1880s Winter bustle – pictures

Yesterday I wore my 1880’s dress for the first time, to the Midwinter Fair. It was really nice to wear, and even though it was rainy I had a good time.

Because of said rain, we only took some pictures inside. By this time my curls had started to sag a bit, but I was quite happy with how my hair turned out. Not having bangs, I flipped two curls towards the front and pinned them in place underneath the hat. Looks ridiculous without the hat, but with hat you’d never know!

 

Today it’s been snowing all day. Snow doesn’t happen that much around here, and when it does it usually disappears very quickly again. So I thought I’d take advantage, and dragged my boyfriend outdoors for a couple of minutes to take some more pictures. I didn’t curl my hair this time, too much effort, but the braid this way also works okay. And the dress looks really pretty in the snow!

 

You can’t really see it in these pictures above, but I’m wearing my winter boots with them! Very nicely warm and comfy.

 

 

Some more pictures!

 

Construction post is here!

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1660’s bodice – foundations

I’ve gotten quite a long way on my 1660’s dress, and the base of the bodice is nearing completion. Time for a blog post about the interior, as it’s quite interesting on it’s own!

Although stays were already worn in the 17th century, the particular type of bodice I’m making does not need stays. Instead, the bodice itself is heavily boned to provide the support.

I started making my bodice with the guidance of the book Seventeenth Century Women’s dress patterns. It shows close-ups, an x-ray picture (to see the boning), patterns and full construction notes for every original garment. I based my bodice on this one from the book.

Pale-coloured silk satin bodice, 1660-1669, V&A. Decorated with parchment lace. The boned foundations is made from twelve pattern pieces, reinforced at places with up to three extra layers of linen. The middle side panel is unboned but stiffened with buckram and wool and may be a later addition to increase the size...

 

I made some changes to construction though, mostly because I machine-sewed the parts I could without it showing on the outside. I also didn’t always add every extra layer of linen. The original has loads of little extra pieces stitched in in places, and most of those I left out.

While the outer layer was attached entirely by hand, the foundation is therefore not constructed in a historical accurate way, just as a disclaimer.

First step was adapting the pattern. I’d scaled it up, but made it a bit too big, so had to take it in again. I also took away most of the bust curve in front as I didn’t need it, and I lowered the neckline. Many 17th century bodices are quite low, with maybe a shift on top to make them a bit more modest.

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Copying the pattern to cm grid so I could scale up to my full size cm gridded pattern paper.

 

Not necessarily too modest though.

Gerard Soest (1600-1681) Portrait of a Lady seated at a table with a jewel casket

Because I don’t think this one could’ve been much lower…

 

Being rather small on top, that means I could cut it lower than the original. I also changed the angle of the straps slightly so they would still lay over the shoulder okay.

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2nd mock-up. With a busk for fitting purposes.

 

After fitting, it was time to start the sewing! I used sturdy linen for the foundation. Every piece has 2 layers of linen. First step was drawing the boning channels on top, trying to follow both the original lines and accounting for different pattern shapes and bone width.

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Sewing the boning channels took some time, even by machine. I respect those who do this by hand.

One piece in the original is unboned, and instead stiffened by extra layers of linen buckram and wool. I used coutil because I didn’t have buckram (I know cotton coutil isn’t period), and some leftover wool from another project. Those layers were pad-stitched together for extra support.

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After that, I sewed all pieces together, again by machine.

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The trickiest part was a little gusset added between two of the tabs, for a little extra flare. It worked quite well on the body! It’s just sewn in by laying it next to the foundation and sewing it together. Both sides will be covered anyway, by lining or outer layer.

 

After that I put the boning in, I could still reach most places after construction. The only construction done after the boning was the strap, as that closes off the channels. I used 5mm wide German synthethic whalebone for this project. I’d gotten a 25m roll, and after my 1880’s corset and this bodice I had 2cm left over… Suffice to say you need a lot of meters for continuous boning like this!

 

The foundation layer also has a pocket for the busk. This was gone in the original, but is there in most other examples of such bodices. It’s basically a strip of linen sewn to the inside, and a pocket at the tip.

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Insides. All seams are stitched down, necessary because the linen is so thick it doesn’t lay nicely flat otherwise.

 

The final step of the foundation was to bind the bottom of the front panels, and the top of the back panels. These are the places where the allowance of outer layer will be turned in between the layers and sewn down. (The bottom of the back panels will be bound all layers together, the top of the front will be finished by turning the allowance of the outer layer to the inside around the linen.

