Costume College 2017!

What a week!  I am mostly recovered now, and my thoughts on the week are more or less settled.  It was a lovely time, with lovely people in lovely clothes at a lovely location.  Short version, the end.

Long version:

This was my first year teaching.  How crazy and insane is that?  This was also the first year with all-day Thursday workshops, and I ended up being one of the first teachers for the first Thursday workshops.  Yikes!

I taught “Understructures of the Victorian Skirt” as a workshop on Thursday to four students.  We got a good start on our skirts, with everyone at least getting their panels all flatlined and interlined.

Laying out Fabric

Laying out Fabric

So that was all day Thursday.  In the evening, there was the pool party.  It was Disney themed, but I didn’t feel like making anything new, so I wore my Birka Viking clothes, because Vikings–> Lords of the Sea–> Water–> Pool Party!

I'm a pretty Viking Princess!

I’m a pretty Viking Princess!

At the pool party, I met this really fantastic group of ladies, who also did not follow the Disney theme.

Vintage Star Trek!

Vintage Star Trek!

These girls are all my heroes forever.

Friday, it was hit the ground running for classes and classes!

First up, was my lecture on Victorian Knitting.  I think it was overall well received.  I really like knitwear, so this was a good time for me to share my love of wool!

Victorian Knitting

Victorian Knitting

There is a disturbing lack of knitwear in this photo, but trust me, I brought such as I have so far and would fit in my suitcase.  (Photo taken by my friend Kristina, who I finally met in person at CoCo!)

After the Knitwear class, I had a quick lunch, and ran off to my Nålbinding class.  As usual, all my students were brilliant and were able to pick it up.  I’m always very pleased with my nålbinding students.

With no time for a proper supper, it was time for the Friday night social!  (I ate something, I just can’t remember what.)

The theme was “Our Favorite Spies”.  It was so much fun to see all the spies from pop culture and history in the great hall, as well as the other characters, historical, non-historical, and more.

I wore my soutache walking suit, which still doesn’t have a blog post of its own.  I’ve mostly been gleaning photos that other people took of it from Costume College also, because I didn’t take a lot of photos, and the lighting wasn’t awesome in the public photo space.

Soutache!

Soutache!

I will never not love the back of this bodice.

I will never not love the back of this bodice.

I really kindof wish now I had made it into Shotwell booth to get a professional photo taken, not that that would help me for the blog here and now…  Oh well.

Saturday, I didn’t dress up!  For real.  I decided that for my whirlwind schedule, it would be better to be comfy and easily able to maneuver through groups of other people.

First up, I had a wonderful Victorian purse class with Lynn McMasters.  I made an acceptable purse in the end. However, as all good projects will do, it taught me more about what not to do and what to do differently than I got right the first go.

Purse!

Purse!

After my purse class I had approximately 15 minutes to run to teach my lecture on the Understructures of Victorian Skirts.  It was really well received.  I am so happy that I was able to demystify aspects of the Victorian skirt making process and the supports built in for so many people.  I may do a blog post sometime in the future.

I then went to my velvet millinery leaf class with Lynn McMasters (again!).  She is such a delightful and knowledgeable lady.  I made three serviceable leaves, and got to take home a silicone stamp for making more.  Now I’ll have to watch for the remnant sale on Silk Baron to get more velvet for more leaves!

Velvet Leaves!

Velvet Leaves!

Then it was time to get ready for the Gala!

This dress will get its own blog post soon enough, I hope.  It’s my favorite thing I’ve made to date.  Raspberry silk taffeta, lined with black cotton sateen, trimmed with black silk net, antique silk lace, and antique jet beaded motifs.  I felt incredibly regal wearing it.

1893 Raspberry Silk Evening Gown

1893 Raspberry Silk Evening Gown

1893 Raspberry Silk Evening Gown Back

1893 Raspberry Silk Evening Gown Back

There were so many other awesome dresses at the Gala.  Here are just a few of my favorites:

Pinks!

Pinks!

(Taylor and I both had pink dresses inspired by Worth gowns.  PINK!)

Rebecca's Gorgeous Blue Gown

Rebecca’s Gorgeous Blue Gown

Stripey Goodness

Stripey Goodness

I was seriously impressed with the stripe placement and fit of this gown, made by Jessica.

