Building an 18th century kit

I keep going back farther in time with each new impression I put together.  My husband has joined the 33rd British group and I am putting together a camp follower impression.  I am going to sew the underclothes first to get in the hang of hand sewing again.  So far I have only made a pair of linen pockets from the Kannik's Korner Pattern KK-6001, view A.  I used cross-stitch directions from Sharon Ann Burston to embroider my initials on one pocket and my husband's on the other.  I have a JP Ryan stays pattern and Kannik's Korner shift and bedgown patterns coming in the mail this week, so I'll have plenty to keep me busy this summer.

One pocket KK-6001, view A in progress

Completed pair of pockets, KK-6001, view A

1815 Regency / Empire Attire

This post is way overdue to document my first attempt at Regency era attire. Last summer my husband attended the 200th Anniversary of the Battle of Waterloo and had been building his French impression over the past year. Although I did not attend the Waterloo event (I went to Amsterdam instead, so don't cry for me), I did put together a basic wardrobe because if you ever have an excuse to make a Empire waist dress, you make one!

I made a simple linen chemise using the Laughing Moon pattern and then I started work on a sheer muslin dress using materials that I had in my stash using the Laughing Moon's fall front pattern. My dress design was inspired by an original in the Kyoto Museum Collection.

Kyoto Museum Collection

I used a woven cotton for the inset front panel to replicate the insertion on the original.  I used the same woven material for the fall front bodice and trimmed the puff sleeve band.

To accessorize, I made a silk reticule from my bonnet scraps using a pattern from the American Girl's Book (pg. 265). I used leftover silk satin from my wedding dress to make the piping and self-fabric cording.  The interior is lined in white silk. I also made a silk ribbon to tie at my waist to break up the silhouette. I wore a coral necklace and gold lead hair pins that I purchased in Paris years ago.  For footwear I wore my bridal slippers made by Robert Land.  Overall, this was the atheistic I was going after.

What I was most excited about was my hair!  I am admittedly horrible when it comes to dressing my own hair. I've attempted rag curls and pin curls before in the past, with bad results.  This time I used bendy straws and IT WAS AMAZING.  No kinky ends, lots of bounce, even with my largely straight thick hair.

Ta da.

1815 Morning Dress

I recently completed a morning dress for an upcoming overnight event at an inn.  I was inspired by several originals including this:

1815-1818 Met (Accession Number: 1975.274.2)

I purchased the fabric at Michael Levine's in Los Angeles for entirely too much per yard, but when you are making a Napoleonic-era dress and the bee print fabric is called "Josephine" YOU BUY ALL OF IT.

BEES!

I used the Laughing Moon #130 Wrapping Front Gown pattern with modifications so there is no lining, just extensive hand finishing.  I drafted up my own collar and trimmed it with a ruffle made with the selvage edging (see image above), which I also used for the ruffle along the bottom.  The sleeves are very long, and made even longer with a cuff ruffle.  A self-fabric tie is the closure. Overall,  the instructions were clear, I had fun with self-fabric trim, and now I need to work on a cap!

Finished Laughing Moon #130 Wrapping Front Gown with modifications

1860s Velvet Hair Net

I made this 1860s velvet hair net after years of wrestling with my hair.  It's long, thick, and I have ZERO hair dressing skills. I knew I wanted something neutral and I was lucky to find a ribbon that matched my natural hair color. The black ribbon is vintage from a friend. 

To make the net, I cut a round piece of cardboard and marked the the center with a north-south and east-west guideline.  I cut long strips (I think 16") of the brown velvet and wove a lattice pattern like a pie.  I then used pins to keep the strips in place and then sewed each overlap point with matching thread (see image below). THIS TOOK AGES.  Once the lattice part was sewn, I finished the edges by making a loop at the end of each strip.  THIS ALSO TOOK AGES.  The loops were then used to thread a length of brown twill tape that meets at the nape of my neck.  The twill tape is pulled tight once I have the net in place.  To cover the loops and twill tape, I pleated the black velvet, as was common in period images (see below).  I roll my hair into a rat at the nape of my neck, put the net on, and secure with a few bobby pins.  So much easier than making buns, braids, and rolls that I used to.  Also, I just like the neat and tidy look.

1860s velvet hair net side view

1860s velvet hair net back view

1860s velvet hair net bathroom mirror shot!

Latticed ribbon pinned in place.

Godey's 1864

Flat velvet ribbon 

Modern Cat Quilt

My sister and I have started a tradition of making quilts for expecting friends and co-workers. We made two crib sized quilts over the last few years, but a co-worker of ours recently adopted a two year old from overseas, we tried our skills at something a little bigger. Inspired by the fact our co-worker is the neighborhood cat lady, we decide to replicate a quilt with an online tutorial for the quilt blocks.