 

That finished the foundation! It already looks really great, the most annoying thing at this point was not being able to try it on yet. The eyelets are sewn through the outer layer as well, so no way to close it yet until those layers are on and all eyelets are in.

At the moment I’ve only got a little bit of trimming and sleeves to do, so when those are done I’ll show the bodice with the golden silk and trim on top!

 

Entering the 17th century

Those who follow my instagram account might have already seen that I’m currently working on a gown from ca. 1660.

This project started with a ball. There’s a yearly new-years ball in Gent, in the opera there. I’ve been wanting to go for a while but timing has been off (I was on holiday last year). This year I was talking with another costumer about it and we decided to go! Last years theme was 19th century, but this year it’s going back in time. Inspired by Versailles, the dress code is now 1660 – 1715.

So that means I need a new dress! I’ve decided to go for the early limit of the dress code, as I’d been looking at 1660’s fashions for a bit longer and those are best represented in research as well. As often happens, I started with looking for fabric. I wanted real silk, but keeping it affordable means searching for bargains and that often means picking from whatever happens to be available.

I got really lucky with fabric, and found a golden upholstery silk with a pattern quite suitable for the era. When I got it the color was absolutely stunning. It’s a bit of an ‘older’, antique golden color. What’s even better, it goes perfectly with the antique metallic lace I found a little while back.

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The materials decide the style in this case, and I decided to go for a style that would fit with lace trimming. Lucky for me, many of the existent 1660’s bodices have lace trim and work very well with my materials.

To help with the patterning and construction I also got a new book, seventeenth century women’s dress patterns (part II). It’s absolutely brilliant, showing close up pictures of both inside and outside the garments, x-rays that show the boning, patterns for both exterior and foundation layers and full construction notes.

Afbeeldingsresultaat voor seventeenth-century women's dress patterns book 2

 

Even better, it has all of that for this 1660-1670 bodice:

Pale-coloured silk satin bodice, 1660-1669, V&A. Decorated with parchment lace. The boned foundations is made from twelve pattern pieces, reinforced at places with up to three extra layers of linen. The middle side panel is unboned but stiffened with buckram and wool and may be a later addition to increase the size...

 

So that’s the base for my pattern. The skirt will be a pleated rectangle, so doable without any patterning.

For the rest of this post: some more pictures of what I’m going for, as inspiration!

One other dress in this style is the silver tissue gown I saw in Bath last year. So stunning in person.

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

 

I love this painting as well, as it shows the combination of patterned gold silk with lace.

Knallhattens osorterade tankar: Sveriges vackraste porträtt

Magnus Gabriel De la Gardie with his spouse Maria Eufrosyne of Pfalz-Zweibrücken, the sister of King Charles X of Sweden. Painting from 1653 by Hendrik Munnichhoven

 

It’s a style you see quite a lot in Dutch paintings. You do get quite some differences between countries the further back you go in history, and I like the idea of making something that could’ve been worn in the Netherlands.

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Bartholomeus van der Helst: Abraham del Court and his Wife, 1654

 

American Duchess:Historical Costuming | Historical Costuming and sewing of Rococo 18th century clothing, 16th century through 20th century, by designer Lauren Reeser

Bartholomeus van der Helst, Jeanne Parmentier, 1656

 

All of the above show thin linen or lace collars, but you also see what’s more like a thin linen shift above the dress. This is probably what I’ll go for as well for the ball, as it feels a bit more like evening wear.

Isaack Luttichuys   Datering   ca. 1660 (1655 - 1665)  Titel  Portrait of a lady with a fan

Isaac Luttichuys, ca. 1660

 

Details of Dutch fashion of 1658 include a string of pearls tied with a black ribbon, a jack-bodice with matching skirt, pleated sleeves, and dropped shoulder.

Mieris Frans, Duet, 1658

 

At this point I’m done with the foundation layer of linen and boning, and ready to start patterning the top silk layer!

Corset patterning

I’ve started a new corset, 1880’s this time. My goal for this one was two-fold, firstly to try to pattern it on top of a padded bra to give a little more curve. Corsets tend to flatten me a bit up top, and while fashionable in some periods, the 1880’s were all about the hourglass. The second goal was to take a little more time patterning to get it just right.