Lovely 1830's

Lovely 1830’s

I wish I knew who this delightful young lady is.  She really knew her stuff, and did a wonderful job on her 1830’s gown.  Her buckle is antique!

The Fluffy Skirt Gang

The Fluffy Skirt Gang

Flemish?

Flemish?

I always really like seeing well done clothing from the lower classes of history.  It wasn’t all glitz and jewels, it was actually mostly sturdy wools and linens, in case we’ve forgotten.  But that didn’t mean people were sloppy or ill-dressed either.

Gorgeous 60's Gown

Gorgeous 60’s Gown

So I’ve never liked the fashion of the 60’s.  Never, until Costume College this year.  There was so much of it so well done, that I was warming to it.  When I saw this dress though, worn so well by the other Kelsey, it completely won me over.  It’s kinda like you see random abandoned bits of 60’s furniture in your grandparents’ basements, and think “ugh, how could anyone like this?”  Then you see a room done well all in 60’s and suddenly, you understand why it was a thing.  Kelsey showed me exactly how and why 60’s fashion was a thing.

Roomies!

Roomies!

Sunday was a lazy day for me.  I went to only two classes, one on Byzantine Clothing, and one on kilts.  I did dress up, but in stuff I wear all the time at Stuhr.  As such, it’s comfortable for me to wear, and actually only took 10 minutes to dress in.

1890's Waist and Skirt

1890’s Waist and Skirt

1890's Waist and Skirt

1890’s Waist and Skirt

Monday, before I went to the airport, was fabric district day!

Home Fabrics, Land of Silk

Home Fabrics, Land of Silk

First stop was Home Fabrics.  It’s a wonderland.  I restrained myself pretty well, considering most of the silk on the second floor was only $6 a yard.  I got enough blue plaid for another silk shirtwaist, and some pink stripe and green stripe for a couple of Gibson Girl style vests for myself and a friend.  (She gets the pink!)

The second stop was a trim store.  I was looking for some specific trim for a 90’s wrapper, but they didn’t really have it.  They had some that looked similar, but it was pretty plasticy.  Maybe I’ll just have to be insane and weave some.

Trims Galore!

Trims Galore!

The final stop was B. Black and Sons.  They have been one of my favorite places to order from online for years– I used to order whole bolts of wool flannel when I was doing Viking orders.  It was a magical kingdom of wool, wool, and more wool.  I really love wool.  I didn’t buy any wool though, because I might have a glut of it at home.  Just maybe.

B. Black and Sons

B. Black and Sons

Fun fact: B. Black and Sons was founded the same year my house was built.  Also, all those movie posters are movies and shows they have provided wool for.  (I told them they need to find a poster for The Originals.)

Then it was time to go to the airport and fly home.  Travel went well, everything arrived mostly undamaged at the airport in Omaha, and I flopped into bed incredibly late.  (I’m always very afraid of my luggage not arriving.)

Costume College Haul

Costume College Haul

I got a nice little variety of items to bring home.  The fashion plates were a steal, actually– I got them two for one at the very end of the day in the Costume College Marketplace.

I hope you enjoyed all my pictures and tales of my shenanigans!  Until the next time I’m actually able to put down the sewing and write!

Published in: on August 9, 2017 at 12:00 pm  Leave a Comment  
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An 1840’s Summer Dress

This year, as I have told you before, I am participating in the Historical Sew Monthly.  The challenge for March was “Stashbusting”, meaning you had to use ONLY items from your stash.  I took that to mean items which I have had for a year or more.  Right away, I knew what I wanted to make!

Last year, I was at Hancock Fabrics getting some muslin or something, and as is my habit I was browsing the economy fabric section when a bolt of fabric caught my eye.  100% cotton in a charming print that just looked like it stepped out of the 1840’s, only $3 a yard regular price!  To make things even better, I had a coupon for 50% off any piece of fabric at regular price!  So I went home with 8 yards and only a vague idea of an 1840’s dress.

I commenced to research, and after a long stint of gazing at original dresses on Pinterest and comparing them to original patterns, I bought the Laughing Moon 114 Mercantile Fan Front Dress pattern.  I had everything together and I had a plan!  Except then we moved, and life got really busy, and the fabric just sat on my shelf, and waited.

