath.

foto van Myrthe Tielman.

 

Because we had tea late in the afternoon we wandered around Bath a bit more before going do dinner, visiting the Georgian streets, including the Circus and the Royal Cresent. The roses and wisteria were in bloom. So pretty!

foto van Myrthe Tielman.

 

On Thursday we first visited the Jane Austen Center, and afterwards went to the fashion museum! They had two exhibitions on, one ‘a history of fashion in a 100 objects’ and the other one was ‘lace’. It was really impressive, and great to see a number of true icons I’d only seen pictures off. I won’t post all my pictures here to avoid cluttering, but there’s more on my pinterest. Also go there to see the full size! Much better for drooling over details.

This one I was most excited about beforehand, and it didn’t disappoint. The silver fabric still has some sparkle to it, which definitely comes across better in real life! Silver tissue and parchment lace dress, ca. 1660

Ca. 1660 silver tissue dress with parchment lace. Fashion museum Bath:

 

Another one of the very old items. A gorgeously embroidered jacobean jacket, ca. 1620. The embroidery was stunning, incredibly detailed and colorful. As always, the pictures don’t do the metalwork (the golden swirls) justice. They sparkle as you move.

ca. 1620 Jacobean jacket. Fashion museum Bath.:

 

This dress I didn’t know beforehand, but immediately fell in love with. (I’ve got a thing with black lace, in case you hadn’t noticed). The color was very pretty in real life as well, and that trim…

1860s Victorian dress in pale green with black lace. Fashion museum Bath:

 

Final stop of the day was Bath Abbey, which was very impressive as well, and had the most amazing ceiling.

foto van Myrthe Tielman.

 

Friday we rented a car to go exploring a bit, and ended up visiting Lacock and Glastonbury. Lacock is a very scenic town used in a lot of movies as a location. Just next to the town is Lacock Abbey, which is part medieval abbey part aristocratic country house. Also a lovely place, and with all the flower bushes growing outside it was stunning. And of course, the halls of Hogwarts are inside!

foto van Myrthe Tielman.

 

In Glastonbury we mostly just visited the grounds with the old abbey ruins. Most of it is gone now, but it is still an incredibly impressive and beautiful place.

foto van Myrthe Tielman.

 

Saturday morning we took the opportunity to visit the Victoria Art gallery, shopped some more (tea shops!) and afterwards met a friend for lunch. And after lunch it was time for the dance workshop! More about the workshop, ball and breakfast on Sunday in the next post!

Givenchy

The Gemeentemuseum in the Hague has a large fashion collection, which means they often have fashion exhibitions! I’m mostly interested in the ‘older’ collection, but as that’s also more vulnerable, they display their modern pieces more often. The past fashion topic was ‘From Audrey with Love’, an exhibition about Givenchy, and Audrey Hepburn. As that’s approaching the era I’m more interested in (’50s and older), I was curious to go.

I didn’t take loads of pictures, but I did photograph some of my favorites. It was interesting to see the changes through out the years, but I did notice (again) that I definitely favor the 50s and 60s pieces over the 70s, 80s and 90s. The skill and craftmanship remains clear, but I’m not a big fan of the bold colors and broad shoulders of the latter eras.

To start with: some back views! Some of the black evening gowns had the most gorgeous back details.

 

This was one of my favorites, this back was stunning.

IMG_9685_zps0tmqcz9l (400x600)

This one was also very nice, from Breakfast at Tiffany’s.

IMG_9686_zpsbsyw4xax (400x600)

 

This one is a little less my style, but I did like the nod to the 18th century Watteau pleats with the little cape.

IMG_9688_zpscewphht3 (400x600)

 

Generally, there was a lot of black, white and bold colors. This dress stood out a bit in it’s sweetness, but it was very pretty.

IMG_9687_zps9v7gkfhi (400x600)

 

The one below was one of my favorites. I’m not the biggest fan of the beading on the bodice, but the skirt is stunning.

IMG_9689_zpslyud8eaj (400x600)

 

The final room was filled with wedding dresses. The one below was Audrey Hepburn’s first wedding dress. I had to get used to the size of the sleeves for a moment, but quite liked it after that.

IMG_9692_zpswtk2ocdb (400x600)

 

This one was a movie costume I believe, with stunning lace. The one in the background was Audrey’s second wedding dress, very different from the sweet innocence of the first!

IMG_9690_zpsn99nosl3 (400x600)

 

To end off, the top of a wedding dress with the most stunning flowers.

IMG_9695_zpsvpqomrvd (400x600)

 

Black & White lace

I’ve been quite busy working on several projects, but none are quite ready yet to be blogged about. (For progress pictures etc. see my instagram and facebook page). So for now, some more very pretty pictures. The topic was inspired by the last inspiration post, where I couldn’t include all of these.

Lace has been used for centuries, but the height of it’s popularity might be the turn of the 20th century. I adore these dresses, and would love to recreate them, but the cost of suitable lace is frighting, so instead I just admire. Although there were a lot of solid white and colored dresses with lace, this post would be too long if I included them all. So the theme will be black & white.

 

DressJeanne Paquin, 1902The Museum at FIT:

Jeanne Paquin, 1902, The Museum at FIT

 

Ball gown dress of Empress Alexandra Feodorovna. 1900-1901:

Dress of Empress Alexandra Feodorovna. 1900-1901

 

From the collection of Alexandre Vassiliev:

From the collection of Alexandre Vassiliev

 

From the collection of Alexandre Vassiliev:

From the collection of Alexandre Vassiliev

 

Half-Mourning Dress  1889-1892:

Half-Mourning Dress 1889-1892

 

Circa 1906 black silk and lace evening gown, Bonnaire, Paris.:

Circa 1906 black silk and lace evening gown, Bonnaire, Paris

 

Dress, Evening  Date: 1898–99 Culture: American:

Dress, Evening Date: 1898–99 Culture: American, MetMuseum

 

1900s evening dress:

Musée de la Mode

 

 

30 times inspiration

At the beginning of this month, Jennifer from Historical Sewing started a 30-day inspiration sharing project. I only commented occasionally, but really liked the idea. So, in retrospect, my entries. For this post, I choose to do all existent pieces. Links to the museum pages are included.

1. Favorite Time Period

Immediately one of the most difficult. I don’t really have 1 favourite, I like different things about different eras and what I like most changes from moment to moment. But, one that has always been high on the list is the second bustle era, ca. 1883-1890. I love the clean lines, dramatic fabrics and shape.

MetMuseum

 

2. Blue

I’ve always had a soft spot for this dress. The fabric is absolutely stunning.

Evening Dress  1850-1852. With detachable long sleeves. Dark blue / Emerald green, patterned fabric such as in the picture.:

MetMuseum

 

3. 1890’s

One of those eras that needed to grow on me, but I quite like it now. Especially the jackets, those are maybe the best from all time periods.

Emily Reynolds Historic Costume collection

 

4. Skirt

The Dutch 18th century chintz skirts are one of my favourite items. This one has a border, using the pattern on the fabric to its fullest.

Fries Museum

 

5. Pleating

Loads of pleating on this Edwardian dress. Pin-tucks in the sleeves and main part, with another pleated drape around the shoulders.

Gemeentemuseum the Hague exhibition on 19th century fashion - Edwardian Dress bodice detail:

Gemeentemuseum Den Haag

 

6. Darts/Tucks

I love the tiny gathering on 1840’s  and ’50s dresses to give shape.

Gemeentemuseum Den Haag

 

7. Red or Pink

I’m much more fond of red than pink, which is soon a little too sweet for my taste. I love the fabric on this dress, along with the cut-out design of the bodice.

Victoria & Albert

 

8. Bells

I’ve always loved the huge dramatic shape of the mid-19th century. My first big historical project was a recreation of this gown.

MetMuseum

 

9. Regency

Although rare, my absolute favorite Regency dresses are the ones made fully of lace. I’ve seen this one in person, and it’s even more stunning in real life.

Japon van zijden kant, `Blonde', in empirestijl met laag uitgesneden hals en pofmouwen., anoniem, ca. 1815 - ca. 1820:

Rijksmuseum

 

10. Shoes

Lattice-worked boots are probably my all-time favorite type of shoe. I want these.

1905 boots:

Vintage Textile (missing record)

 

11. Sewing Technique

One of the great joys of seeing historical garments in real life is seeing the details. Tiny stitches on the far left of this image, setting the pleat. Tiny cartridge pleats along the embroidered cuffs.

IMG_6780

Rijksmuseum

 

12. Fringe

I’m generally not a big fan of fringe, but the effect on a full dress can be stunning. This fringe I do really like, very creative.

Metmuseum

 

13. Braids

Intricate braiding on the sleeve of a regency spencer. I love details like this.

Spencer Date: ca. 1820 Culture: British Medium: silk, willow Dimensions: Length at CB: 18 in. (45.7 cm):

MetMuseum

 

14. Gathers

Smocking is a way of strategically gathering fabric to form a pattern. This blouse is a gorgeous example.

Paarse blouse in de stijl van reformkleding met lange mouwen en smockwerk langs de hals en op de mouwen. De sluiting is middenachter met knopen. De combinatie van blouse en rok was gebruikelijk in deze periode, maar in de reformbeweging werden doorgaans japonnen gedragen.:

Amsterdam Museum

 

15. Green

The 18th century does green really well. This is a beautiful example.

MetMuseum

 

16. 1830’s

Another one of those eras that had to grow on me, but I now quite like. This particular dress I’ve always loved though. Those sleeves!

1837 dress. printed challis lined with glazed cotton and linen.:

Victoria & Albert

 

17. Plaid

When Victoria showed an interest in Scotland, using tartan became very popular. Hence, there’s a large number of plaid mid 19th century dresses. This might be my favorite.

An exquisite Canadian plaid/tartan evening gown from circa 1860. The popularity of plaid exploded after Queen Victoria and Prince Albert chose Balmoral Castle in the Scottish Highlands as one of their royal residences:

Musee McCord

 

18. Reticules

This one was actually first shared by Historical Sewing, and caught my eye. My mother has picked up tatting for about 1,5 year now, so I immediately had to think of her. Also, she’s trying her hand now at recreating this in black, which is really cool!

foto van Historical Sewing with Jennifer Rosbrugh.

Kent State University Museum

 

19. Challenge

This is a close-up of a spencer jacket I’m using as inspiration. My recreation has proven to be a bit of a challenge, and so far the most time-consuming project I’ve ever done, but it’s also starting to be really pretty. My trim won’t be quite as ‘close’ as in the original, but close enough. I also really like how even the original isn’t 100% symmetrical, obviously hand-work, and a challenge to get as perfect as possible!

Maart historical - Spencer Jakcet - in progress:

MetMuseum

 

20. Outdoors

This couldn’t be anything but a large big cloak. Still on my wish-list to make.

MetMuseum

 

21. Undergarments

You’ve got to love Edwardian underwear. It’s the epitome of ruffled and lace undergarments.

MetMuseum

 

22. Lace

I love all types of lace, but black might be my absolute favorite.

Museum of Decorative Arts

 

23. Black or White

I have a weakness for black dresses in general actually.

MetMuseum

 

24. Parasols

I repeat the black lace comment from above.

MetMuseum

 

25. Edwardian

Not initial my favorite era, but once you look at it more the details are so gorgeous.

Dress      1909–11:

MetMuseum

 

26. Ruffles

No era does ruffles like early 1870’s.

MetMuseum

 

27. Oop-sies!

Not so much an oops in the dress as in the display. Museums are generally pretty good at displaying their costumes, and getting even better. Auction houses are more of a hit-and miss. This 1770’s dress looks like it’s got a round crinoline underneath. That counts as a miss.

STRIPED SATIN GOWN, 1770’s.:

Withaker auctions

 

28. Corset

This one was difficult just because there are so many gorgeous examples. I always love flossing on corsets, and the contrast on this one decided me.

Corset ca. 1893-97 From the exhibition “A Century of Style: Costume and Colour 1800-1899″ at Glasgow Museums:

Glasgow Museums

 

29. Unusual

Maybe not so much unusual as rare, this is one of the few surviving 17th century gowns. It will be on display when I visit Bath in May, so really excited to see it in person.

9f04d1519def01b735f28ef4570f7589.jpg (736×1605):

Bath fashion museum

 

30. Favorite Costume

This is another really difficult one, but at the moment it’s this chintz ensemble. Probably not worn together originally, but such print mixes were common in parts of the Netherlands in the 18th century. I absolutely love chintz, and very excited for the upcoming exhibition where this will also be on display.

Activiteiten sitsen - Activiteiten - Te zien en te doen - Fries Museum:

Fries Museum

2017 plans

After the overview of last year’s projects, it’s time to look ahead!

In the beginning of the year, I want to make a baleyeuse to fully finish my 1870’s ballgown ensemble, to spare the train a bit of harm.

37.  Balayeuse ready

This wonderful baleyeuse is from Prior Attire, who also gives a tutorial!

 

I’m also looking into maybe making a day bodice to go with the dress. I have plenty of yellow silk left and some of the narrow black lace. I really like the idea of making both evening & day bodices for dresses, it opens up a lot of opportunities to wear things!

Aside from my own dress, I’m also helping a friend with hers. The base skirt is done, but I’ll be helping her with the overskirt. The bodice I’ll make for her as well. She’s a beginning seamstress, so the current division of labor is that she’ll do the pleats for trimming and I’ll do the bodice. This is the plan:

17308780_1915212242046657_3090473738175069019_n (417x600)

 

Also planned for first half of the year is the red spencer jacket. I’ve been working on it for a while, but it’s a slow progress. Hopefully I’ll be able to finish it next year! A teaser:

35466160040_62d3a7ef64_b (600x337)

 

I have a whole load of unmade vintage dress patterns, ranging from 1930s to 1950s and I’m hoping to make some next year. For one I’ve already got the fabric, so that one will be first.

Afbeeldingsresultaat voor SIMPLICITY - 8050

 

After these projects, the plans get a bit more vague. I have several patterns, and fabric for several other projects. What will get made probably depends on occasion and mood. Time will probably also play a role, as I’ll also finish my PhD project next year which means busy times lie ahead!

None of these next ideas concrete in any way, but it’s fun to dream ahead.

One is the red cloak which has been on the todo list for 2 years. If I finish my red spencer, I’ll have a more appropriate outfit to wear it with. (A red wool cloak over a short sleeved ballgown is just a bit weird). That might help.

Cloak late 18th century The Metropolitan Museum of Art:

 

I also have a gorgeous orange/black silk brocade. I’ve been debating between a bourgundian gown and a Tudor gown since I got it. I’m leaning towards bourgundian now though. As I also just got a remnant of black silk taffeta, I can also now make undergarments. The silk isn’t nearly enough for a kirtle, but it should be plenty to fake the idea of a silk kirtle if I just make all the ‘invisible’ parts out of black cotton. Not HA at all, but practical and a lot cheaper. The painting below has been on my mind for a while. So it would be this, but with black cuffs and collar, and a black kirtle and belt.

My fabric:

2017

Petrus Christus | A Goldsmith in his Shop | The Metropolitan Museum of Art:

Of course, that would also involve a headdress and veil. I’ve never done medieval, but I love the look of them.

I especially like the steeple henins with butterfly veils. Probably the most impractical, but so pretty. This image shows one worn with the same style of dress as the previous painting.

Burgundian hats! In all their ridiculousness.:

 

Another project which has been on my mind is a 1660’s satin dress. I love these ‘smooth’ dresses. I also realized I have 4m of cotton/polyester in my stash, which can pass for satin. I originally bought it for a regency dress, but in the end didn’t use it because it was a bit too heavy. Would drape perfectly for this era though, and it’s not really suited to many other eras. So who knows.

Queens of England, Catherine of Braganza, 1638 - 1705, not strictly English, but Portugese.:

 

Then I got some patterns recently, including the Truly Victorian 1875 Parisian trained skirt. I love this pattern, and really want to use it. I’ve been eyeing black/white striped dresses, and it would be perfect for this. Now it should theoretically be in silk, all cotton I’ve found used during this period was the light colored/sheer type, not really suited for black. But finding silk like that which is also affordable will be very difficult, and I’ve seen plenty of lovely cotton reproduction dresses. So if I do this, I’ll probably go for that option. A design like this would’ve made my 14-year old gothic self very happy in any case. (and still sort of does)

Bustle paris skirt_zps9fsodpdo (1) (418x600)

 

Finally, I’ve been meaning to start on 18th century for a while. Other plans got in the way, but who knows?