I haven’t even cut the coutil I’ll be using yet, but that first step of patterning is done. I thought it might be interesting to see the process of slowly adapting the pattern to fit.

I should also give a shout-out to the corset making community of ‘Foundations Revealed’, a online magazine/coaching subscription website including facebook group, where I got some great feedback on my progress.

I started with the 1880’s pattern from Corsets & Crinolines by Nora Waugh.

1880 waugh

 

I didn’t have a scanner, so I eyeballed the pattern onto gridded mm paper until I had the height and waist measurement about right, and the pattern pieces had the same proportions as in the book. I then copied the pattern to full size cm paper and started from there.

The black lines were the pattern as roughly copied from the book. I measured it and found it small, so the red lines are the added width for the first mock-up.

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When fitting, I found I shouldn’t have added the extra space, the corset was too big. So the second mock-up went back to the black lines. Additionally, I found that the corset was too short on me. So I lengthened the pattern by adding a couple of cm above the waist line. This picture shows that pattern, laid out on top of the original.

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This one was much better, starting to fit. It was still short, so I added some more length to the pattern. I also added a little room to the hips on the side, and took some away from the bust and center front bottom curve, as those were too big.

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This was the first one I made a mock-up off in sturdy fabric, including busk and lacing, but no boning yet. The overall fit wasn’t bad, but the busk was tilting quite badly. I’ve had this happen on previous corsets, and thought it might just be me not lacing it straight, but it was too extreme to be a coincidence.  I also didn’t really like the inverted ‘c’ shape the third panel was making over the hip.

Mockup1

 

I suspected the tilting was because I wasn’t symmetrical, so to test this I took a picture of myself, standing solidly on 2 feet. I then traced my outlines on both sides, and then copied the lines to overlap on the other side. As you can see quite clearly, one hip is both a little higher and wider than the other. The things you learn about yourself when sewing…

Bodyshape

 

So, for the next mock-up I made a left and right version. Basically, I added some hip space for the right-hand version. I also transferred some hip room from panel 3 to 4 to make the pattern shape a bit nicer, and I added 1cm at the top. I’d added that in the previous mock-up and it was still a bit low, so I figured 1cm extra room at least would be good.

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This next mock-up I also boned, which makes quite a difference. Also: the hip fixes worked, as it wasn’t tilting anymore, yay! The whole corset was still a bit low at the top though, and I still had too much room center front bottom.

Mockup2.jpg

 

I added even more space up top, and took away a bit of the bottom. I also took away more of the curve on the bottom of panel 2.

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The final mock-up was really close. The height is finally good here, and it’s curving quite nicely. It was a slightly sturdier fabric than the previous one, and I noticed that made it a little tight in the hips.

Mockup3.jpg

 

So the only things I changed for the last draft was to add a little more hip room, mostly on panel 5 as that didn’t have much flare yet. In this picture you can see the final pattern, laying on top of the one I started with!

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The main changes were that I added some length above the waist, and above the original bustline, lengthening the corset quite extensively. I took away some bust and tummy space, and added space for my hips. Finally, I made a left and right hand version to accommodate my own asymmetry.

Now it’s time to cut the coutil, and start planning the boning channels and cording. It’ll be a single layer black coutil corset with red external channels.

 

Life & plans

It’s been a bit quiet here on the blog, mostly because I’ve barely sewed the last month. The main reason is that I was very busy finishing my PhD dissertation, which was due end of august. I made the deadline (yay!), submitted the draft and now only have administrative stuff to do. That firstly means time for a holiday, but I’ve also been planning some new sewing projects. I’ll have some more time before I start a new job, and some new costume events coming up, so that means plans are being made!

The first plan is a new era for me, late 17th century! There’s a new-years ball in Gent in the opera, and after thinking about going for a couple of years that’s now definite. The dress code for this year is 1660-1715, so I’m going to make something new.

I’ve been eyeing some golden silk, so maybe something like this:

http://i55.tinypic.com/296goed.jpg

I really love the pearls with the black bows on this dress.

Although if I find some (affordable) silk satin something like this might also still be in the running. I do really like the ‘open’ front.

Princess Mary Henrietta (1631–1660), Princess Royal, Princess of Orange by Gerrit van Honthorst National Trust – Ashdown HouseAtelier Nostalgia | Nostalgic musings, on historical clothing, traditional costume, fantasy, photography and history.