Fabric and a Pattern

Fabric and a Pattern

So when I heard the challenge for March was “Stashbusting”, I knew I had to pull that fabric out and start that dress

But first I had to find that ONE dress that inspired me, that I wanted to take cues from and design features from to make the perfect dress,

Original 1840's Dress

Original 1840’s Dress

This dress, in a private collection and pictured on an auction site, fit the bill nicely.  I loved the opening at the front neck, and the little ruffles on the mancherons.  I was less a fan of the poofy lower sleeves though.  I absolutely LOVED the flat pleating for the fan front.  It just seemed more my speed than the frilly smocking at the front of many fan front dresses.

So then I had a plan.  Now I just had to put it into effect.

First, as all good seamstresses should, I made a mockup.  I traced and cut the pattern to the size suggested on the pattern envelope, only to find it was far too large in the waist.  This is why you always make a mock-up!  I was able to take in the darts on the final lining then, and properly fit the bodice to the lining.  I also boned the darts with spiral steel boning, because I feel it is closest to whalebone, having carefully felt the flex of the real thing on an antique once before.  (Cutting out the dress was only interesting in that I had to cut the right and left bias sleeves the opposite directions.)

Fan Front in the Making

Fan Front in the Making

Pleating the fan front was far easier than I thought it would be, and it went together nicely.  You can see the beginning of the partial front opening here too.

Next step was to put the whole bodice together.  This involved far more piping then I ever thought it would.  I had to make more.  First time I’ve ever had to make more piping.  My last two dresses with piping I had feet and feet left over.  (This time I piped the shoulder seams, the armscyes, the ends of the mancherons (short sleeves) above the ruffle, the long seam on the sleeves, the neckline, and the bottom edge.)

Piping Bodice Edge

Piping Bodice Edge

To finish the seams, since the bodice fabric was applied to the lining and then sewn together, I sewed bias strips over the seams.  Not the fastest way to finish seams but definitely very neat!

Finishing Seams

Finishing Seams

Finally, I had the bodice together, less sleeves.  Time for a fitting!

Fitting Selfie

Fitting Selfie

Yep.  Seems close!  (Actually, this picture is prior to the piping, it seems.  I tested the fit before and after, and after sleeves.)

So then, sleeves.  First step was to make the mancherons.

Mancherons!

Mancherons!

Let me take just a moment to talk about mancherons.  If you look up mancheron, you will see that it is either a sleeve used as a charge in French heraldry, or that it is an ornamental trimming on the upper part of a sleeve.  The latter definition more aptly applies here.  In the late 1830’s it was the style to either “band down” the great big poofiness at the tops of the puffed sleeves or to have a narrow upper sleeve connected to a poofy lower sleeve.  By the 1840’s this upper sleeve seems to have detached itself and become its own entity, known as the Mancheron.  Mancherons were a thing through much of the 1840’s, with many variations, though they were mostly (but not always) tight around the sleeve.  They were a place where one could add more lace or trim, and sometimes confined a more poofy lower sleeve.

I decided to add a little ruffle and more piping to mine, like in the original dress that inspired me, but I decided against the zig-zag lower edge.  I lined my mancherons with white muslin to enclose the piping and ruffle edge, and everything looked nice!

Now the actual sleeves.  I basted down the piping, and sewed my seams with the recommended seam allowance, and WOW!  They were way too big and just not flattering!  So I pinned them on my arm to get an idea for the tightness and took them way in, and WOW!  They were just too tight!  (I was doing this to just one sleeve.  Get one side right then copy onto the other side.)  So I let out the seam a measly 1/8″ and they were just right.  (And Goldilocks smiled at the sleeves and decided to keep them for herself.)  Every adjustment on these sleeves meant ripping off the piping again too.  Of course all this adjusting meant that my sleeves were just that much smaller than the mancherons, so I basted them together, easing the mancherons to the sleeve.  Good thing they were cut on the bias!

With my sleeves assembled, I sewed them into the strangely shaped armscyes of my bodice, using a zipper foot because of the piping.  It all went together smoothly, relatively.  Time for a fitting!  Well, I had to let out the back closure just a bit because sleeves change a lot of things, but it was all good!  So now, the skirt.

First I sewed my skirt seams.