Since the quilt is for a toddler, we went with a grey background instead of white (kids=dirt). We chose three shades of green for the back with a slight size gradient from light to dark, and the edge is bound with a random black and white dotted fabric, all in cotton. The quilting design followed the quilt seams and then the edges were bound by hand. 

Front

Green ombré backing

Edmond helping, cat approved.

Regency Bonnet Completed

After staring at me untouched for way too long, I decided to finish my bonnet this Saturday.  I only had scraps left over from cutting out the silk exterior fabric, so I had to piece together strips for the bonnet ties, which I then hand felled. The ties are attached under the last row of trim on the crown, which seems to be a pretty standard practice of the time. I had some bias cut strips of white silk that I pieced together and then pinked the edges.  My first version used a gathering stitch, but it was too wild.  My second attempt was pleated, sewn, and then trimmed down further and then applied to the brim.  Many of the original fashion plates I referenced had some sort of trim on the brim, either lace or other detail, and adding some white really brightens up the entire hat.  I added a little bow to the back, because a hat can never have too many bows!

Inspiration 1814 fashion plate 

Regency bonnet front view

Regency bonnet 3/4 view, ties attached under trim.

Regency bonnet brim view

My First Foray Into Regency Millinery

I am slowly putting together a Regency wardrobe for the 200th Anniversary of Waterloo, and I've always wanted to make myself clothing from this era.  This weekend I started on a Lynn McMasters Regency Bonnet Pattern. I can't say I am much of a fan of her patterns and in the future will probably just draft my own. I minored in Theater Arts in college and took a millinery class and should really put those skills to use again when it comes to making custom patterns.

I chose to make view A and used silk taffeta from Carmels Fabrics for the exterior. Taffeta is fiddly and shows every lump and pin prick, but looks so pretty when done well!  I am still working on trimming the exterior and need to make the bonnet ties, but made good progress this weekend.

Pleating the inner brim.

 

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WWI Red Cross Knitting Bag

This weekend I threw together a linen Red Cross knitting bag based off an original that sold on ebay a while back (left image). The original measures 20" tall and 18-19" wide, as does my reproduction (right image). There was no information if the original had a lining, but I put in a light colored polished cotton from my sewing stash. The cross is red cotton flannel. I went on an epic quest to four different stores in a metropolitan area to get the purse handles. Only Jo-Ann's Supercenters carry purse making supplies, Michael's has clear plastic handles to crochet cover, nothing at Wal-Mart, and finally Hancock Fabrics was the promised land. I wish the handles were a bit larger to spread out the gathered fabric better, but the next size up was enormous. I wanted to have it made for this weekend as I am attending a WWI Living History event and wanted to work on my knitting with a better knitting bag than the vintage one I have that looks good for WWII, but not WWI.

Original WWI knitting bag (left), my reproduction (right).

Polished cotton bag lining.

Dressing the 1860s Part II

I realized I never posted the completed 1860s dress from last year (see this post for details). For how little I do 1860s I've yet to make myself a cage crinoline, so I wear a corded petticoat and bum roll for the skirt foundation and then wear three petticoats on top.  Overall it creates a look that I quite like.  The skirt has pockets in the side seams lined in navy polished cotton.  I really like the gold silk belt I made for the gutta purcha belt buckle I found.  Other accessories include a velvet neck bow, small white standing collar and cuffs (tacked in to remove for washing), and a silver ladies watch and chain. 

1860s dress, front view

1860s dress, side view

1860s dress, back view

1860s dress, pocket detail

1940s Silk Robe

To keep a living history event going at overnight events I like to wear historic lounge wear.  For 1840s/1850s events I have a linen nightgown I made from The Workwoman's Guide and a wool/cotton challis wrapper based on an extant garment.  For the overnight 1940s events I've been attending I recently made a silk robe from a novelty print fabric I bought in the LA fashion district.

1940s Wrap Dress/Robe pattern

Novelty print silk detail

Complete with camel pocket!

The vintage pattern I used is genius as there are no buttons or zippers and goes together in less than a day! I spray starched the cut pieces, let them air dry, and then pressed each piece, which stabilized the fabric enough that it was a lot less painful to sew with than I had anticipated.  I used pinking shears to finish the seams. If I am diligent enough this week after work, I may have a pair of 1940s pajamas to wear at the event this weekend too!