 

Another big project I’ve been thinking about is a 1880’s wool winter dress. Ever since I got my Victorian winter boots I’ve been eyeing wool and braid dresses. Plus: there’s a winter event in December I could wear it to.

Things might change, but this is the idea I have so far. Burgundy wool, black faux fur and loads of braiding (because why make it easy).

Winter bustle

 

These two are the bigger plans, but I also have some other things going on.

Firstly, I’ve started on a pair of 18th century stays. No plans for a dress yet, but I figured I’d start on the underwear so that once I have an event for it, I’d have a foundation to build on.

The main layers are already sewn together (green linen outer layer), but this is me planning out the boning channels. I’m also planning on some decorative stitching on these. (the black swirlies)

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Additionally, I’ve been thinking on making an 1880’s corset. I don’t necessarily need a new one, by 1870’s one would do for the winter dress, but I’d like trying out some new things. Particularly shaping me towards the pattern a bit more, instead of the other way around. In other words: padding. I’ve got most of the materials I’d need in stock, so it won’t cost much extra. It’d be one layer of black coutil with red contrasting boning channels, german whalebone bones and flossing.

I saw this corset in person last week, and really liked the contrast panels for the cording, so I might try to incorporate that as well.

Fripperies and Fobs Corset ca. 1860-90 From the NORDISKA MUSEET

 

I’ve also got fabric for two vintage dresses. One 1940’s black with flowers, and one 1950’s plaid. Especially the first one has been planned for a while, so I’d like to get started on these as well.

This is the pattern for the plaid dress, I’ve got a grey-black one with a small blue stripe to make it.

Afbeeldingsresultaat voor SIMPLICITY - 8251

 

So these are the plans for the coming months! I’ll see how far I get, although I have a break between jobs I also have a tendency to plan a little too much. The coming weeks I’ll be on holiday, and after that I’ll get started!

Late 15th century burgundian gown

After making a medieval smock and kirtle, it was finally time to start on the dress that started the whole medieval journey: a silk damask burgundian gown.

This project originally started with this fabric, which I found for a bargain and couldn’t resist.

2017

It took a while to decide what to use it for, but eventually this painting convinced me to make a late 15th century burgundian gown.

c.1449 Late Middle Ages- Houppelande Gown

Mine will be a little narrower through the bust and sleeves and with a wider neckline, making it a bit more late 15th century.

The journey started with figuring out the layers here, and I eventually decided to make a smock, front-lacing kirtle, placket for the neckline and burgundian with black velvet collar and cuffs.

I adapted the pattern from my kirtle to make the burgundian gown. I drafted the collar following the book the Medieval tailor’s assistant, and gave a little extra space around the waist. Not too much, as I was going for a rather fitted version of the burgundian.

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Inspiration picture for the shape and pattern adaption. Bottom left shows the kirtle pattern behind the new draft of the burgundian (front). Wider shoulder with drawn-on collar, extending the line below the waist, and slightly widened on the side as well. Bottom left is fitting with sheets! 

 

The skirt was drafted following the layout kindly shared by A dressmakers’ workshop here. Basically, the front opening is put on the straight of fabric, the skirt angling away, and only the back has a wide gore. Because the way the front is cut, the fabric falls to the front and you only need the back gore. It’s quite clever, and makes for very efficient cutting.

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My cutting lay out. Front and back are facing the same way. The gore was cut on the fold of the empty part at the top. Upside down, but as you can see on the right you have to look closely to see when the fabric turns.

 

I got a bit lucky with the fabric in that the center of the pattern was close to the selvage of the fabric, so I could cut rather efficiently despite having to pattern match. I did opt to cut the back gore the other way around than the rest of the dress. You have to look quite closely to notice the pattern is upside down there, and I now have enough fabric left to make something else with the rest.

I did all the main seams by machine, and finishing by hand. When I’d put in the back gore, however, I didn’t like how it fell. I put it too far down, when it should’ve extended directly from the waist. So unpicking happened, and I moved it up a bit, which worked a lot better.

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Left was before; right after. Much better

 

After the main construction, it was part to work on the lining including the collar. I somehow got the idea to only line the top part and hem. Not the easiest thing in retrospect, but I didn’t have enough fabric to do it otherwise, so partial lining it was! The velvet for the collar was sewn to the lining, and then the whole thing was sewn onto the dress and turned inside out. Took a little fiddling, but I got it right in the end. This tutorial by Izabella from Prior Attire was very helpful!