Find the Seam

Find the Seam

I used mad pattern matching skills.  I had to take a very narrow seam on the edges of the fabric, as otherwise I would have lost quite a bit of the width of my fabric.  My skirt was three panels 60 inches wide, and either I would have had a lot of seam finishing, or I could make a careful narrow seam.  As the fabric had a very firm but not bulky woven selvedge, I went with a narrow seam.  It was barely 1/4″.  (In my defense, many original dresses have very narrow skirt seams as well.)

I had been fussing a bit over how to do the pleats on the skirt. The top edge of the skirt was straight, and the pattern recommended pleating it and sewing it to the waistline of the dress.  But I wanted the pleats to fan out from the point of the bodice like in so many extant dresses.  Then, I saw a wonderful video from Historical Sewing (http://historicalsewing.com/)  in which Jennifer was explaining how she intended to get her cartridge-pleated skirt to follow the bottom edge of her 1840’s bodice. (I’m not copying her, I swear!)  (You can find her video here: https://www.facebook.com/video.php?v=879267112131364&theater )  So, I followed Jennifer’s lead and pressed down the top edge of my skirt for the cartridge pleats, pressing the top fold deeper at the front where the front point was.  I measured how deep the point was below the waist line and made my fold that much deeper in the center, but the width was an exercise in “That looks about right”.  I did have the points for the side seams marked into the skirt, so I was just right, actually.

Stitching the Cartridge Pleats

Stitching the Cartridge Pleats

I ended up doing three rows of stitching for my cartridge pleats.  It took me about four evening to get them all done.

Then came the fun part– gathering up the pleats and attaching the skirt to the bodice!

Stitching Pleats Down

Stitching Pleats Down

Before I stitched the pleats down, I gathered them up, laid the skirt flat with the hem level, and held up the bodice to make sure the top edge was right– it was perfect!  So I started sewing the pleats down, one at a time.  As you can see, I made my pleats quite small and close together.  I counted and I had about 25 per inch in the back half and 20 per inch in the front half.  I had the same amount of fullness in the skirt all around, but there was more distance for the same number of pleat in the front due to the slope of the bodice point.

After stitching them down on the inside, I blind stitched every other pleat to the piping on the outside for a perfect effect.

All Stitched Down

All Stitched Down

This section took me about 5 hours, from gathering to skirt all the way on.

Now, I am a chicken, and I never hem skirts until I have them attached to my waistband because I am afraid I will make them the right length, so I measured and pressed the hem, using a different dress I knew was the right length and is worn over the same petticoats as a guide.  I laid them on the floor one on top of the other.  Simple but effective.  I opted to make this dress half an inch longer than the other dress.  At this point, it was Tuesday morning, and it was the final day of the Stashbusting challenge, so I had to hurry!  I sewed up the deep hem, sewed on hooks and made thread eyes, and finished the cuffs of the sleeves.  (They ended in little slits with hooks at the bottom so I can open them if needed and get my hand through when putting on the dress.)  As soon as my husband got home from work, I pressed the whole dress, got dressed, grabbed my handmade 1830’s-1840’s shoes and an old book for a prop, and we walked to the park to take photos!

(Let me just say here that my dear husband, Philip Patton is a wonderful photographer, and all of the photos that follow are his work and copyrighted by him.)

Perfect Hour of Sunset

Perfect Hour of Sunset

This was the first photo we took.  Up to this point, I had not seen myself in the dress, as I had put on the undergarments upstairs and the dress downstairs, where there was no mirror.  I was very pleased to see a nearly perfect 1840’s bell-shape silhouette!

Back

Back

Side

Side

I am wearing under this dress my 1830’s bloomers, my old 1840’s chemise from my first year of college (The 1830’s chemise has poofy sleeves which  won’t fit under the tight sleeves of this dress.), my old Silverado Bust Gore Corset I made when I was 16 going on 17 (still fits, but then again that is after I stopped growing), my tucked petticoat with lace, my corded petticoat, and my flounced crinoline and organdy petticoat.  No corset cover.  The bodice doesn’t really require one.

Ankles!

Ankles!

Also, my mustard stockings.  You can also see my handmade shoes in action here.

So Romantic

So Romantic

Looking at the Book

Looking at the Book

Hi!

Sigh…

I Feel Lovely

I Feel Lovely

It was the hardest thing to keep those little sections of hair over my ears.  I could hardly stand it.

Golden Light

Golden Light

Bodice Front Detail

Bodice Front Detail

Piping!

Piping!

Piping and Pleats!

Piping and Pleats!

Reading the Psalm Book

Reading the Psalm Book

This is a very sweet old Swedish Psalm Book I have, published in 1884.  (Yep, too late for this dress!)  It has in it the standard Scripture and Hymns for every Sunday of the year.  I just so happened to open it right up to the reading for Easter in this photo.

Also, these are my favorite sleeves I’ve yet done, I think.  I love everything about them!

So, as this is for the Historical Sew Monthly, I suppose I should give you the facts!

Challenge #3, Stashbusting!

What the item is: An 1840’s Summer Dress

The Challenge: Stashbusting!

Fabric: Lightweight 100% Cotton Print

Stashed for how long?: About a year.

Pattern: Laughing Moon Fan Front Dress, altered to my own liking.

Year: 1840’s.

Notions: Thread, hooks, spiral steel boning.

How historically accurate is it? I did a LOT of handsewing on this dress. A lot more than I typically do. The print I think is close enough, and I was inspired for the bodice pleats and frills on the sleeves by an original dress. I did use a machine for the long seams, though. 85-90%?

Hours to complete: Considering I spent about 5 hours on just attaching the skirt to the bodice, I don’t even want to know. I would guess 40+.

First worn: For pictures!

Total cost: Drumroll…. At $1.50 a yard for the fabric, the pattern cost more than everything else combined. $35 total. Ish.

Happy Easter!

Happy Easter!

If you have any questions or comments, I’d love to hear them and answer!  Thanks for reading!

 

A Sontag, or a Historical Shawl

For the second challenge of the Historical Sew Monthly, “Blue”, I decided to knit a blue Sontag, or shawl.

Actually, I decided to knit a blue sontag, then realized it fit perfectly into the February challenge!  That’s the way it went.  Really, I had no idea what to make otherwise, other than a fuzzy idea about a blue work shirt for my husband.  I’m still working on the shirt.  (Yep, making a shirt too.  He is going to need one for blacksmithing at Stuhr Museum this summer.)

Sontag

Sontag

There is not really a definition of “Sontag” anywhere to be found, but they are generally known as a long slim shawl that overlaps in front and ties in back.  This prevents the struggle of dealing with the ends of a shawl, and keeps it in place while one is working.  Sontags are somewhat related to bosom friends but a bit more aesthetically pleasing, at least to my eye.

I of course knit mine, and chose a pattern that was no-frills and no-fuss, but still feminine and pretty.  I did not use a historical pattern, but one the same shape.  I knit my sontag from the Marianne Dashwood Shawl from Jane Austen Knits Magazine, with three skeins of Elsebeth Lavold Silky Wool.  (Not the most accurate choice, but it was that or buy new yarn.  I own a yarn shop.  I shouldn’t have to buy new yarn.  At least it has the right hand and look.)

Sontag Back

Sontag Back

So without further ado, here are the challenge details!

Historical Sew Monthly Challenge Blue

What the item is: A Blue Sontag

The Challenge: Blue!

Fabric: Knit from three skeins of Elsebeth Lavold Silky Wool in Woad. (45% wool, 35% silk, 20% nylon)

Pattern: Marianne Dashwood Shawl from Jane Austen Knits

Year: 19th Century in general.

Notions: None.

How historically accurate is it? A Sontag is a historically correct type of shawl for much of the 19th century, but this is not a specific pattern from any historical time frame, rather just a pattern designed in the style of. The yarn is not right by content, but the look is just right. It looks like a homespun yarn and has the right body when knit up, and I didn’t have to order something special in. I’d say maybe 50% accuracy, giving myself points for the right shape. I hope to wear this on chilly days when I’m working at Stuhr Museum this spring and summer, and also with my brown 1830’s dress.

Hours to complete: Yikes. 30? All I know is that I spent an entire event working on it trying to finish it and couldn’t.

First worn: As a modern piece in my yarn shop. It works well with a fitted modern shirt too!

 

 

Please comment below if you have any questions!

Published in: on February 16, 2015 at 7:00 pm  Comments (4)  
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