Making a Rapunzel Inspired 1820’s Dress, Part Two
It took me longer than it should have, but here is part two of making my Rapunzel inspired 1820’s dress!
If you missed part one, it can be read here. And I’ll be picking up right where I left off!
At this point, it was time for sleeves. I usually dread this part of projects because sleeves suck. But short puffy sleeves aren’t too difficult – and I had a pattern for short puffy sleeves laying around, which made the process even easier!
The pattern was originally drafted for an 1820’s dress that has a similar armscye and silhouette, luckily the proportions worked out really well for this piece too.
Here are the sleeves cut out – I would have preferred the floral design to span the entirety of the sleeves, and go vertically like the print on the bodice. But I didn’t have enough fabric for that. So I focused the print on the front portions of the sleeves.
Like the bodice, these were cut from the glittery floral overlay and satin, then sewn together before construction.
I gathered the sleeves by machine. The top was gathered down to 17″, and the bottoms to 12.5″. Then I attached them to a cuff, which is made from scraps of the netting and satin, trimmed down to form a 1″ strip.
I thought the sleeves were missing something, so I added a lace ruffle.
The sleeves were sewn on to the bodice with 3/4″ seam allowances. This seam also helped secure the bands at the neckline.
At this point it was really coming together!
I bound the raw edges with some eyelet lace – I picked up a 300 yard spool of this lace, so you’ll probably see me use it as seam binding in a lot of future projects!
(also the extra is listed here – if you’re interested in it/supporting the blog!)
With the sleeves sorted, it was time for the skirt! I intentionally left this for last so I could use all the remaining material and get as full of a skirt as possible.
I started by straightening the short edges of my remaining satin, then I trimmed 9″ off the long edge. The end result was a 53″ x 125″ rectangle.
I hemmed the satin layer with horsehair, which stiffens the hem and causes the skirt to have a bit more volume. I also gathered the waistline down to 25″ to match the width of the bodice.
The overlay is also a rectangle, and was cut to be a half inch longer than the satin layer.
I took some of the length off the top of the netting, and some off the bottom since I wanted the hem to follow the straight floral boarder rather than starting at a random part of the design.
I had originally intended to fussy cut around the scalloped edge of the netting and let that be the hem. But on my past couple projects that hasn’t worked out well – the skirt seems to short if you cut it so the edge of the scallops graze the ground (since the arches between the scallops are higher), and too long if you make it longer.
This netting was also just stiff enough to pickup lint and threads when it dragged across the ground, so an actual hem seemed like the best idea.
I ended up doing a 1/4″ rolled hem, which was stitched down by hand with whip stitches.
Then I sewed the back seams for these layers individually, leaving a 10″ opening at the top to serve as the closure point.
The satin layer was sewn with a french seam, since it frays, and the netting was sewn with a regular half inch seam.
I gathered the top edge of the netting as well, then sewed the layers together at the top edge. Here it is on my dress form over the appropriate petticoat.
Before sewing the skirt onto the bodice I added closures. The bodice closes with hooks and bars, and the skirt closes with several snaps.
I also basted the layers together 1.5″ away from the top edge. This is to prevent the layers from flaring up and getting caught in the waist seam as I sew it. This happens to me all the time and this does a really good job of preventing it.
Here are the pieces sewn together – I ended up leaving the seam allowance raw, since it wasn’t fraying much and I didn’t want to add bulk to the waistline. But I do have an abundance of purple seam binding, so I can always do that later…
The final step was sewing on the waistband, which is a scrap of netting that I fussy cut out. This was actually one of the first pieces I cut for this project, since I wanted to make sure I had enough material to do it and I was worried I would forget if I left it until later.
These two photos were taken in my sewing room, which is painted blue, so the colors are a little cooler toned than the dress is in real life.
And these photos are taken in my bedroom, which is ivory and red, so it makes the dress look a lot warmer toned than it is. But at least you can see it full length without a distracting background of figurines and fabric (which is what my entire sewing room is).
I also tried this dress with a few brooches, since that was how I intended it to be worn. But I like the banding detail so much, I think this takes away from the overall design.
This is the one I was originally going to use. I think the metal is too brassy.
And a different one, which was actually my great grandmothers. A better tone, but maybe not the right shape? What do you think?
And no photos of the back, since there is a 4″ gap at the waistline which doesn’t look very nice. I’ll try to get some when I take worn photos!
I think that is it for this dress! Overall it was a very fun project. It took me three days of work, and $65 worth of materials. I think it turned out beautifully – I love how it looks historical but has a fantasy element based on the fabric alone.
If I see more fabric like this in the garment district I’ll definitely snatch it up – I had so much fun working with it, and making this piece. One of the few cases where I wouldn’t mind making another one to sell.
Thanks for reading! I think my next post will be about an 18th century piece…or that progress report I promised…or a haul & store review post from a trip I recently took to PA.
Making 18th Century Jumps – And how they look worn!
Today’s post focuses on a project that I did a terrible job of documenting (to be honest, that’s been most of my projects recently). It was also completed more than three months ago, and in progress long before that. So even if I did have a lot of photos of making it, the details are a little fuzzy in my eyes.
The reason this was so poorly documented photo wise is because I filmed the whole process. And up until last month I only had one camera, which didn’t let me take photos without disrupting the filming process.
This is bad news for those of you who like written descriptions, but if you are more of a visual learner the videos showing all the steps can be found on my youtube channel (here for the jumps, and here for the skirt) or down below depending on your email settings.
Now what is this project? It’s my second adventure into casual 18th century costumes. If you read my posts about making this dress than you may be familiar with my fascination towards what was considered casual hundreds of years ago.
Even though that dress was considered “Undress” it still required getting into stays and I felt awfully formal when wearing it. I wanted to stick to the same undress theme but make something that looked and felt different.
Unsurprisingly I found inspiration in Fashion: A History from the 18th to the 20th Century*, specifically this ensemble that consists of silk jumps and a matching skirt.
(this definitely contributed to the shaping too)
While researching that I came across a blog post (which I’m so mad that I can’t find again – I think it may have been on the American Duchess blog) that talked about French fashion being considerable more casual in the 1700’s than most of Europe. With an emphasis on practically in dress (so, not skirts so long you would trip over them).
I had also been seeing ads everywhere for the live action Beauty in the Beast movie, which got me thinking about what a historically accurate version of the famous blue dress would look like.
With enthusiasm coming from those discoveries (and dozens of fashion plates) I got to work!
I started by draping the jumps. For those unfamiliar with these garments, they were a support garment most often worn by working class woman. They are conical shaped down to the waist, but usually flared out beyond that point so they could be worn over skirts.Their structure comes from layers of fabric quilted together rather than boning. This makes them a lot more comfortable than stays, while still providing some shaping of the torso.
Here is the front of my draped jumps – this was tricky since I’m draping over a dress form made from hard foam. When the garment is actually worn my body (especially my bust) will compress to be a different shape.
If you don’t have a dress form, or find this hard do bypass, I think you could get away with altering a 18th century riding coat pattern. The shape and structure of this is similar, it just sits higher on the shoulder and has a smaller skirt.
And the back. I draped this over the appropriate petticoats to make sure there was enough volume in the tabs.
I traced the pattern onto paper, then made the necessary alterations so it had more of a conical shape, and added seam allowances. After a quick mock up I moved onto the final garment!
I cut all the pieces out from the top layer of fabric (a home decor material from Jo-anns), a cotton for lining, and quilt batting.
The first step was marking lines for the quilting onto the lining. These are diagonal across the pieces and a half inch apart. All the lines line up at the seams to create a subtle chevron effect (which was probably more trouble than it was worth).
The quilt batting in sandwiched between the lining and the home decor material. I trimmed the quilt batting so it didn’t extend into the side seams, then got to sewing!
The first two panels done – I used a pale blue thread and longer than average stitch length. These panels were my test, so after it worked I repeated the process with the front and back pieces.
The rest of the lining cut out and marked. You may notice that the only seam allowance is in the side seams. The rest of the edges will be bound with binding, like stays.
All sandwiched together!
Quilted and stitched together!
Now here is my major regret – I hand stitched the seam allowance down, and hand sewed boning channels into the interior of this to add more support. I don’t regret adding these channels, but hand sewing them was a terrible idea. It was so slow and not nearly as sturdy or clean as I would like.
If I made this again I would make another lining layer from lightweight cotton, add the boning, then sew it to the interior of the quilted bodice before attaching the binding. It would be a lot faster, shouldn’t add too much bulk, and would look so much better!
Now for the binding. I’ve mentioned my hatred for binding concave curves many times, and that still runs strong. It was made a lot worse on this project because of fabric choice.
I choose to use this polyester suiting I bought many years ago (if you’ve been around since my Napoleon costume, this is the scraps from that!), since it was the best match for the floral design. This frayed so much, and seemed to pucker rather than stretch, even though it was cut on the bias.
I machine stitched one side, then turned it inward and whip stitched the other side to the lining. It isn’t very even since parts frayed away to nothing before I could sew them, but from a distance it looks okay(ish)!
To make the curves look a little bit better I blanket stitched around them with embroidery floss.
Then I sewed eyelets into the front. I assumed since this fabric was quilted it would be thick enough to hold the eyelets. I was wrong – they haven’t torn out, but they are really warped after a single wear. Definitely should have added canvas to the front few inches to avoid this.
I also bound the arm openings.
And that is it! Overall I think they are pretty, just a couple of things I would do differently next time. And there will probably be a next time, since I really like the shape and functionality of this garment and am itching to make another! Maybe out of maroon and gold jacquard? With a shantung skirt.
Speaking of the skirt, I literally have no photos of it or the construction process. It has three panels (two in the back, one in the front) and a pleated waistband with side closures. The hem is straight, with the length adjusted at the waist. But the hem didn’t end up being that level, since the weight of the additional fabric in the back flattened my petticoat and made it appear several inches longer than the front.
Speaking of petticoats: I used an ample bum pad with the cotton/tulle petticoat overtop. The tulle was pinned up quickly before photographing this, which is the reason for any skirt lumps. This skirt fabric was a lot thinner (but also weirdly heavier) than I had expected and would have suited a quilted petticoat much better.
The shoes are, as per usual the Funtasma Victorian-03* (I’m looking into getting a more 18th Century appropriate pair soon, I swear!). I used my real hair with a few feathers and fake flowers stuck in it.
I made the chemise from some fabric I had around. And the apron is from what I had leftover. It’s two rectangles of fabric with curved tips, and a lace overlay. I gathered the top and used lace to bind the edge and form the ties.
Overall I like this ensemble. Especially the fit of the jumps. I think from a distance it’s really lovely, but I want to remake it with different materials and a slightly different construction strategy!
Here are the photos of it worn:
(Fun fact these were taken next to a busy street on the weekend before July 4th. Everyone was staring. The fence was also infested with caterpillars, which I didn’t realize before putting my hand on it. I really don’t like caterpillars and was not happy)
That’s it for this one! Thank you for reading!
Making a Rapunzel Inspired 1820’s Dress, Part One
Surprise! I’m back!
I realize it’s been a very long time since I’ve posted anything. It wasn’t my intention to be away for so long, and I don’t have a reason for the lack of updates. It just wasn’t something I was enthusiastic about doing and my last few projects weren’t documented particularly well. But I have been sewing, and I plan on doing a Progress Report soon to update you on all my WIPs and recently finished things.
But in the mean time I want to post about something I started approximately 12 hours ago. I’ve been working on a relatively elaborate 18th century piece for the last little while, but injured my wrist last week which makes lacing the stays and doing fittings very difficult.
So I decided to make something new this week. I wanted this to be something I could make quickly, not have to buy anything for, and could be worn over foundation garments I can currently get into. I also didn’t want to waste an expensive cut of silk or brocade since my “quick” projects aren’t always very well made.
In the end I was loosely inspired by this painting and used this piece as my main reference for the dress design. I also took some inspiration from my favorite disney princess film Tangled – at least in terms of color scheme and period. For those unfamiliar with the film, Rapunzel wears light purple gowns for both of her outfits, and her family crest is a golden sun.
A while back I bought satin and a *stunning* glitter embossed mesh because it reminded me so much of her design. And this seemed like the perfect time to use it! The film is also supposed to take place in the first third of the 19th century, so with the 1820’s references I guess you could say this is my more historically accurate take on her ensemble.
(but obviously glitter mesh isn’t quite historically accurate)
This material was from Hamed Fabrics in NYC, and was $8/yd. The glitter application and print actually reminds me a lot of the fabric used for the live action Belle dress (but prettier, in my opinion).
I’d also like to incorporate this brooch which I bought for a dollar at an antique market.
Nothing very special about the design, though the neckline was kind of tricky. Very low and almost off the shoulder, but not quite! I drafted the back normally (rather than the exaggerated seaming seen in 1810 and the 1830s) with a separate shoulder strap.
Then I transferred everything to paper and cut out a mock up. This fit surprisingly well! The straps and bust were a little loose, but that’s an easy fix. I also ended up adding a half inch to the neckline since I thought it would be a little low after seam allowances if I left it as it was!
I dove right into cutting out the bodice. Everything was cut from once from satin (the top fabric) and again from cotton (the lining).
I also cut out mesh to use as an overlay for the back panels and straps. The mesh overlay for the front panels was draped overtop of the pieces after they were sewn together.
And here you can see that draping in action. I cut out a square I thought would be big enough for half of it, then pinned it until I was happy with it. I trimmed the edges, then removed it from the form and used it as a guide for cutting a matching piece for the other side.
Here is the overlay after being trimmed. I sewed these pieces together at the centerfront with a half inch seam allowance, then trimmed the allowance down so it would be less noticeable.
I pinned the overlay in place once again. I pinned it to the neckline and side seams first, then fiddled with the ruching at the center until I was happy with it.
Eventually I decided there wasn’t enough fabric in the ruching…so I gathered it more than originally planned. Which is why there is a big gap of fabric at the bottom of the bodice. I will cover that with a glittery waistband later.
Iremoved this from the dress form, then sewed around the overlay to secure it in place before removing any pins.
I assembled the lining out of cotton, and sewed the seam allowance down to create boning channels.
I pinned the bodice to the lining, with the right sides facing each other. Then sewed around the neckline to secure them together. Then the bodice was turned the right way out, and I tacked around the neckline. Now it looked much better!
After a fitting I realize it was a bit too small. Luckily there was extra fabric in the center back edge, so I let it out by a half inch on either sides. Now the lining doesn’t match up with the back edge, but it’s better than the bodice not fitting!
At this point I was going to add boning to all the seams…but I forgot to sew two of boning channels. And I tacked over the center boning channels when sewing the overlay in place. So boning was only added to the side seams and the back edge. Oops.
The two dots of thread are where I tacked the overly to the under bust area. these dots, and some stitching down the center front are the only things that keep the pleating/gathering positioned.
My plan was to cover the gathering point of the overlay with the brooch, but I came across several examples of banding at the center of 1830’s bodices. Some of these also included banding on the straps, which I thought was a clever way to widen the neckline and cover seams.
I cut some 1.5″ wide strips of mesh, folded them in half, and sewed the raw edges together with a quarter inch seam. However I quickly discovered the mesh was too delicate to turn the right way out. So instead I tacked the strips so the seam allowance was at the back of the bands and not visible.
Here they are in position. The middle one was secured by hand, and the ones on the straps will be held on by the same stitching that secures the sleeves.
And that was it for day one of making this project! I’m going to use a sleeve pattern from another project, and the skirt will be a gathered rectangle. So if all goes according to plan I can wrap this up tomorrow.
Thanks for reading!
Making a Historical Swimsuit, 1910
Since it is now officially summer (and disgustingly hot and humid), I’ve decided to spend this week focusing on some more weather appropriate projects.
And I’m starting with most summery of all projects: A swimsuit!
Or more specifically, an edwardian swimming costume based on examples from the early 1900s.
My original inspiration for this project was this picture. I saw it just before leaving for a trip to Jo-anns and instantly decided to add 5 yards of black cotton to my shopping list. It wasn’t until I got home and did more research that I realized that is not an Edwardian swimming costume – It’s a pair of swimming bloomers with a corset cover from an earlier period.
So I did a bit more research after that, and finally decided to base my ensemble on this garment. I also discovered some glorious sailor inspired suits, but I didn’t have suitable (heh, suitable) fabric for them.
In my research I also learned that swimsuits during the early 1900s were made out of wool. But I knew finding lightweight wool would be a challenge, and it would probably be a tightly woven suiting that didn’t have much texture to it.
In the end I bought a lightweight cotton, which might be a quilting cotton, but it has a strong sheen to it, almost like cotton sateen. I’m happy with this choice since it’s more interesting (and way cheaper) than matte black wool, but it wrinkles like crazy which isn’t ideal.
I also bought buttons, and stole a 1/2 yard of paisley quilting cotton from my moms stash, which will be used for binding.
Step one was draping. This has a flat back and collar, with a gathered front.
My fist mockup went surprisingly well! I had to lift the waistline slightly, but the amount of volume and gathering was perfect.
I started assembly by cutting out the collar pieces. They were sewn together at the centerback, then backed with interfacing. The piece on the left is the lining.
I sewed those together with the wrong sides facing each other.
Then bias binding was pinned and sewn on!
I folded the binding inward and stitched it down with whip stitches, so both sides of the fabric are nicely finished.
The front few inches of the bodice panels were backed with interfacing. Then these edges were turned inward in preparation for adding the closures.
I also gathered the top and bottom edges by hand.
I sewed the front pieces to the back pieces with french seams. Then I finished the arm openings with facings.
I sewed the collar on by hand. The raw edges from the bodice were turned inward and whip stitched down.
I didn’t love the sleeves on the extant garment I based this on, so I decided to make mine with more volume. I fiddled with the pattern for a while before settling on this. The top edge is straight, and the bottom is curved.
The pins were used to mark the right side of the fabric – the sheen of this fabric is definitely more prominent on one side, but not very visible in certain lightings, so I had to be careful!
The bottom edge was trimmed with bias tape – once again sewn on by hand. And the top edge was gathered slightly.
I sewed the side seams as a french seam, then stitched the sleeves to the bodice by hand.
I also sewed on all the buttons (which are decorative), and closures into the center front. The collar closes with hooks, and the bodice closes with snaps.
The “skirt” was draped out of some random cottons. I was very concerned about the shape of this – I wanted it to have some volume, but not flare out too much. I also didn’t have a ton of fabric, so I couldn’t make the panels too wide.
The skirt pieces were sewn together with french seams.
Then all the edges were trimmed with bias tape – once again stitched on by hand!
The skirt was gathered near the front, and at the back.
Then I sewed the skirt to the bodice with the wrong sides facing each other, leaving the raw edges facing out. The waistband will cover these later.
After a fitting I realized the skirt looked longer on one side than the other…despite them being the same length (trust me, I measured). So I sewed a dart into the top of one of the panels, making it a half inch shorter.
Now it was time for the waistband! This is made from a bias cut strip of printed fabric that has the edges turned inward, and an interfaced strip of black fabric with its edges turned inward.
I basted the strips together, then sewed them to the bodice by hand with tiny whip stitches.
The final step was sewing on two hooks – one at the front, and another where the waistband ends.
(It’s already wrinkly)
Now for the bloomers – because that bodice would be indecent without them! For these I used the bloomer pattern originally drafted for my cycling costume, I just made the pattern shorter.
However I also should have made the pattern narrower, these had way more volume than they needed.
I didn’t take very many photos of this process, but the pants were sewn together with french seams. To keep the front smooth, I moved the closures to the sides of the bloomers. To do this I left the tops of the side seams open, and sewed buttons and loops onto either side of the waistband.
The top edges were pleated to avoid excess volume under the bodice.
There are channels for the drawstring cuffs sewn five inches away from the hem of the bloomers. These were made out of strips of black fabric.
Then the bottom edges were finished with bias binding, and a ribbon was threaded through the channel. I left a 1″ gap in the side seam where the channel is, which allows the ribbon to peek out.
As a side note, to get the cuffs to stay where I wanted them, I had to tie the ribbon before putting the bloomers on. There was no way to tighten them enough to stay up while they were on my legs.
The top edge is finished with bias binding, and has the loops/button closure method that I mentioned earlier. Unfortunately these ended up being WAY to big for me, so I had to pin the sides when we photographed it. Definitely something to fix in the future.
Also, these bloomers ended up being ridiculously long. I made them 3″ shorter than my cycling bloomers, but cut another 5-7″ off before binding the waistline. They were so baggy it was ridiculous.
And that’s it!
All and all this was a fun, easy project. I’m happy with how the bodice fits, and how it all looks together. It isn’t the best thing I’ve made construction wise, but for $30 of fabric and 4 days of work I’m pleased with it.
I’ve already photographed this project, and here is a partially edited preview of it all together!
A few weeks ago I got three projects photographed, including my Striped Edwardian Gown, which is the one I’ll be sharing photos of today!
This dress was such a fun project to work on, and I’m really happy with the end result. It fits nicely, I have a lot of mobility in it, and I think it looks quite authentic.
To add to the authenticity I decided to use my real hair for this shoot – and I’m so glad I did! It looks a lot softer and (for obvious reasons) more realistic than my wigs. My styling skills have ways to go, but I’m going to practice and use my hair more often with future projects.
As far as foundations go, I wore this costume over my white and pink chemise, my pink and white corset, a bust pad, and white chevron socks…And I’m just realizing I never blogged about any of those pieces. But you may have seen them in spotlight videos on my youtube channel.
Since the shoes show, I bought a pair of these* in white – which aren’t as comfortable as the black ones, but compliment the dress nicely. And these earrings* which are from the Downton Abbey collection.
I was so comfortable wearing this costume. I’m not sure that shows, but it was the best I’ve felt in a costume in a long time!
Now onto the pictures!
That’s it for this set, but I will have more to share soon! I haven’t been thrilled with what I’ve accomplished so far this year, and seeing photos of completed works makes me feel a bit better about things. So I have plans to take more soon.
An Orange Brocade Dress – Making a 17th Century Costume, Part Two
Welcome to part two of making my Orange Brocade dress, if you missed part one it can be read here. That post ended with a fitting, and binding the arm openings of the bodice. This post will cover everything else – from the sleeves, to the skirt, chemise, and hat! It was originally going to be divided into three posts, but since I’ve been off my blogging game recently I thought you deserved them all at once.
Here is what I ended up with…
And here is how I did it!
Since my fitting was successful, it was time to move onto the sleeves. Like the bodice, I copied the pattern from Norah Waugh’s “The Cut of Women’s Clothes: 1600-1930“*. The pattern is kind of ridiculous, with a bunch of marks that aren’t labeled (seen here). Some markings are for the paned portions, others for knife pleats, gathering, or cartridge pleats. It’s also a lot smaller than I would have expected, being less than 30″ wide.
But this totally worked in my favor since I had barely any material left. After a mock up and a few alterations I cut the sleeves out, and lightly gathered them.
The gathering is only where the paned portions will be. Then there are knife pleats at the lowest portion of the sleeve, which will sit under the arm.
Then I made the paned portion of the sleeves. These are strips of the same brocade, with the ‘wrong’ side facing outward so they appear darker. I turned the edges of these strips inward twice by hand, to prevent fraying. Then embroidered ribbon lace was stitched on by hand to both edges.
There are only 3 panes for each sleeve, which matches Waugh’s pattern. I planned on adding more, but lack of material got in my way once more.
These were sewn onto the sleeves, and completely cover the gathering.
Now it was time for cartridge pleats. You’ll see these on most sleeves from this period and they are glorious. But they usually require a lot of fabric, a thick fabric, or a combination of the two. Otherwise they can look pretty bad. And since my sleeves did not have a lot of material, and are made from a very thin brocade, I had to fake this.
So I cut out facings for the top and bottom edge of the sleeves, made from cotton. Then I marked a line half an inch away from the bottom edge of the facing to indicate seam allowances. And finally, I marked vertical lines every half inch all the way across the facing, except for where the paned detailing is.
Then I cut up pieces of cord (I used 1/4 cord made for upholstery piping that felt almost papery) and sewed a piece onto every. Single. Line.
I hemmed the bottom edge of the facings, then sewed them onto the sleeves with the right sides facing each other. I turned the facing inward and stitched a quarter inch away from the edge to secure it in place.
Then I got out my heavy duty thread and sewed through the facing and top layer of fabric, between each piece of cording. This created the appearance of full cartridge pleats, while only using 1/2″ of fabric and no stiffening!
There are two rows of stitching to secure these, approximately half an inch apart.
I sewed the back edge up with a french seam.
Then made cuffs out of strips of brocade that is backed with ribbon.
The cuffs were sewn on by hand, then covered with embroidered ribbon and the trim I used on the neckline of the bodice. For some reason the cuffs gaped outward at the hem, so I had to hand stitch tiny darts into them. I’m not thrilled with that, but it isn’t obvious unless you get really close up.
The sleeves were pinned in place.
And sewn on with lots of tiny whip stitches.
And that’s about it for the bodice! After another fitting I added a modesty panel, and it was finished.
I’m pretty ecstatic with how this turned out. The fit and the way the materials work together is even better than I had hoped. The skirt didn’t go quite as well, but it all evens out.
The skirt for this project was an adventure. Not because the patterning was difficult – it’s basically rectangles with a sloped top. It’s the waistline that had me stumped. But we’ll get to that later.
Step one was cutting out four 42″ wide panels for the skirt, then sewing them together. This was easier said than done, since I wasn’t sure what petticoats I would be wearing with this, or how much volume the cartridge pleats would provide. So I had to guess the length. But I couldn’t cut the panels too long, since then I wouldn’t have enough fabric for the sleeves. It was stressful!
Once I managed that I sewed the pieces together, with seams at the center front, center back, and sides. The skirt opens from the front, so 10″ of the center front seam was left open.
I also sewed the front seam with a 5″ seam allowance, and with the wrong sides facing each other. Then ironed it open. This causes the darker “wrong” side of the fabric to be visible, and added more contrast after sewing on the trim.
For some reason I don’t have photos of any of those steps, but hopefully you’re still with me!
Next up was the pleating. Much like with the sleeves, I created a “facing” for the top edge of the skirt, which had guidelines marked.
The skirt actually had enough fabric in it to do real cartridge pleats (unlike the sleeves, where I needed to fake it). But the brocade I’m using is very thin, so I would have had to back the fabric with something thicker. And I was worried that would make the pleats stick out too much, creating more of an Elizabethan effect.
So I used cord to pad the pleats. These were cut into one and a half inch lengths.
Then sewn onto the cotton facing, and pinned to the top edge of the skirt.
I turned the facing inward to hide the raw edge, and it was ready for pleating!
After doing half the skirt, it became very clear to me that the cords were wayy too close together. The skirt would have had a waist of 60″ if I kept going!
So I started over and used a seam ripper to remove every other piece of cord.
When I resewed it the pleats were a lot deeper, and the waistline was much smaller.
Now it was time to add the waistband…that seems easy, right?
For most skirts from most periods, it would be. But 17th century waistbands are a mystery to me because they don’t seem to exist.
It’s a known fact that most bodices from this period had tabs to prevent the heavily boned bodices from digging into the wearers waist. Which means to cover the tabs, the skirt needs to go over the bodice. Except the waistband for the skirt isn’t visible in any. Of. These. Paintings.
You may be thinking that an easy solution is sewing the skirt to the bodice, and having it close down the back. But that interrupts the cartridge pleats and destroys the shape of the skirt.
In this extant garment a small waistband is shown, and after many hours of frustrated searching without finding a better alternative, I decided to go with it. So my waistband is made from strips of brocade that were reinforced with interfacing and folded like double fold bias tape. The skirt was sewn to it by hand, with upholstery thread.
I actually used upholstery thread to do the pleating too, since it’s less likely to break under strain.
Here it is!
And from the interior.
I left the front of the waistband un sewn, since unlike the majority of the skirt, the front ten inches are not gathered. Instead they are left flat, and help create the smooth front, large rump effect that was popular in the mid 1600s (and continued to grow in popularity in the 1700s!).
Here you can see it in it’s current state on my dress form.
I realized that the waistline needed to be lower at the front so it could tuck under the bodice, so I cut several inches off.
Then I tried the skirt on and marked the hem. The skirt is hemmed symmetrically, but not evenly, since it was longer in some places than others, and I couldn’t predict the correct length when cutting the panels since I wasn’t sure how much volume the cartridge pleats would provide.
(The more volume a skirt has, the farther it will flare out, and the longer it needs to be)
And now it was time for sewing on the trim. I used seven yards of embroidered mesh lace that I bought on etsy. This was hand sewn on with two rows of stitching – one on either edge.
As you can see, down the center front (where the interior fabric was turned outward) the trim stands out more.
And on the hem it’s a bit more subdued.
Making an 1860’s Beetlewing Dress, Part One
If you clicked on this post thinking that title is an exaggeration, then you have severely underestimated me and the things I will buy on etsy.
I discovered beetlewing embroidery several years ago, when I was still really active on tumblr and this picture came across my dashboard. I thought it was stunning, and the fact that all the detail work was made from bugs fascinated me. But at the time I wasn’t doing a lot of hand work, and it never crossed my mind that I could make anything similar.
Over the past few months I’ve come across pictures of more extant garments that feature this technique. And after my tiny embroidery project earlier in the year (a stomacher), and an elaborate 1860’s dress under my belt, I felt like I could actually take this on.
Beetlewing embroidery goes back hundreds of years, and from what I can tell, originated in China, Thailand, and India. I’m not sure how it came to be popular in Europe in the mid 1800’s, but it was, and the results are stunning. This pinterest board has lots of lovely examples.
My first “step” was buying the wings. I ordered 2,000 from this seller, which I’m really hoping will be enough.
The wings feel (and look) a bit like press on nails, but are a bit thicker and more brittle. Though they are wings, they aren’t like dragonfly wings – these are a firm shell.
A few other bloggers have made dresses featuring them, and they mentioned steaming the wings to make them flexible enough to poke holes in, where others used drills. I found this prospect kind of terrifying because I had a lot of wings, but luckily mine haven’t required either method. A sharp (large) needle goes through them and creates a big enough hole to get a smaller needle and a few strands of embroidery floss through.
The more time consuming part has been cutting off the point where the wings connected to the body of the beetle. It’s also sort of gross even though it’s all dried out.
As for fabric, I’ll be using 12 yards of lightweight cotton which I got from Hamed Fabrics.
The design isn’t fully figured out yet, but I know it will consist of a skirt, an evening bodice, and a day bodice. Which is very common for designs in the mid 19th century.
My inspiration for the bodice shapes, and the sleeves, is this ensemble – the skirt design is still kind of a mystery, but I’ll figure it out once the upper half is done. The embroidery pattern is made up, but influenced a lot but every other example I could find online.
The first step was draping – draping loose fitting bodices is always a pain, but I did the best I could.
I tried to change it up a little bit, so instead of the shoulder seam sitting at the top of the shoulder, it’s further back and gathered to add volume to the bust.
Here is one of the front pieces, with the shoulder gathered.
The back pieces, stitched together with french seams.
And here they are sewn together.
Now for the fun part – the beetles! I designed the embroidery pattern on paper, and fiddled around with the wings until I liked the shapes they made.
The paper was then placed underneath the fabric. I traced the stem design onto the right side of the fabric with a wash away pen.
And then the embroidery began! I didn’t do a great job documenting this, since I wasn’t sure it would work. I’ll make sure to take more photos of the skirt during these steps.
The stems were sewn with a split stitch. I outlined each one with two parallel lines of stitching, with a small gap between them, which is where I sewed gold seed beads. Then the wings were sewn on, and the “gaps” between the wings, as well as the base of them, were covered with green seed beads to make them look more like foliage.
I did as much of this as I could with a hoop.
Here is one section done!
However when it was all done, it felt a little sparse. So I added bugs. The bodies were made from embroidery floss and gold beads, with the beetle wings making up the wings. Then I embroidered on antennas and used faux black pearls as eyes.
I may make a video showing this process at some point!
After the embellishing was done I sewed in hook/bar closures, and gathered the waistline. However after a fitting I realized the waist was too small, so the gathering was ripped out and re-done.
Now time for the sleeves! It looks like a relatively normal sleeve pattern, but the twist is a rectangle gathered every 4″ to create puffs, which is sewn between these two pieces.
The top piece is the front (ignore the writing saying otherwise) – it’s narrower, so the puffs are more visible from the front and side of the sleeves when they are worn.
Here are the puffed portions after being gathered.
I sewed them onto a smaller piece of material so they held their shape.
Then that was sewn to the other pieces.
They looked okay, but were obviously missing bugs.
(I will never say that about anything else if my life)
I placed the bugs in the center of the gathering points, surrounded by sequins.
The side seam was done up, but I left the bottom few inches open to allow me to get the sleeves on and off. Then I turned the seam allowance inward with whip stitches to hide the raw edges.
The cuffs are made from interfaced cotton, with green silk piping trimming the edges. They are lined with more cotton, and close with two hooks/bars. Weirdly, these gave me a lot of trouble. I cut them the wrong length the first time, and had to re-do them. Then I gathered the sleeves to be too small and didn’t realize until after the cuffs were sewn on and the lining was in…cue me having to re-do it, again.
Here you can see the difference between the front and backs of the sleeves.
They were sewn on by machine, and that’s it!
Last week I shared the process of making the bodice and sleeves for my striped edwardian dress. Today I’m writing about making the skirt, the hat, and the adding the finishing touches.
Let’s start with the skirt. This took me a while to “draft” because it’s so narrow – I’m used to making skirts that fit over petticoats or hoops, and without those as a base I felt a bit lost!
So I began by cutting a rectangle of material, then cutting it in half. Which left me with two 22″ x 45″ish pieces. I pinned one of the pieces onto the front of the dress form and played around with the amount of volume I wanted it to have.
Then I removed the panel from the dress form, trimmed the top edge, and gathered it properly. This was repeated on the other panel as well.
I cut out another rectangle, and while the fabric was folded in half I cut across it diagonally. This left me with three gored panels. I made sure all the diagonal cut edges were sewn to straight edges (to prevent warping), with the wider ends at the hem so it would have the most volume.
I didn’t photograph this process because my floor was really dirty, but you’ll see the skirt laid flat in a minute and hopefully it will make sense then!
Here is the top edge.
I pleated this edge so it would line up with the pleat at the back of the bodice.
Then gathered it down, so the whole thing was the same width as the bodice waistline.
Speaking of the bodice, here it is which the fit updates mentioned in the last post. The pleats were tacked down, and the waistband was sewn on by hand with running stitches.
I also decided to add ruffles to the hem of the sleeves, since they were an awkward length. The ruffles are 25″ x 4″ strips that were folded in half to create a finished edge, then I gathered the tops by hand and whip stitched them on.
I matched the seams in the skirt with the seams in the bodice, then sewed it onto the waistband.
The front edges were folded inward twice to hide the raw edges. This was sewn down by hand, with more whip stitches.
I put it back on my dress form and used pins to mark where I thought the hem should go. Then I tried it on and adjusted the hem more – I’m so, so glad I tried it on during this stage, since it was an inch shorter than I wanted!
I marked my desired hemline with pencil, then measured three inches away from that and marked another line. This left me plenty of room for a pretty hem.
I folded the dress in half and pinned all the seams together, then laid it flat. I did this because the hemline was only marked on one side and I wanted it to be symmetrical.
This is before trimming…
I transferred all my markings onto the other side of the skirt.
Then turned the raw edge inward by an inch, and inward once again at the line I drew. This left me with a 2″ deep hem.
It was sewn with whip stitches as well.
Now it was time for buttons. I spent a long time searching for suitable buttons on etsy but couldn’t find anything in my price range in the size I wanted.
So I decided to use coverable buttons. I was trying to decide between making them maroon or white when I realized another fabric I purchased in the garment district matched the stripes perfectly. I ended up using it and I really love how they look.
Before sewing them on I tried the dress on again, and marked where the snaps/hooks/bars should be. I sewed these on first, then used the buttons to cover the threads used to securing the closures to the fabric.
I also lined the waistband – here you can see some of the hooks, along with pencil markings for snaps.
In total there are seven hooks and six snaps. Hooks are placed where more support is needed – like at the collar and waistline. Snaps were used for the rest.
There are three snaps and one hook further down which keeps the skirt together – I used three more buttons to cover that stitching as well.
Here is the finished bodice. I’m really happy with how the closures for this turned out, front closures can be hit or miss but everything lines up nicely and it’s really easy to get into!
Now onto the hat! I based this on fashion plates in the catalogues I looked through when visiting McCalls. There were a lot of hats that were covered in flowers to the point where you could barely see the crown. I usually put flowers on hats, but this inspired me to go all out.
First came the paper pattern – I made a few of these before I got the “perfect” size. My original pattern is laid on top of the one I ended up using.
It was cut out of felt weight interfacing.
Then wire was sewn into the pieces.
I covered all the panels with white cotton sateen, and lined them with the striped material. For the brim I gathered the striped fabric at two points to create ruched lining, which I didn’t realize would need to be secured at the gathering point in the middle to sit properly – which left with these ugly dents in the material.
My solution to this was covering it with bias tape. Which just so happened to match the bias tape I made to bind the brim of the hat.
Here is the bias tape sewn on. In the photo above you might be able to see pencil dots, which were used as a guide when sewing it in place.
I also sewed together the crown of the hat, then sewed it to the brim.
At this point I liked the lining better than the front!
I recently took a trip into the garment district, and for the first time in years I didn’t have a list of projects I was shopping for. However I did have a list of materials to keep an eye out for, and one of those was lightweight cotton.
Lightweight cottons are incredibly versatile – they can be used for foundation garments from any period, gauzy dresses from the 18th century to the mid 1800’s, and more practical pieces from the beginning of the 20th century.
I’ve always found it difficult to find lightweight, soft, yet sturdy cottons that would work for these pieces. Especially since (for me) a big part of a garment looking authentic is it’s texture – which is one of the challenges with plain cottons. They don’t have a lot of it, and garments can look cheap or flat regardless of how well constructed they are.
Which is why I really lucked out when I came across this striped cotton. It has a faded look to it, and the dots buried in the stripes add a bit of life to it. I originally thought it was red and white, but it’s more of a mauve. It’s very soft and slightly sheer – exactly what I hoped to find, and perfect for an edwardian day dress, which is what I decided to use it for!
If you read my recent Progress Report you may recall me raving over fashion plates of 20th century ladies in antique magazines, which definitely served as inspiration for this style of dress. But my main reference was this dress – it was listed on etsy, with a bunch of close ups which helped me figure out the construction.
I think the end result is pretty lovely – but let’s start at the beginning!
Step one was draping. This was tricky to drape, since I wanted the oh so glamorous pigeon breast shape, where volume from the bust carries down the the waist, which is cinched in with gathers. It’s very easy to over exaggerate this shape and end up with way too much fabric in the front.
I was also challenged by the pleats in the shoulder – they look okay here, but I was concerned the ends of the pleats would splay open when it was worn.
The back has a box pleat in it, for decoration more than anything else.
I transferred that to paper, then made a mock up. The pleats and amount of volume worked surprisingly well, so I moved on without any alterations.
I cut all the pieces out, then marked the pleats on the wrong side of the fabric with pencil. They were ironed, pinned, then sewn down by hand. I also gathered the front of the bodice pieces.
And the back. For some reason the pleat wasn’t symmetrical, which really bothers me! But I wasn’t sure how much fabric I would need for the skirt, and I didn’t want to waste any by recutting this piece, so I didn’t bother redoing it.
Then I cut out a “facing” for the collar, which will actually serve as a base for the lace trim that will be shaped into a collar.
This was pinned on top of the striped fabric to prevent the stripes from being visible through the lace.
(before doing this I sewed up the shoulder seam with a french seam)
For lace I used a gathered eyelet trim from Jo-ann’s (I removed the gathers with a seam ripper, then ironed it flat) and a lace I got in a grab bag when I went to Lancaster. I wasn’t a big fan of this combination at first, but I don’t have a lot of white lace in my collection, so my options were limited.
I sewed the lace together by hand, to create a single two inch wide unit. Then I pinned that onto the collar.
And here it is sewn down. I had to pleat and gather parts, but after ironing it looked pretty smooth. It’s a bit hard to tell with the lighting, but the closure point is on the left side of the collar, imitating the dress I based this on.
Now it was starting to look like a bodice! Since one of my goals for this was to keep it very lightweight, I decided not to fully line it.
Instead I sewed the interior seams as french seams, and created a facing that extended from the neckline to the waistline. This was cut from muslin, then pinned to the right side of the fabric. I sewed it on with a half inch seam allowance, then turned it inward to hide the raw edges. I topstitched a quarter inch away from each edge by hand to prevent the facing from shifting and peaking out. I also tacked the far edges of the facing every few inches.
Now onto sleeves! The pattern I created for this is pretty shoddy, but it worked! The sleeves have four tiers, three made from striped fabric, and one made of lace.
The top tier has the stripes going vertically, tier two has the stripes going horizontally.
Tier three is actually muslin, which the lace was sewn over, and tier four is more horizontal stripes. I’m really happy with how the sleeves turned out, I love playing with the grain lines in fabric, but it can be hard to do without wasting a lot of material – not to mention tedious. This was an easy way to sneak it in and add some interest to a simple dress.
The lace pinned together – ready to be sewn together, then onto the sleeves.
And here they are in all their glory!
Then the bottom edge was turned inward by a half inch. I loved working with this fabric since the stripes served as guidelines for where to sew.
The tops of the sleeves were gathered down by hand and sewn onto the bodice by machine. Then the seam allowance was whip stitched together by hand. This isn’t the cleanest finish, but it was popular in the 19th century and avoids additional bulk in an area where mobility is important – so it works for me!
Now I did a quick fitting and the end result wasn’t great. Though the pleats looked nice on my mockup, during this fitting they bunched really badly above the bust. There was a lot of folded material at the sides too, which was frustrating.
I ended up mostly fixing this by tacking the pleats down further, and tapering the ends off almost like darts. I did this with pins on the left side, which looks a lot better than the right side.
I think the folded material at the sides was caused by excess fabric in the back, which I fixed by gathering the center back portion down to be an inch and a half smaller. I also regathered the front panels so the volume was more focused at the front of the bust.
Later on I played around with foundation garments, and improved the shape even more – I found a ruffled corset cover made me look too barrel chested, but bust pads really improve the crinkling at the top of the corset.
With the fit fixed, I pinned on the waistband.
And that’s it for this post! Next up: the skirt, closures, hat, and finishing touches!
Thanks for reading!
An Orange Brocade Dress – Making a 17th Century Costume, Part One
It’s taken me longer than I had hoped, but I’m finally back with a “Making of” post! And it focuses on a project I’m really excited about: a seventeenth century ensemble.
I’ve wanted to make something from this period for a long time. It’s not a popular period for historical re-creation, but I’ve been attracted to it since I first started researching historical fashion. The high waists, bright silks, full sleeves, and jeweled decorations really appealed to me. And now that I know more about fashion from the 1500s and 1700s, I find the mid 1600s even more interesting since they are so drastically different than what came before them.
It’s also the period depicted in most of of Rembrandt and Peter Paul Rubens work, who are some of my favorite artists.
Despite my interest in the era, I haven’t completed a costume from the mid 1600’s. I’ve made some attempts, and even gotten pretty far! But bad fabric choices, fit issues, and poorly thought out designs have led to failure every time.
But this time I was determined. And luckily things went a lot better.
My previous attempts were based on simpler dresses that were free of decoration. I’d still like to complete a dress of that style some day, but I thought success would be more likely if I went in a different direction.
Then I came across this painting and fell in love. I don’t like the mask, but textures, print, colors, and details really drew me in. I love the sheen on the dress, and how much depth it has. The amount of trim on it, and the paned sleeves looked like they would be a lot of fun to recreate. And I adore the hat, it helps balance out the proportions of the sleeves and skirt.
I couldn’t find a fabric deep enough in tone to match the painting, but I did find a lovely peach/orange/gold brocade in my price range. It’s from Fabric Express in NYC and cost $6/yd. I purchased eight yards but barely had enough material left to cut out the sleeves, so I should have bought more.
The trims are all from etsy. Seven yards of wide embroidered mesh trim (from HARMONYDIYLIFE), twenty yards of metallic embroidered mesh trim (from lacetrimwholesalers), and four yards of braided trim (from ddideas). I spent less than thirty dollars for the lot of them, and really lucked out in terms of color. They match the brocade perfectly.
Once my materials were sorted, I did a bit more research and came up with a complete design (since the painting that inspired me only shows the top half of the bodice). I mostly used references from In Fine Style: The Art of Tudor and Stuart Fashion*, which has some great images of paintings and extant garments from the period. This ensemble was also helpful to me (especially for the skirt), since it’s more complete than a lot of seventeenth century examples.
When it came to the pattern I discovered two in my collection – one in Patterns of Fashion*, by Janet Arnold, and another in The Cut of Women’s Clothes* by Norah Waugh. I ended up using the pattern from Norah Waugh’s book, with a few alterations.
I used a trick mentioned in one of the blog posts linked above, and fitted my first mock up over 18th century stays. I lowered the neckline, let out the waist, lowered the waistline, and made the front piece longer. I debated about cutting the front and sides as a single piece, but decided assembly would be easier with them separate, so that’s what I did!
Then I made the base layer. Which is effectively fully boned stays – there is so much boning in them. The channels were all marked onto cotton, then backed with medium weight twill and sewn by machine. I used plastic quarter inch boning to fill them, then assembled the bodice.
Then I cut out the top layer from the brocade which was backed with fusible interfacing. I wanted to avoid the bodice being thick, or heavy, but I also wanted the top fabric to be thick enough to hide the boning. I haven’t had any problems with that, so I’m glad I decided to interface it.
Lace was sewn into the seams (which were stitched by hand) and in a straight line on the back edge.
Lace was also sewn onto the front panels. A lot of lace. Three rows of embroidered mesh ribbon, with the wider embroidered trim near the neckline. I also cut out brocade strips from the “wrong side” of the fabric, sewed those down, and covered the edges with lace. This added more depth to the front of the bodice.
I basted the center front seam first, just to make sure everything lined up. Then sewed it by machine.
Then the side seams were sewn.
I pinned the top layer of fabric to the base layer. The tabs and neckline were cut without seam allowances, so I whip stitched the edges together. But the back edges, and the bottom edge of the front panel were folded over the base layer, then sewn down.
Now it was time to bind the tabs. I hate binding tabs. I always do a really terrible job – and that’s when working with lightweight cottons! I figured binding brocade would be impossible. Since I was already prepared for them to look bad, I decided to try a new technique and used half inch wide strips of leather.
(The Dreamstress did this for her 1660’s piece as well)
Both the top, and bottom edge were sewn by hand. I don’t think the end result looks great. But I liked doing it all by hand, and the leather curved around the edges better than I had expected. I also liked being able to snip the underside without worrying about fraying.
And a close up. I cut the strips from a skin I bought on ebay a while back. I don’t think it was quite as soft/thin as the kid leather that is usually used for this, but it was easy to get a needle through. And my sewing room smelled like leather for days!
Next up was the lining – cut from two pieces of cotton and sewed together at the center front. There weren’t any raw edges on the tabs, so I didn’t bother lining them.
The lining was whip stitched to the base layer.
Then I sewed all the eyelets! It was a bad week for my fingers between these and the tabs, but the embroidery floss I bought matches the fabric really well and I’m happy with how they look.
And the lined interior. The back edge of the lining was sewn after I finished the eyelets so it would cover the loose threads.
I also fray checked the back of every eyelet, since brocade is prone to fraying.
Now I had something that looked like this!
I sewed the shoulder seam, then did a fitting. Which went surprisingly well. The waist is a little tight, but there isn’t any gaping in the back. And it fits my shoulders nicely.
I was even happy with the neckline!
I finished the bodice off with more binding. I used quarter inch wide gold bias tape for the neckline, and half inch wide bias tape in matching brocade to finish the armscye.
And that’s it for this post!
Thanks for reading, I hope you enjoyed! I should be back with another one soon.