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The collar finished, back and front. Still has some pins at this point, I later tacked the collar to the dress to help it stay flat.

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Next up: Sleeves! I adapted the sleeves from my kirtle pattern slightly, just widening it a bit in the bottom part so it would still fit over my kirtle. The bottom of the sleeves have black velvet cuffs.

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Top right shows sleeve fitting, here shown with the dress turned inside out, so you can also see where the lining stops. Bottom right is sewing on the cuffs, left the finished sleeves.

 

After the sleeves, the final thing was the hem lining. I made it about 50cm wide, which just fit out of my fabric with careful planning. I wanted it this wide so I could pull up the skirt to my belt, as walking outside in a train at events isn’t usually the best idea.

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Top: finished inserted sleeves. Bottom left: pinning down the hem facing before hand-stitching it in place. Bottom right: tucking the skirt into my belt. Doesn’t work too well yet because the belt is elastic, but shows the general idea.

 

Of course, you cannot wear a medieval burgundian gown without some sort of crazy head wear. I eventually want to make a steeple hennin with butterfly veil, but I ended up finishing my dress 3 days before an event. Because the large hennin would take more than 3 days and it’s a good plan to have a slightly more practical head wear choice as well, I made a shorter henin for the event.

The lady in yellow has the hanging part of the veil folded back up. Note the gold loops. This image is from King René's tournament book.

The crazy steeple hennin with butterfly veil. Unpractical, but fun!

Google Image Result for http://resources42.kb.nl/MIMI/MIMI_MMW_10A11/MIMI_MMW_10A11_235R_MIN_2.JPG

For now, I went for something more like this.

First up was a fillet of black velvet. Cut on the bias so it stretches around the head, this is worn as a type of head-band and serves to keep the head dress in place. It also has the very characteristic black loop over the forehead. I tried to turn a velvet tube inside-out, but my pulling thread broke half-way through so I finished the loop by hand.

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Black velvet fillet with black forehead loop.

 

The pattern for the hennin is from the Medieval tailor’s assistant again, the base made out of buckram. I covered it in black silk, with a cotton black lining (because I ran out of linen). The side edges are turned over, the top and bottom finished with binding. Velvet at the bottom, to make it grip to the fillet better. The sides were stitched together by hand. The finishing touch is a black velvet frontlet draped over the front of the hennin. I might make a veil as well in the future, but as I didn’t have the fabric yet I left it off for now.

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Making the hennin. Top shows the buckram (testing for size) and the lining before it’s stitched together. Bottom left is the finished hennin, bottom right is the complete thing modeled by my bear.

 

The finishing touch was to make a placket for the front of the dress out of black linen and silk. This was a day before the event, so I didn’t really take pictures. I ended up pinning the placket to the burgundian as that worked best, but it still wrinkled and shifted a bit. So I think I’ll be extending the placket to go around the body, as was my original plan.

I’m very happy with how the dress turned out, and although I have some small projects left to update it, it’s now wearable! I ended up using a black elastic belt while I look for a proper medieval version, but it actually looks surprisingly okay for something so modern.

Thanks to my friend Sophia for taking some pictures last weekend at Castlefest! I took down the small train for the images, but wore it up the rest of the day to prevent the people behind me from stepping on it.

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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.

1870s Accessories, a hat, gilet and purse

While working on my 1870’s day bodice, I knew I wanted some accessories. After all, when wearing your dress outside, you can’t go without a hat! Accessories and hair can really make an outfit.

So right after finishing my bodice, I started on the hat. I looked at a lot of fashion plates for inspiration, and settled on this style. I have to admit that the fact the base hat was visible was a big advantage, as many hats are so decorated you can’t see the base anymore. Not quite so handy when you want to recreate it.

1876 Hat Fashions:

This looked doable though, and I really like the ribbons hanging from the back.

I didn’t use a pattern, so my first step was to cut a cardboard base and tape it together. I took of the top after the first attempt, finding it a little too high to be flattering. The second top was lower and wider, and I used this one to continue. First hat making step was to cut out the hat in buckram and sew it together, as well as sewing wire around the brim for security and shape. This took a while, as I did it all by hand, but it resulted in a finished brim and top.