1840s Dresses at the American Textile History Museum, Lowell, MA

With a family wedding in Maine, I took the opportunity to take a week long vacation back east to visit the greater Boston area, which was on my history to-do list for a while.  We visited Old Sturbridge Village (Ian's favorite), Lowell Mills National Park (twice!), the MFA Boston, followed the Freedom Trail in Boston, Cape Neddick, Maine, and on our second time in Lowell we visited the American Textile History Museum (which was closed the day we went before).  I thought I'd share a few photos of 1840s dresses that I saw in person that I have posted as inspirations to some of my projects!  I may have squealed in delight when I happened upon the two below. :)

1838-1843 cotton & wool blend dress with pelerine.

1838-1843 cotton & wool blend dress, pelerine detail.

1845-1848 cotton dress.

1845-1848 cotton dress front detail.

WWI Silk Satin Hat

I am getting together a WWI era outfit for a centennial event in August and have been slowly putting bits and pieces together.  I just finished another version of the Lynn McMasters pattern (the first was cotton velvet in View D) and I was pleased with how it came out.  I made a special trip to Downtown LA earlier this year to pick up supplies at California Millinery (oh my, I love that place), and also found a satin that had a nice backing, not too stiff or slippery, and didn't scream synthetic.  I really like how this hat turned out and really liked working with a curved needle on this project.  For trim I have an antique spray of black wheat to add, and that's about it.

Lynn McMasters pattern, View B

Lynn McMasters pattern, View B interior

1860s Ladies Paletot

After I made Ian an 1860s smoking cap for Christmas, he wanted to make me something after he finished up a few sewing projects for other people.  He decided to make me a wool paletot to go with the new 1860s impression I've been building recently.

For the coat, I had several yards of Italian wool that I bought seven years ago at B.Black and Sons in Los Angeles.  Ian was with me at the time and urged me to buy it for a coat, little did I know it would take so long to get around to making one!  For the pattern he used the Kay Fig Ladies Paletot Pattern (1860-1867) with some modifications.  The exterior of the coat is bound with wool braid, welt pockets were added instead of patch pockets, and a different collar was drafted.  The bound edges and sleeve decoration are based on an original in the Met Museum. The pattern is very well made a required very little alterations and I highly recommend it.  The shape of the sleeve is so perfect for 1860s I just love it!

Kay Fig 1860s Ladies Paletot front view.

1860s Ladies Paletot back view.

1860s Ladies Paletot side view of full coat sleeve.

1860s Traveling Bag

In preparation of an upcoming overnight stay at an 1860s event, I spent some of my Christmas vacation researching and constructing a ladies traveling bag. I based the materials, decoration, and dimensions off of existing examples (see below). 

Mint Museum 1855-1865 Day Dress staged
with accessories including linen bag.

21"  long with 31" circumference when full (ebay auction).

Image from NorthSouthEmporium on etsy.

My version is made of drab colored linen and lined in polished cotton, as per many original examples. I applied cotton braid by hand and used the decorative feather stitch, which is used on all three of the originals above, on my sewing machine and then flat lined the polished cotton lining to the body of the bag.  I set in the linen ends, sewed the seams, and then hand applied the polished cotton lining in the interior so there are no exposed seams within the bag.  

1860s traveling bag repro side view.

1860s traveling bag repro end view.

Polished cotton lining set in by hand.

Overall it was a quick, fun project and fulfills one of my sewing goals this year to fill out my interpretation wardrobe with accessories.

Circa 1917 Ensemble

I put together a World War I civilian outfit in a week last year to attend the Fort MacArthur timeline event in July but didn't get any pictures.  We were invited to a 1920s New Years party and were encouraged by the host to wear our stuff, even though it was a bit out of date. It's hard to see in the photo but the dress has ruffles on the bum that are just too fun.    

Bob Herron photography.

Hat made from Lynn McMasters pattern in brown cotton velvet.

Past Patterns #8159: Ladies' Dress with Two-Piece Skirt

1864 Smoking Cap

I finished what I thought was going to be a quick project after several weekends of handwork, but I think it turned out okay for my first attempt at soutache.

I used the January 1864 pattern and directions from Peterson's Magazine. As per the instructions, with the black velvet base and use of blue soutache I used gold beads as the accent.  The tassels is gold and blue embroidery floss bound together and set under a gold decorative button.  The interior is black sateen embroidered with a diamond motif and padded with wool batting.  I really enjoyed working with the soutache and the beading went relatively quickly, it was picking out the tissue paper from the crown after the braid and bead work was done that took FOREVER.  Tweezers saved the day!

January 1864 Smoking Cap instructions from Perterson's Magazine.

Finished 1860s Smoking Cap.