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Next up was covering. I don’t really know how to do this properly, so my method is probably not the best, but it worked okay. I first cut the shape for the top parts and stitched the crown to the border until it fit the top. I then stitched the fabric down on the ‘seam allowance’ of the top part. Next I covered the brim by stitching the lining to the top fabric together for half of the circle. I pulled the fabric over the base, and stitched the rest in place by hand. I finished by stitching the top and the brim together. I now had a bit of buckram showing on the underside of the brim though, so I covered that up with a bias strip of cotton. It’s not super neat, but it works, and when decorated and worn you can’t see the slightly messy bits.

I decorated the hat with a bit of silk trim I had left over from my skirts, and a very big silk bow at the back. I debated adding black feathers to the side as well, but the ones I have were slightly too big, sticking up straight into the air when wearing the hat. So in the end I left them out.

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The second piece of accessory was a false gilet for under my bodice. I got this idea from the 1870-1871 dress in Patterns of Fashion. By making an ‘insert’, you can adapt the bodice to be more fitting for outside wear. I based the pattern on that of my Regency chemise, because I already knew that’d fit me. Don’t know if it’s the correct shape for a Victorian one, but I suspect they wouldn’t have changed too much. It has a slit in the center front which closes with hooks and eyes, and faux buttons just like the bodice. It stays in place with little loops and ribbons at the bottom. I opted for making loops in the back and ribbons in the front, which is a technique I know from some Dutch traditional wear. My regency chemisette has ribbons both front and back, but it is much more difficult to close as you can’t keep one side in place while tying the ribbon on the other side. This method works much better, although I again don’t know if it’s period. When it was done, I decided to finish it off with a big bow. It’s removable, and just clips on in the closure. I do think it really finishes the look!

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The final accessory actually got underway back in January, when I saw this wonderful tatted bag.

Tatted lace handbag with silk lining, American, ca. 1905-15, KSUM 1989.91.1.:

 

My mother has picked up tatting a while back, so I immediately showed her the bag. Her first reaction was ‘Pretty! Shall I make it for you?’. Of course I wasn’t going to say no to that! She made the reproduction from the picture, but in black thread to match the black details on my bag. The only thing I did was to make a simple silk (lined in cotton) back to go inside the tatted cover. She finished the work early this month, and it might be my favorite part of the entire outfit!

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Burgundian gown – Placket theories

I’ve been brainstorming about making a burgundian gown from my brocade silk. With the brainstorming came some research. I’ve never done anything before 1800 before, so 15th century is entirely new.

Most burgundian gowns seems to be made up in 2 different ‘fabrics’. One for the main gown, and one for the collar and cuffs. Some also have a strip along the hem of the second fabric. The main gown can be plain or very fancy. The collar and cuffs often seem to be made of fur, although fabric/velvet examples also exist.

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Fur collars. Brown left, ermine right.

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Fabric collars

 

The burgundian gown itself is fairly simple to figure out. It either has loose or fitting sleeves, a full skirt and a collar. The back often shows that the collar also runs in a v shape in the back. The dress is fitted around the bust and looser underneath, worn with a belt to fit it through the waist. Different variations exist, in the exact shape of the neckline, the fullness of the gathers and the sleeve shape.

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Some back views

 

It gets a little more complicated when looking at what’s worn underneath. Most medieval dresses seem to have both a linnen shift and a kirtle underneath. A kirtle is basically an underdress and can either have short or long sleeves. It can also be worn on it’s own, or layered. Most kirtles lace/button in either the front or at the sides.

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Shifts, with straps or sleeves

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Kirtles. Side-laced left, front-laced right. Either with long or short sleeves. Separate sleeves could also be pinned to the short sleeve of the kirtle.

 

When wearing the burgundian gown, you can see a little of what’s worn underneath. Because the neckline is a deep v, you always see a little ‘placket’ there. Also often shown in paintings are the skirts, as ladies lift the skirts of their burgundian gown to show the one underneath.

That’s where it gets interesting. One would think (this was my original thought as well), that both the placket in the v and the underskirt would simply be those of the kirtle worn underneath. Side-lacing ones when you don’t see lacing, front-lacing ones when you do. And maybe they are in some occasions, but often in paintings you see a different color underskirt than placket. The big question therefore is, how would this work?

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All of these show a different color placket than skirt underneath.

 

I’ve done some googling, and from what I can find there are a few different theories. No one is conclusive, as so little original material exists. Images of women dressing & undressing exist, but are not all that common. No images I’ve seen are really obvious. These are the different theories, I’ve provided a link to the pages where I first read about each of them. (Ergo: none of these are my own, so I don’t take credit for any of them)

1. There’s a simple square/triangle of fabric pinned over the kirtle along the neckline. (Theory credit/where I first read about it)

The page where I first found this has an image about this as well. I should note that this person has since moved on to theory nr. 2.

2. Two different kirtles are worn. One below with a high square neck, one on top with a lower neckline. This way you see the bottom gown in the v neckline but the top one when raising the skirts of the burgundian gown. (Theory credit/where I first read about it)

Supported by these images, depicting several stages in a story. Left you see the red kirtle and first gown with black collar and lacing in front. In the second image, she wears the burgundian with blue collar on top of the one with the black collar. This way, when lifting the overskirt you’d see the laced gown(black collar), not the red kirtle. I do have to say I’m not 100% convinced by this image, as the belt also changes color from left to right image. It might just’ve been an inconsistency in coloring by the artist. Nevertheless, it’s a valid theory and layering dresses seems to’ve been quite common.

 

3. There is a piece of fabric attached to the burgundian itself. Connected on one side of the v, pinned shut on the other side.  (Theory credit/where I first read about it)

This sounds logical as well, but somehow doesn’t seem as plausible to me as the other theories. The author of this one preferred theory nr. 4 herself, also because of some of the evidence for that.

 

4. There is some sort of ‘wrap’ bodice worn on top of the kirtle. (Theory credit/where I first read about it)

Inspired by these images. On all of these, there seems to be a very short bodice worn. In the leftmost image, you can see where it stops around the waist. In the second image, you see something is covering the lacing at the top. In the third image, you see the black ‘under-layer’ stops just below the waist. The glimpse of white at the sleeves also suggests this doesn’t have sleeves.

The author of this theory gives some more ideas on this, just follow the link above to her page to read more.

Stark Triptyque 1480 -detail

 

5. Skirt theories. There’s a separate skirt underneath the kirtle, there’s an under dress with a different skirt/bodice fabric or the skirt of the under dress has a broad border of different fabric.  This seems a bit less likely, as even a waist seam was pretty new in the late 15th century. It doesn’t seem so likely that they would’ve made completely separate skirts, or skirts of a different fabric than the bodice. The border you see on outer dresses as well, but none as wide as would seem necessary for the effect you see in paintings. (Theory credit/where I first read about it)

6. Final options would be that two under dresses were worn, and both the burgundian and upper under dress are lifted to show the skirt of the dress at the bottom. Although it’s likely that more than 1 under dress was worn at times (as shown by paintings with different skirt layers), I’m not entirely convinced. It seems to make most sense to just lift your outer dress, to grab 2 layers and leave the 3rd just seems a bit too fiddly to me. (Theory credit/where I first read about it)

 

I quite like the 4th theory myself. I want a black silk placket under my burgundian gown myself, but I already knew I wouldn’t have enough fabric for a full kirtle. This solution seems more ‘stable’ than theory 1 or 3, but still requires little enough fabric to make it feasible for me. That means I’ll probably make a chemise, kirtle, placket/bodice, burgundian & headdress for this project. Whenever I get started on it, that is.

Christmas tones

For some reason, christmas in the Victorian era is linked to Dickens. It might be all the Dickens festivities around christmas, and probably a Christmas Carol has something to do with it. So for this post, some christmassy dress inspiration from the Dickens era! Most Dickens events tend to bring 1860’s clothing, but his books were written from 1836 to about 1865, so these images cover that whole period. Prepare for loads of red, green and plaid, in chronological order (as far as I could find out).

 

Court dress | probably German | The Met:

l:

Le Bon ton fashion plate 1837:

Day dress ca. 1840’s:

Lady's Cabinet Fashion Plate - "MORNING VISITING DRESS (Green)" - Hand-Colored Engraving - 1840:

Litografia di moda d'epoca 1848: due signore di AntiquePrintsOnly:

Two-piece woolen plaid dress, 1855-1865, via In the Swan's Shadow.:

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:

The Victorian Needle:1860 fashion plate:

La Mode Illustrée, 1864:

March 1865, Les Modes Parisiennes. From LAPL.:

1863 Vintage Victorian Fashion Plate from Les by PastPaperNPostcards,: