Dressed in Time

Sipping Vintage

2012-02-27T10:11:00.002-08:00

Louise Brooks pouring Irish whiskey.

Here in Las Vegas, we have a zillion bars and places of get drinks. Whatever kind you want and whatever atmosphere. I gravitate to restaurants. And about a year or so ago, Sage in Aria opened up. The food I don't remember so well, but the bar is amazing! They have an entire page of "vintage drinks." Click here to see the menu. Scroll down to Classic Cocktails.

The bar at Sage in the Aria. Via.

The first time my husband and I went, the bartender... ahem... mixologist, was eager to explain the history behind these drinks. I had always heard that cocktails came about during prohibition, when cheap liquor was so unpalatable that people started mixing, but our mixologist explained that mixed drinks were around long before that, and drinks that come to mind from the prohibition era are usually from Europe, where people could drink as much as they like.

Ever since, my husband and I have made an effort to try all kinds of these vintage drinks, which are coincidentally popping up more and more on menus around town. Our favorite so far is the Last Word, a bright green and very strong drink, concocted of equal parts gin, lime juice, maraschino liqueur and green chartreuse. The history of this drink, as said by Ted Saucier in Bottoms Up (1951), is it's a prohibition era cocktail, attributed to the Detroit Athletic Club. Wherever it comes from, cheers!

Recently, in the Ralph Lauren store at the Palazzo, I found two reproduction 1895 bar books: The Mixicologist by C. F. Lawlor and Modern American Drinks by George J. Kappeler. I absolutely love them! The covers are like the originals! And so are the insides. You can buy them online as well, at Cocktail Kingdom.

Some other great books for vintage drinks are Artisanal Cocktails by Scott Beattie and Vintage Cocktails by Assoulin.

And a couple recipes to try out...

Last Word (My favorite)

Equal parts gin, lime juice, maraschino liqueur, and green chartreuse. Shake with ice and strain. Serve up.

Negroni (My second favorite)

Equal parts campari, gin and sweet vermouth. Shake with ice and strain. Serve up with a burnt orange twist. Or serve over ice fora daytime drink.

(This drink is a little bitter. For a smoother drink, you can use Aperol instead of Campari and Lillet Blanc instead of sweet vermouth. This is how they make it at The Mandarin Oriental Bar).

To Frappe Champagne (from The Mixicologist, 1895)

Place the bottle in the champagne pail, fill with fine ice and salt; whirl or twist the bottle several times, and it will become almost frozen.

(My notes: you should of course use a champagne saucer or coupe for that vintage experience. Champagne flutes did not become popular until later. Flutes show off the bubbles. Actually, according to Arthur Inch in Dinner is Served, gentlemen used to carry around their own swizzle stick to remove the bubbles from their champagne!)

Brandy Sangaree (From Modern American Drinks, 1895)

Fill a mixing glass half-full of fine ice, add half a tablespoon of fine sugar, one jigger brandy; shake well and strain, grate nutmeg on top.

(Can also be made with gin, port wine or sherry in place of brandy)

Via

If Grace Kelly lived in the 1700's, or Dior does panniers.

2012-02-23T11:51:00.000-08:00

From style.com

In the Spring Couture 2012 collection, Dior does some fabulous ball gowns, some with some very 18th century silhouettes. But in true Dior style, 1950's glamour shines as well.

See the whole fashion show here on Coco Perez. Some really beautiful pieces!

Calisthenics for Ladies and Turn of the Century Gym Clothes

2012-02-15T09:00:00.001-08:00

From Cassell's Household Guide
via Victorian London.

From Cassell's Household Guide, Volume One:

"THE word "calisthenics" is derived from the Greek, "kalos," beautiful; and "sthenos," strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure...

It is a very usual plan in America and France, where the subject has been carefully studied, to wear a special costume, consisting of a loose blouse, with a sash at the waist, and Turkish trousers; or in place of the blouse, a Garibaldi bodice and skirt; dark blue serge with white or scarlet braid, or unglazed holland with the same sort of trimming, are most in favour, being both strong and light. Grey and red is another favourite mixture. The boots should be an easy fit, with low heels. Our illustration (Fig. 1) will show that such a dress, while ensuring perfect ease and liberty of action to the wearer, is by no means unbecoming."

Browse the rest of the chapter on calisthenics. Fascinating!

California, 1912.
Holding a weighted exercise stick.
The Vintage Traveler.

Circa 1865-70.
Missing the overskirt.
The Vintage Traveler.

Cotton, c.1910.
The Vintage Traveler.

From My Ear Trumpet Has Been
Struck by Lighting (lol)

From the Victorian Picture Library.

Can you imagine what they would have thought of kick boxing and ladies in MMA?! Smelling salts please!

Another Whiting and Davis Art Deco Bag

2012-02-13T09:05:00.000-08:00

Adorable! This Whiting and Davis Armor mesh bag dates from the 1920's and has a lovely organic motif decorating the mesh. The top of the bag has a green and black art deco enamel design. The only thing this bag is missing is its original fabric lining. Not too hard to restore and it's the perfect size and shape for my phone!

For more on Whiting and Davis, click here.

A 1920's Wrist Watch

2012-02-11T09:00:00.000-08:00

I wish this watch photographed better. It absolutely twinkles!

This watch is a Lady Elgin from the 20's. My husband bought it for me and as of yet I haven't had a chance to wear it. But I am excited to!

The watch is white gold set with a few diamonds here and there. The strap is the original black cord. It latches at the ends and has a little chain that attaches as well in case the latch unclasps. Truly dainty!

Elgin Watch Ad (1926). American Artchives.

From The Saturday Evening Post.

Designer collaboration with Callot Soeurs.

Edwardian Opera Gloves

2012-02-09T09:00:00.000-08:00

The ubiquitous opera glove. No turn of the century costume would be complete without them. I found some beautiful ones recently on Ruby Lane, but they are much too small for my (or probably anyone's) hands. They are in lovely condition though, so maybe I will put them up on the boutique soon. I don't like to keep things I can't use. I just don't have the space. Maybe one of you will have room for loving and displaying them, or maybe small enough hands to wear!

They are completely unworn. Actually, they still have thread attaching them together, showing they have never been used. They have a little discoloration with age, and are creased a little from being folded away for a hundred years, but all in all, they are lovely to look at and study. The gloves are white kid.

For an extensive look at the history of opera length gloves, click here.

You can see the small thread that
connects the gloves.

My hands are a modern size 7.
The gloves are a (very scant) 6 1/4.

And some ladies who would have been buying gloves when these were on the shelves:

Pictures courtesy For the Love of Opera Gloves.

Click here for Opera glove etiquette. Remember - NEVER eat with gloves on! How uncouth!

Nineteenth Century Household Manuals, or What Housekeepers Used Before Google.

2012-02-07T23:40:00.000-08:00

Byfield, Northamptonshire, UK
c.1896-1920.
English Heritage NMR

Whenever I watch period shows (i.e. Downton Abbey), aside from drooling over the costumes, I always get very interested by what goes on below stairs. Since poor little ol' me doesn't have a staff of my own, and it's up to me to be not only the lady of the house, but also the housekeeper/butler/cook/scullery maid, I have quite an appreciation for how these great houses were run. These shows always inspire me to break out the silver polish...

Staff of Winsford Towers Estate, 1902. Devon, UK.

Stable staff. Unknown estate.
English Heritage NMR

I recently have been reading Arthur Inch's, Dinner is Served, and Up and Down Stairs: The History of the Country House Servant, by Jeremy Musson. Both very fascinating books about being in service. Inch's book is a kind of how-to mixed with history, using knowledge from his many years as a butler, starting in the 1930's. Musson's book is an in depth study of country house service from the middle ages through today. I recommend both.

A man in the 18th century style livery of Blenheim Palace,
residence of the Duke of Marlborough.
The same home worked at by Arthur Inch. Photo c.1900.
English Heritage NMR

Butler's pantry at Barton Abbey, Oxfordshire.
English Heritage NMR.

But on to first hand, historical resources...

Housekeeper's and staff would have had reference books, just as today we might google a recipe. I start with Cassell's Household Guide, with volumes written in the latter half of the 19th century.

If you have never heard of Cassell's, I first learned about it while watching The 1900 House on PBS. Great show. It took a modern British family and transplanted them into a fully restored c.1900 house, where they had to live and breath the turn of the century way of life. Cassell's guide was used as a reference on the show, both for restoring the house and filling it with everything necessary to the 1900 era lifestyle. They also left the book for the family as a daily reference.

Original for sale at Inch's Books.

I soooo badly wanted to get my hands on that book! Unfortunately, then (1999), I couldn't find one that wasn't a zillion dollars at an antique seller. Fortunately though, now, Cassell's is ALL over the web! What a difference thirteen years makes!

So check it out here, here and here:

On google books for the scanned original.
On Victorian London for a fully indexed and searchable guide.
On Amazon - order a paperback copy and have all 392 pages at hand for your own personal reference. Bummer it's not leather-bound...

Two other well known period reference guides are Isabella Beeton's Book of Household Management, first published in 1861, and Sarah and Samuel Adams' The Complete Servant Being a Practical Guide to the Peculiar Duties of all descriptions of servants... with Useful Receipts and Tables, published 1825. Both of these books are now available for reference online like Cassell's. I have linked their titles. Mrs. Beeton even has her own website! Both books are also available for purchase on Amazon: Click Adams' and Beeton's for the pages.

Fascinating books for reference. If you browse them you will find not only information about cooking, cleaning, etc, but also mending and sewing. There are even some chapters in Cassell's on shoe mending and leatherwork!

A Silk Envelope Chemise c.1920

2012-02-07T15:50:00.000-08:00

Envelope chemise, c.1920.

Here we have an ecru silk envelope chemise, dating from about 1920. It still has a small tag that says "made in france" sewn to one of the straps. On me (5'4") it hangs almost to my knees. At the bottom, the back of the chemise is cut, with a french seam, so that it comes between the legs and buttons at the front for modesty. The envelope chemise is a later teens through 20's style, similar to combinations and cami-knickers, designed to be worn much like a slip.

Front view.

Detail of the embroidery at the bust.
It looks to be hand done.

The side seams. The fabric does not meet,
but it stitched together leaving a small
opening between the front and back.

The top and bottom edges,
as well as the straps, are hemstitched.

This is where the back meets the front,
turning the slip into a romper. The placket,
where the buttons are attached, is stitched
to the front, while the button loops are
attached to the back.

The buttons look like mother of pearl and the
button loops are a thin thread bar, done up with a
buttonhole stitch.

The faint opaque line, going vertically down the front,
is where the button placket is stitched onto the front.

From the back.

Inside out. A detail of the embroidery. Note how the
"leaves" are done with two layers of fabric for contrast.

Inside view of the side seams.

Inside view showing how the straps attach
and detail of the hemstitch.

Down the center back is a french seam.

The original "made in france" tag.

An Edwardian Lawn Dress

2012-02-02T13:21:00.000-08:00

Circa 1910's lawn dress.

I don't know much about this white dress. I have seen this style called both a lawn dress and lingerie dress, but I am not 100% sure which is correct. What I do know is that this particular piece dates from upwards of 1910 and that these white Edwardian dresses are very easy to find today. Go on ebay, etsy, most online vintage stores and you will not have to look long to find one. Either there were just so many of them made that so many have survived, or they were not worn much. If someone who knows more about Edwardian fashion wants to share, please do.

This dress is quite short on me, coming above the ankle. I'm five foot four, so either this particular dress was made for someone very short or the style shows the foot. The short sleeves are intriguing to me, as I haven't seen too many of these dresses showing so much arm. It is probably made of cotton lawn, which I think is where the name comes from: lawn dress. The dress also appears to be mostly machine made (except maybe attaching the buttons), with what looks like machine made lace, machine made seams and machine embroidery on the front bust.

But on to the pictures...

Front view.

How cute these little flower buttons are!

The embroidery looks to be
done by machine.

Detail of the waistband.

The hem is edged in headside lace
(i.e. lace with a wavy edge vs. the inset
lace which is finished on both edges
as a footside).

Inside the dress. Note the lace is inset and the fabric
selvedge is left raw.

The lace looks to be machine made bobbin lace in the
english style.

Back view.

The next two pictures show this area in detail (back of skirt),
where a couple repairs have been made,

A different lace has been set in as a repair.
It is also machine lace.

The neckline closes with lace covered buttons,
with the button hole being the scalloped
edge of the lace.

Detail of the covered buttons.

The rest of the buttons look to be mother of
pearl or a faux equivalent.

The button holes below the waist
are thread bars.

The button holes from the waist up are hidden
in a double layer of fabric.

Detail of the bobbin lace at the neckline.

American graduation photo from 1912. Dushor, Pennsylvania.
The photo shows young girls in similar white dresses.
Look at those huge hair bows!

Photo courtesy Ye Olde Fashion.

A Vintage Whiting and Davis Beadlite Bag

2012-02-01T15:21:00.000-08:00

Whiting and Davis, c. 1930's.

I've always wanted a vintage metal mesh bag. They always make me think of the 1920's! I often see silver versions in antique stores, but until recently I had never seen any in color. I found this fun one on Ruby Lane. I love that website. Soooo many antiques!

This bag is Whiting and Davis, circa 1930's, and it is "beadlite" armor mesh, meaning each dot of color is an individual bead of painted metal that gives the armor mesh a raised finish. These mesh bags were very popular in the beginning of the century, and are still being made by the same company today.

Whiting and Davis started in 1876 as Wade, Davis and Company as a jewelry manufacturer. In 1880 Charles Whiting joined the company as an errand boy. By 1896 he had advanced in the company and partnered with Edward Davis. The company name changed, and in 1892, Charles Whiting handcrafted the first mesh handbag. Until 1912, the bags were entirely created by hand. Whiting was quoted saying, “It was no unusual sight in the summer to ride through the country and see groups of women sitting under the trees in their yards making purses just as you would see them spending an afternoon sewing."

Detail of the 'beadlite" mesh.

Art Deco motif on the clasp. The silver plate is a bit worn,
but the painted beads are in great shape.

The inner lining is still in very good and strong condition.

Whiting and Davis stamp.

To learn more about Whiting and Davis check out their website. They manufactured for the war effort in WWII, have a patent on the first bangle hinge and even made mesh gloves for a meatpacking company. Interesting stuff.

An Antique Edwardian Gown: Inside and Out

2012-01-31T15:19:00.000-08:00

I originally bought this gown with the hopes that it was in good enough condition to wear. When it arrived, I was disappointed to find that it was much too fragile. The overdress is made of such a fine and delicate fabric that it has worn through in places and the coral body of the gown has a few rips as well. I very much wanted to clean and press this dress for photos but I'm too worried about destroying it, so please excuse the years of dirt and it's wrinkly state.

The silver lining in all this is that the dress is still incredibly useful for study.

I have many Victorian/Edwardian tailoring books, but nothing is quite like seeing the real thing. The construction of Edwardian era gowns has always been such a mystery to me. So many hooks and snaps and weights and layers and linings and blah blah blah. I have a few day dresses from the era, but I have never had the opportunity to see a more formal dress. Inspecting this gown has been fascinating.

To note, I am inferring that this dress is from around 1910, due to the style of the over dress and the shape of the train. If anyone has a better idea of year, please do share. The dress appears to be coral silk satin with an overdress of charcoal silk chiffon(?). The embroidery looks to be silk as well. Quite a lot of this dress (except the long seams perhaps) is hand stitched.

Loads and loads and loads of pictures ahead!

Note the interesting shape of the train.

Gilt rope bow detail.
Slightly tarnished with age.

Looking at the stitching, you
can see the net is hand embroidered.

Each of those bumps is a pocket in the tape that holds
a weight. I'm assuming a lead weight. It goes around the
circumference of the overdress

The split open side seam of the over dress
meets at the bottom...

...But is open on both sides of the
bodice like this.

Note the decorative little coral pieces attached to the
bodice. They are under the sheer layer.

You can see the three layers in the sleeve.
The middle layer is a gilt lace.

Looking through a hole in the underarm.

The seams in the sheer layers and lace are french seams.

Of the two gilt ropes, the lower rope is wrapped in the
overdress fabric.

There is a layer of the gilt lace across the bust.

Note the small stitches securing the
gilt lace to the white.

The collar is edged in satin and trimmed also with the gilt lace.

Back view!

To hold up the lace collar, there are five
thin "wavy" wires.

One wire is enclosed in the seam.

The opaque cream ruffle is sandwiched in
between the outer bodice and a lining of
mesh. The ruffle is a stiff, starchy fabric.
Presumably to shape the outer bodice.

Millions of hook and eyes!
Ladies maid please!

The inner waistband, made of a sturdy tape.

Note the bone casing along the waistband.
There are five bones.

Note the hand over-casted selvedge.

See the skirt flipped up. Along the back half of the skirt
there are four one-inch diameter flat circular weights,
encased in fabric.

This casing is missing its weight.

The insides of the sleeves are finished in a french seam.

Can Can!

2012-01-15T21:18:00.000-08:00

Nini Pattes-en-l'air, la Sauterelle, Grille d'Egout and
in front of them, la Goulue, in the Moulin-Rouge. Paris

I've been doing a lot of research on turn of the century undies lately, so for pictures, I thought, what better than photos of the can can?! Who else is going to show their belle epoch panties to us?...

So just for fun, some pictures of the Moulin Rouge in it's hey day, with it's most famous dancers: Louise Weber aka La Goulue ("the glutton" or greedy) and her partner, Valentine Dessose ("Valentine the boneless"). Nini-pattes-en-l'air ("legs in the air"), Jane Avril, Mome Fromage ("the cheese girl"), Cha-U-Kao (or "chahut-kaos" meaning "dance of chaos"), and Grille d'Egout ("sewer grating" after her gapped teeth).

Lots of pictures of knickers! Enjoy! Tehehe!

Le Moulin Rouge c. 1900.

La Goulue

La Goulue and her partner, Valentine.

La Goulue

Nini-pattes-en-l'air (legs in the air)

Nini

Jane Avril

Mome Fromage

Grille d'Egout

La Goulue et Mome Fromage.
Toulouse-Lautrec.

Moulin Rouge – La Goulue (1891).
Toulouse-Lautrec.

Sketch by Toulouse Lautrec.
La Goulue and Valentine.

La Goulue arriving at the Moulin Rouge,
(1892). Toulouse-Lautrec

Avril (Jane Avril) (1893).
Toulouse-Lautrec.

Jane Avril (1899). Toulouse-Lautrec.

Toulouse Lautrec (1896)

The Seated Clowness (Mademoiselle Cha-u-Kao),
1896. Toulouse-Lautrec.

Henri de Toulouse-Lautrec

Dancers at the Moulin Rouge in the 1930's.

Dancers c. 1890's

Dancer c. 1895

Images courtesy Bonjour Paris, The Burns Archive, History: The Ultimate Fandom, Parisian Images, Des yeux pour voir, Jane Avril.net, The Telegraph UK, La Lettre, Art.com, Deviant Art, Wikipedia, Metropolitan Museum, Au Feminin, Google Books.

A Visit to Herr Mozart

2012-01-08T13:46:00.000-08:00

Mozart and his birthday have always been a big part of what got me into making costumes. We always celebrated with a costume party in my house growing up, and as the years went on the costumes got a little more serious. And look where its gotten me - and obsession, no a passion. Obsession sounds bad :)

So in honor of Mozart's birthday, coming up on the 27th of this month, I thought I'd share some pictures of my last visit to Salzburg. Salzburg is a beautiful and very old city on the banks of the Salzach. It is also Mozart's home town. In the older parts there are no cars, and the streets are narrow and cobble stoned. Walking through Salzberg, you can still get a feeling of what city life must have felt like two hundred years ago. And if it rains, you can always hop in a carriage...

Mozart's house in Salzburg, Austria. Easy to spot,
painted in a bright ocher yellow.

Mozart's own view. Looking out into the square from
a window in his house.

On display in the home.

A paper display gown. Pretty!

Coffee and pastries at the Hotel Sacher. Very Austrian! They love their
sweets! Be sure to try the traditional chocolate Sacher Torte.

In St. Peter's Cemetery.

View from St Peter's Cemetery catacombs.

Hohensalzburg Castle. A fort. Looks awfully foreboding under
those grey clouds.

Hohensalzburg up close.

Looking down on the city. You can see the Salzach river.

It started raining so we took a carriage. If you have never been in a
carriage, I highly recommend it. It feels completely different than any other type of transportation. Especially over cobblestones!

Cafes (kaffeehaus) are everywhere. Order a melange, which is basically an
Austrian cappucino, or a Franziskaner, which is like an espresso con panna.

What charming little streets! You wont find cars in the
old parts of the city.

The carriage ponies! Anyone have a sugar cube?

Lady Mary Wortley Montagu and Her Turquerie

2012-01-06T16:55:00.000-08:00

Portrait by Gervase Spencer

Charles Jervas (c1675-1739).

Attributed to Jonathan Richardson, 1725.

As wife to the British ambassador, Lady Mary Wortley Montagu (15 May 1689 – 21 August 1762) is best remembered for her letters from Turkey. She is said to have written the "very first example of a secular work by a woman about the Muslim Orient (Billie Melman)."

But I would rather remember her for her fabulous turkish costume. I love the headdress!

And some more turquerie to leave you with...

Mrs. Thomas Gage, 1771
by John Singleton Copley.

Mrs. Robert Morris by
Charles Willson Peale (1741-1827).

Madame de Pompadour, 1747, Charles André van Loo.

Marquise de Fresnes d'Aguesseau, 1789.
Elizabeth Louise Vigee Le Brun.

A Woman in Turkish Dress
by Jean-Étienne Liotard

Lace!

2012-01-05T17:22:00.000-08:00

Well, it's almost lace. It's really a lace footside, which is the straight edge of english lace, but it's a start. The wavy, decorative edge is called a headside.

For my very first attempt at demystifying lace, I started with the footside because it seems the simplest. A good way to start. I followed a pattern from Jo Edkins' Lace School. It's a great lacemaking website. Way more informative than any of the books I have purchased.

This pattern uses six pairs of bobbins.

This footsides pattern uses six pairs of bobbins. More complicated lace can use up to 50 pairs. That's 100 bobbins! That's one crowded pillow. Speaking of the pillow, I found my roller pillow at Lacis. The bobbins are english bobbins from Mielkes Fiber Arts. For the thread I am using 60/2 white linen thread from William Booth Draper.

The beginning few inches. The frays are from
starting with proper looped bobbins, but
I screwed up, so I cut that part away.

Further along, I had to move the pattern down
the pillow. In hindsight, I should have made
the pattern go all the way around the roller.

So far I've gotten the hang of this easy pattern pretty well. Basically all you do is cross the bobbins right over left, or left over right, secure strategically with pins, and keep going. It goes very fast. I'm itching to try something harder when I run out of thread on these bobbins. Very exciting!

A Few Dresses From Spain

2012-01-04T12:29:00.000-08:00

Spain, 1780's (?)

I came across this frothy sea foam number this morning and thought it was just like candy! I usually focus so much on English and French fashion, I rarely come across things from other countries. The above gown is from Spain. Eighteenth century spanish ladies do love their lace!

Doña María Josefa Alonso-Pimentel y Téllez-Girón
Goya, 1785

The Duchess of Alba, Goya, 1797.

Bespangled Bobbins

2012-01-03T15:57:00.000-08:00

My budding collection of spangled bobbins.

Lace making has always seemed a bit of a mystery to me, and therefor challenging, so how better to understand it than jump right in?

I recently bought a few books on lace making, and after browsing a bit, never being one to think something is too hard to give it a go, I dove in and ordered supplies. I plan on focusing my attention to English bobbin lace. There are many different types of bobbins for many different types of lace making, but English bobbins have spangles, which makes them infinitely more fun!

Some examples of English bobbin lace:

Surprisingly, even the most intricate of patterns are made only with variations of either crossing the thread, or twisting it. Click here for a better description of how lace is made.

Honton bobbin lace on hand made net. Mid 19th century. Christie's.
Honton lace was used as Queen Victoria's wedding lace.

Midland lace aka English Maltese lace.
From Jo Edkins' Lace School.

Torchon lace aka Beggars lace.
From Jo Edkins' Lace School

Spangles are the beads attached to the bottom of bobbins. English bobbins are drilled with holes to facilitate attaching the beads by wire. The loop of beads has a purpose, aside from looking pretty. It stops the bobbins from rolling on the pillow and the weight keeps the threads evenly taught.

Traditionally, lace makers seem to be rather superstitious. Lots of beads have meanings, much like charms. A snake or serpentine design is said to ward off evil spirits, as is a button. Here are examples of each. Images courtesy Lacefairy.

A "fancy dress" bead used as a charm.

A bead with a serpentine design.

Below is a "Kitty Fisher" bead, named after the famous 18th century actress (who found Lucy Locket's pocket). This bead is usually grey with blue on white and red on white dots, roughly resembling a face.

Im assuming the blue dots are Kitty's eyes?

While I wait on my pillow and thread to come, I tried to find some beads that were traditional, but I just fell in love with the cupcakes and mice! I also chose a very pretty four leaf clover bead, some carved jade and lots of cloisonné. Some of my favorites:

I hope to be able to make at least some modest lace, because how fun are these bobbins! I'd love to collect antique ones, but I refuse to collect things I can't use. So I better get practicing!

I should note, unfortunately, all the really beautiful 18th century lace, like alencon and argentan are actually needle lace, not bobbin. I'll elaborate more on this another day, as well as more info on bobbin lace and how it's actually made. But for now I'm just smiling about the bobbins :)

A bit of whitework between the red and green.

2012-01-02T15:24:00.000-08:00

The past couple months have been a barrage of busy. All my bigger projects were put on hold, devoting my time more to Christmas and shopping and wrapping and parties and all things red and green and sparkly. But in between all the holiday festivities I was able to fit in some some less time consuming projects. I find that white work embroidery is very easy to work on in short spurts, leaving off for a while, and never having trouble remembering your place. No worrying about colors!

I started working on the embroidery panels of an 1804 dress from the Met that I absolutely love. It's quite simple embroidery, only using french knots and satin stitch. I sketched out a pattern on paper and then, as I had time, I traced the design onto the fabric, worked a bit, left off and came back as I pleased. So far I have the waist band completed and a few repeats of the front motif. I used a little heavier thread than I would have liked, but the embroidery on the original dress looks a bit heavy, too. The fabric is a thin, plain weave cotton I had on hand. Maybe a voile.

Detail of an unfinished repeat.

A completed repeat. Please excuse the hoop,
which gives a funny perspective,
making the work appear distorted in size.

The waistband, pinned onto the dressform.
She is wearing a regency era corset from Period Corsets.

The original dress. White cotton evening gown.
1804-5, French. At the Met (1983.6.1).

This image shows good detail of the original embroidery.

I also have a bit of the bodice done. I can't wait to take the tree down and get back to having free time. Hurray for January. And happy new year to all!

These are too perfect! Ohmagod!

2011-12-18T21:50:00.000-08:00

The CUTEST plates ever! I found mine in the store, but you might be able to find them online here. They're called the "Ladies in Waiting" plate, and I bought mine at Anthropologie. Please go buy them! They are just tooooooo perfect! I don't even want to eat of them - just stare at them and smile. Sigh.

Merry Christmas to me!

Yummy! How to make your own butter and marmalade.

2011-12-16T11:39:00.000-08:00

"Bought marmalade? Oh dear, I call that very feeble."
-- Lady Trentham, Gosford Park.

Well, we wouldn't want to disappoint Lady Trentham now would we?

My dad has big citrus trees in his backyard, and every time we go to visit we come home with bags and bags of lemons, oranges and grapefruits. My husband squeezes the lemons for future lemon juice at hand and we usually eat or give away everything else. But this time the oranges were a little bitter, being out of season, so I figured what better to make than marmalade!

Marmalade is super easy, if only a little time consuming. The following recipe also works for lemons. You don't need to add any pectin because the pith has plenty. My mom makes tons of jams and never uses added pectin.

Marmalade

10 oranges

4 cups water

4 cups sugar

Start by washing and peeling the oranges. Slice the peel into small bite-size strips. Then divide and slice the rest of the oranges in a similar fahsion, removing seeds and stems as you go. Add the peel, oranges and water to a large heavy bottom, non-reactive pot. Bring this to a boil and reduce to simmer for about an hour. Stir occasionally. This will soften the fruit.

Slice the oranges and peels into bite size
pieces and add to your pot.

Boil to soften the fruit before adding sugar.

Next add the sugar, bring to a boil and then reduce to a gentle boil. Stir more frequently so the bottom doesn't burn. If any pieces do burn, or if any seeds rise to the top, simply remove with a spoon. And don't lick the spoon! Hot sugar is HOT!

Boil the mixture for about an hour. Depending on how hot your burner is, this step might take as little as 40 minutes or an hour and a half, or more. If you have a candy/deep fry thermometer, you will want it to register at 220 degrees. If you don't have one, never fear, when the mix starts to thicken you can take little dollops and drop them on a cold granite counter or a plate which has been cooled in the freezer. After a minute or so this dollop will cool. If it's the consistency of jam you're done! If not, just keep boiling a little more.

When the marmalade is done, you can can it, or just store it in the fridge if it will be eaten shortly. To can, I use glass jars. Check out this page on canning, since I don't want to explain it wrong and jeopardize your yummy preserves. If you do can, Avery makes perfect sized labels for the tops. You can print them on the computer or hand write. For gifts, you can add a square of pinked fabric over the lid and secure with a ribbon. A good way to utilize those scraps from your last chintz gown, yes?

Label the tops for future reference.

On to the butter.

Another, even easier (and quicker), yummy thing to make is butter! It is sooooo easy and yet so impressive to others. All you need is some cream for whipping, but you can add a little buttermilk and salt for tang or some honey for sweet honey-butter (or any number of other herbs etc etc). I recommend getting organic cream, like Straus Family or Clover, on the west coast. Better quality cream means tastier butter. And hey, if you have a cow to milk, lucky you!

My great Grandfather had a dairy farm in New York and as a kid my dad helped his Grandmother make butter with a churn - these days I prefer a Kitchen Aid, but you can use most any kind of mixer: a stand up, a food processor (like a cuisinart), or even a jar with a marble in it. If there are kids around, tell them to shake until the marble makes no more sound, or go the old fashioned way and find a butter churn. You just need to agitate the cream.

Salted Butter

1 pint whipping cream

2 Tbs buttermilk

Ice water (very cold)

Pinch of salt

In a mixer, add the whipping cream and buttermilk. Careful not to splash when it gets going. You want to bring your mixer up to medium/high. The cream will start to turn into whipped cream and then into stiff whipped cream. Keep going. It will take a while, but eventually the fat molecules will attach to each other and you will see lumps (butter) floating in whitish liquid (buttermilk). Let it sit for a moment to let the butter rise to the top a bit. Pour through a fine mesh strainer.

Return the butter to the mixer and add to it a glass-full of the ice water (no ice). Mix again. This "washes" the butter to help it stay fresh longer and not turn sour. Strain again. You may need to repeat the washing a couple times until the water runs clear. When straining, use a spatula to press out as much water as you can from the butter. When confident the water is gone, put the butter in a clean bowl and mix with a pinch of salt (to your taste). If your butter is too cold to mix properly, you can warm the bowl first, by running it under warm water, much like a tea pot. If you want honey butter, and have omited the buttermilk and salt, now would be the time to mix in the honey (to taste), or any other herbs or flavors.

The butter can be kept in the fridge for about a week, or in a butter crock. But I'm sure it will go fast! Especially on toast with your marmalade! Yum!

Careful of the buttermilk splashing!
If your mixer has a shield, do use it.

The whipped cream stage is about to turn
into the butter/buttermilk stage.

Use a mesh strainer. One with holes too big
will let butter squeeze through.

Be sure to press out all the water.

How cute! Le Cruset butter crock.

Water on the bottom creates a seal to keep
your butter room temperature, but fresh.
Change the water frequently to keep it clean.

Grab the clotted cream and crumpets! It's time for tea.

2011-12-05T14:21:00.000-08:00

I love waking up to packages at my door! Today my Blue Canton tea set arrived. I'm in love.

In the 18th century, blue and white "Canton" ware became very popular, and remained so into the 19th century. Canton, now called Guangzhou, is a port city that was along the silk road. The East India company traded through this port and brought back chinese porcelain to Europe. For a much more in depth article, click here.

Vue du port de Canton. Anglo-Chinese School, 1900.

The Washington's had a set of blue and white canton ware at Mount Vernon, as their everyday china. It was left to Martha's granddaughter, Nelly Custis.

To buy reproduction Blue Canton, check out Mottahedeh.

Richard Collins, A Family of Three at Tea, 1727.

Pour the darjeeling, darlings. Cheers!

Victoriana a la Tom Ford

2011-12-04T11:37:00.000-08:00

The holidays have started and I have very little time for sewing... but I do have time for shopping! And yesterday I saw the most gorgeous gowns in Tom Ford, from his Autumn/Winter 2011 collection. Don't they look so inspired by the turn of the century. Probably more Edwardian than Victorian, but so fab! All the millions of buttons were actually little beads covered in thread. The gowns appeared to be sheer lace and net over slips, and the gown on the left had some very turn of the century beaded applique.

Coming back into fashion? One can only hope :)

Here you can see the above right dress in action. Victoria's Secret model Candace Swanepoel wears it at the Moet & Chandon Etoile Awards.

Candice Swanepoel. Image via @CandiceEgypt

Candice with Rosie Huntington-Whiteley. Image via @CandiceEgypt

The Tom Ford dresses seem very reminiscent of these antique dresses, all for sale at Vintage Textile:

Beaded tulle evening gown, c. 1910

Beaded black lace dress, c. 1918

Chantilly lace gown, c. 1905

The Pomander

2011-11-27T21:17:00.000-08:00

Pomander: from the French, pomme d'ambre, or apple of amber (as in ambergris, not the fossil).

For centuries pomanders have been used for their scent. In renaissance times, pomanders were spheres, usually made of metal, filled with perfumes, which people carried to mask odors and protect from disease. Renaissance ladies often hung pomander balls from their girdles. Some pomanders had sections, like an orange, that would each hold a different scent.

Portrait of a Woman, c. 1547. Bartholomäus Bruyn.

Design for a pomander by Wenzel Hollar, based on one by Albrecht Dürer.

A German silver pomander, c.1600's.

In the 18th and 19th centuries, it was popular to make pomanders from oranges, studded with cloves. These could also be rolled in spices to help preserve the fruit. The oranges would dry out, preserving the spicy scent. Vinaigrette's were similar to Renaissance pomanders, with a pierced metal case, filled with a vinegar soaked sponge, and also smelled to cover odors.

18th century silver vinaigrette.

Today, pomanders are a Christmastime tradition. One can use the dry pomanders as ornaments on the tree or garlands, or toss them in a bowl like a potpourri. When making mulled cider or wine, add a couple fresh pomanders, when the mix is simmering, for both flavor and looks (they will float on top - very pretty in a punch bowl!) Year round, dry pomanders can be hung in the closet to ward of moths or put in drawers as a sachet. Once dry, pomanders can last for years.

How to make a Pomander:

There are two ways to make pomanders. Both use the oranges and cloves. The first way is how I have always made them. Just oranges and cloves. It's very basic, very easy, and it has always worked perfect for me. The second way is more involved, and it uses the spices, which are supposed to help preserve the fruit. Again, I have never had an issue with no spices, but for those that want to try it out, see the second way.

Method No.1

6 small oranges

1 jar or dried cloves

and a toothpick

I prefer clementines or other very small oranges. They're cute. They take less time to cover and less cloves, too. If you use regular size oranges, you will probably need more than one jar of cloves. This of course depends on how thoroughly you will cover the orange. Most 18th century oranges were completely covered by cloves, with very little of the orange showing through. I like to make patterns with the cloves instead, but thats up to you.

I live in a dry climate, so I just leave the finished pomanders out to dry (turning them daily so they dry evenly), but if you live somewhere damp, you can put them in an open paper bag to aide the drying. If you want them dried in time for Christmas, start them soon so they have time to dry out. It takes about three weeks or more.

Your ingredients. I prefer smaller oranges for cuteness.

Prick holes before pushing the cloves through.

Take care when inserting the cloves, as the bulbs
on the cloves are fragile and can easily be crushed.
You can wear a thimble if your fingers are sensitive.
The tops of the cloves are often spiny.

Make any kind of pattern you like, or cover completely
with cloves. Set out to dry, turning them often so they
dry evenly. If you live in a damp climate, you can put
them in an open paper bag to help them dry.

Method No. 2

This method uses spices to help preserve the oranges and add to the scent. This works best with heavily cloved oranges.

Make the oranges with the cloves like above, then mix the spices together and place in a paper bag with the oranges. After three to four weeks remove from the bag and shake off the excess spices.

1/2 cup ground cinnamon

1/4 cup ground cloves

1 Tbs ground allspice

1 Tbs ground nutmeg

1 Tbs ground coriander

2 Tbs ground orris root (or about 8 drops of sandalwood oil)

Recipe courtesy YoursTruli

American Duchess has done it again!

2011-11-25T10:47:00.000-08:00

American Duchess has now created some beautiful regency style shoes. They are on pre-sale now so go snap up a pair or two! Click here for more info.

From American Duchess:

The "Pemberley" Regency shoes are closely based on extant footwear from the 1790s through 1810. The smooth, dyable, hand-sewn leather upper is designed to be lovely enough formal occasions, and durable enough for walking in the countryside. Particular attention was paid to the point of the toe, as well as the other hallmarks of Regency historical footwear, with the main goals being both historical accuracy and all-day comfort.

Because one can never have enough china...

2011-11-21T17:57:00.000-08:00

One of my favorite things to do when we have parties is to set the table. I absolutely love it. Forget for parties - I even do it for breakfast! (Yes, this morning we had eggs on our Wedgwood.) When I go to museums or historic houses, I looooove the dining rooms. I also looooooooooooooove the pantries! All that space to store flatwear and silverwear and silver and serving items and crystal and everything. Oh I drool! I have a big thing for collecting china and silver and for using them. A lot.

But right now I have our kitchen absolutely packed. Packed to the brim. The cupboards are bursting.

This is unfortunate, since I realllly, realllllllly, realllllllllly want a set of this...

How fabulous is this?! For Titanic's 100th anniversary, Royal Crown Derby has reissued the original pattern used in one of the ship's restaurants. The china is being made the exact same way (hand painted), and even in the same place, as the originals were.

Pattern book from the Royal Crown Derby archives. 1911.

Original plate from the ship.

Reissue plate with cup and saucer below.

Spode also has a Titanic reproduction china, based on the original pattern used aboard the ship. They currently call this pattern "Lancaster." You can find it on Replacements Ltd.

Original Spode cobalt china from the Titanic.

Spode "Lancaster"

The Titanic Store also has reproduction china from various restaurants on the Titanic. Also check out this link, which shows most of the patterns used on board. Pretty cool, but I just love the Royal Crown Derby pattern. Gorgeous!

First Class Dining Saloon

Menu from April 14th, 1912

Cafe Parisian

Verandah Cafe and Palm Court

The Beginnings of Empress Josephine's Slippers

2011-11-14T17:41:00.000-08:00

The inspiration:

I absolutely love these pairs of slippers, worn by the Empress Josephine. The beaded pair are her coronation slippers. Following description from Bourhis, Katell le et al. The Age of Napoleon: Costume from Revolution to Empire, 1789-1815. NY: Abrams, 1989. 46.

"Empress Josephine's white taffeta coronation slippers, embroidered with gold--strips, threads, sequins, and cannetillés--in a bee-and-star motif."

Coronation slippers. 1804. Musee des Arts de la Mode.

Empress Josephine's white silk slippers.
Châteaux de Malmaison et Bois-Préau, Malmaison France.
Photo by Gerard Blot.

Consecration of the Emperor Napoleon I and
Coronation of the Empress Josephine.
Jacque-Louis David.

I have never made a pair of shoes before, but from what I know about shoe making I pulled together some materials I had and gave it a go. So far only one slipper is finished (minus any decoration of course). The second slipper is all sewn up except for the sole. Below are some pictures of the construction and how I made them.

Materials:

Top fabric: white twill weave silk

Lining: canvas and white linen. I didn't want my toes showing through so I added the canvas for interfacing. I don't think this is really necessary to use again if I made another pair. Too bulky.

Sole: Chamois leather. Pre-washed. It's all I had on hand. Not bad for the sole.

Sole lining: 2 layers of buckram, one canvas and then another layer of leather on top. I chose not to make a shank, since I was modeling this kind of after a ballet slipper.

Thread: White 50/3 linen and #100 white silk thread. Both waxed.

How to make a shoe pattern (from shoes you have): I modeled the pattern after a pair of ballet slippers and a pair of Chanel flats that have a similar shape to them as Josephine's. I layered pattern paper over the shoes and traced with a pen. I cut out the pieces, pinned them together and tried on the sample. It was a bit big in the back so I adjusted the pieces and recut. Then retraced onto new paper so I had a nice clean pattern.

Too big. Needs adjusting.

Insole.

Outsole(?)

The shoe pattern.

I didn't take any pictures of putting the shoe together. But it was very straight forward, if lengthy. Basically I started with the top. I layered the linen and canvas (linen will be against your foot - canvas as interfacing), folded under the selvages, butted together and stitched with waxed linen thread. I also stitched along the center front piece, down the middle, to keep the linen lining from falling into the shoe.

The silk layer I sewed with silk thread. For the silk layer I backstitched the seam, then felled the selvage on the inside. See the pictures below. To join the aforementioned layers, I stacked the silk over the linen/canvas - insides out - and did a simple running stitch with the linen thread along the top edge, then flipped and pressed with the iron. Snip the curves to help flip the shoe neatly.

For the sole, I turned the top layers inside out again and pinned them to the sole layers (chamois and linen). It takes a bit of easing. I used an awl to poke holes in the chamois and backstitched the top and bottom of the shoe together. Flip it again! Push pull and ease the shoe into it's proper shape. I made the toe pointy, so I used the awl, with its plastic cover on, to push the shoe right side out.

For the small layers, that finish off the inside of the shoe, I layered the canvas and buckram and stitched through them to hold them together. Then I glued the layers together, I glued the chamois on top and I glued the whole piece to the inside of the shoe.

Next time, I think I will leave out the canvas interfacing on the uppers, and I will add a heavier leather for a shank. Other than that, I think they went well.

My fingers are between the canvas and linen.

View of the linen seam - right side.

View of the canvas seam - right side.

The silk is on the left. You can see the felled seam.

Snip the curve at the front (top of the toe) to
facilitate flipping the pieces right side out.

The flipped shoe, pinned open, before being pressed.

On the right is the pressed, finished top. On the left,
the larger pieces are chamois for the sole and linen. The smaller
pieces are chamois, canvas and two layers of buckram.

You can see the chamois/canvas/buckram layer.

Side view.

I'm still deciding which shoe to make - either keep the shoes white and just add little bows, or bead and bedazzle like the coronation slippers... Ooo options!

Edwardian Fabulousness

2011-11-12T18:09:00.000-08:00

So yes, I admit, I absolutely love the movie Titanic, and I definitely have a soft spot for the Edwardian. Today it got the better of me and I have spent the better part of the afternoon browsing edwardian evening gowns (because they are soooo much more drool worthy than day time attire!).

In light of Titanic's 100 year anniversary coming up, I thought it was an excuse to put an Edwardian gown on the to do list. My very favorite so far is this one, by Lucile, as in Lucy, Lady Duff Gordon, who was both fashion designer and Titanic survivor. How perfect!

Evening Dress. V&A, T.31-1960.

And from a slightly different angle.

At present, I'm browsing for ivory silk satin, or perhaps charmeuse, ivory chiffon and black velvet. I've also been checking out patterns to go off of, since I have never made a dress from this era. I perused Janet Arnold's Patterns of Fashion 2 (1860 - 1940). Inside there's a pattern and instructions for Lady Maude Warrender's evening gown (1909 - 1910), which I might be able to go off of for the inside structure. Has anyone used this as a pattern before?

An illustration of Lady Maude's dress.

A gorgeous reproduction of Lady Maude's dress, done
by Jordan Bentley. Click here for more pictures to drool over!
Including pictures of the original gown, which
is housed in the Museum of London.

I leave you with some other gowns that caught my attention. Perhaps in the future...

1912 - 1913 Click the date for a link to an
awesome gallery of Edwardian fashions.

1910

1910, by Worth. V&A.

The below pictures are all dresses from the V&A exhibit,

Style and Splendour: Queen Maud of Norway's Wardrobe 1896-1938.

1912 - 1913, by Worth.

1910 - 1913. I especially love the one of the left!

A 1790 Redingote

2011-11-10T17:13:00.000-08:00

I started on a new project a couple days ago and I'm very excited about it, because it's the first gown I will completely hand sew. I put away the machine and to tell the truth, I am loving it. It's a lot faster than I though it would be, it's prettier than by machine, and I can go anywhere with it, so I'm not relegated to the sewing room! Yay!

Let me start by showing my inspiration. Im basing this 1780-90's style redingote on the following examples. Especially the one from the LACMA.

Louis Carrogis Carmontelle, 1780's.

LACMA, 1790. I loooooove this one!!!

Mrs. William Mosely, by Ralph Earl. 1791.

So far, I've pieced together the bodice pieces and finished up one sleeve. It is pinned on below, not set in yet. The lapels were cut with the bodice front. The collar will be attached separately. I don't know how 100% correct this is, as I have never seen a real redingote up close, but looking at any suit jacket, you can see the lapels are cut as part of the front and the collar is sewn in after. I'm putting two and two together here...

As for the fabric, the color I have seen in garments from the period, however the dupioni silk I have never, ever, ever seen. I am using it, however, because I had it in the stash and I'm really trying not to buy more fabric before the new year. I am so running out of room! And this is kind of a test run anyway, authenticity wise. Other than the silk, I am using linen for the lining and I am stitching with silk thread, waxed.

For draping the pattern I used this awesome
pattern paper that feels more like fabric than
paper. No crinkling. I know it's modern, but I'm more
comfortable with it than draping with my lining.
One thing at a time. Added bonus: at the end
you have a pattern to keep for future use!

This is assembled as a quarter back and will be single breasted, with self-fabric covered buttons like the LACMA redingote. Im also planning on adding nice crisp cuffs and a big fab collar to go with those dramatic lapels. Yum.

One of the stitches I have been using, that I absolutely love, I don't even know the name of. But if you want to check it out, go here for an excellent tutorial. This seaming technique is awesome for piecing the bodice together. It's quite fast and looks very clean on the outside. If anyone knows what it's called, please do share!

Outside view using this seam.

Inside view. Up close.

Inside. Not so close :)

I also used an over hand stitch along the center front. I don't know how accurate this is, but because the lapels fold over I chose to use a stitch that would look uniform on both sides, unlike a slip stitch. I suppose I could have used a running stitch too, but the over hand worked very nicely (as long as the stitches are kept fine).

When assembling the bodice pieces initially, I left the bottom seam open, since I wasn't 100% sure how the skirt gets attached. I will be closing it up though, since after pouring over my books for the thousandth time, I think I finally get how to execute and attach cartridge pleating. I've always found it very frustrating trying to figure out sewing techniques from print descriptions. When we were in Williamsburg last, I asked the ladies (and gentleman) in the millinery shop about a thousand questions. This really helped. Many, many thanks to them! Especially since I got explanations and was able to see the inside of their reproduction garments at the same time. Now when I read, the descriptions make a lot more sense. Yay!

The Lady's Guide to Plain Sewing, volumes one and two, are especially helpful, as is Costume Close Up, by Linda Baumgarten.

Check out some pictures of a couple of reproduction pieces - riding habits - from the Millinery shop. The red and green is from later in the century, the blue from earlier.

Is it a robe a l'anglaise or a quarter back or both?

2011-11-07T13:47:00.000-08:00

Recently a new term has peaked my interest: quarter back. I've gone about for a while now, thinking a quarter back gown was just another way of constructing a robe a l'anglaise, like there were two options, quarter back or en forreau. I asked Nicole over at Diary of a Mantua Maker and she has informed me that, at the millinery shop in Williamsburg, they refer to these as two different types of gown. She has also informed me that museums often categorize their collections in very broad terms, which is probably why I have never seen gowns called this before. I scanned through all the fashion plate books I have and still nothing, and in all the fashion history books I have, I have never come across this term. Only online. I'm so curious why this term is so hard to find information on.

From what I understand, here are examples of each:

A 1750's Robe a l'anglaise with it's en forreau back,
which is cut as one with the skirt. From the Met Museum.
C.I.68.52.

A 1784-87 gown in the quarter back style, with a bodice cut in
separate pieces from the skirt. This is listed on the
Metropolitan Museum's website as a Robe a l'anglaise.
1991.204a, b.

Another 1780's dress listed as an Robe a l'anglaise
by the Metropolitan Museum, but cut in the
quarter back style. 1982.291a, b.

Does anyone have a book or any info that refers to this?

One theory that seems plausible is in regard to language and things getting "lost in translation." So many of the terms we use in fashion history, especially in the 18th century, come from the French language. Could it be possible that the French called both styles of fitted-back gown a l'anglaise, because they were adopted from the English? Then when people use the terms, they use the French, and certain terminology used by english-speaking countries gets lost? Is this why other english terms, like "round gown," "kerchief," etc are less commonly heard, but robe a la _______, fichu, etc are very commonly referred to?

So now I'm wondering if it's inappropriate to refer to both of these styles as a l'anglaise? Or if it is acceptable, and we can still call quarter back gowns an anglaise, like we call jeans, pants, but not all pants are jeans? Ooo I'm itching to find out!

And whatever do we call this one? It is both pleated and separate from the skirt!

1780 -1790. Listed as a robe a l'anglaise
on the LACMA site. M.59.25a.

Ideas anyone???

Redingotes and Riding Habits

2011-11-06T18:54:00.000-08:00

For a while now, I've been wanting to make a redingote. I know I have some unfinished projects (i.e. that chintz gown), but after delving deeper into how to accurately reproduce and sew garments, I'm really itching to make something sewn in a historically accurate way. Now that I've learned more, I don't have the excuse that "I don't know how, so I'll just machine sew it." This kind of takes all the fun out of the chintz gown, because now it feels like a waste of time. I'll think I'll force myself to finish up the hem and then forgo the trim. The organdy I bought for it is far to fine a quality to be used on something I don't really like... So that's a bit of a bummer, but now I'm really, really excited to create something more worthwhile, if more time consuming. But the doing is the fun isn't it? Once a piece is done, if it's not done right, it's kind of a let down. My halloween costume however, I'm still happy with. It was never meant to be accurate, just fun, so I can still feel good about that. Joy.

And let me say, I actually packed up the sewing machine and put it away so I wont be tempted. Ooo. Big step.

So back to the redingote. For anyone who is unfamiliar with the term, "redingote" is a corruption of the term "riding coat." I read, in Queen of Fashion by Caroline Weber, that "redingote" came about by the French pronouncing "riding coat," with an accent, and then the English readopting it back. Apparently things sound better a la francaise...

Redingotes and riding habits were adopted by ladies, from men's apparel, in the later 1600's. They were worn for hunting, riding, traveling, and also as informal daily wear. I am not 100% sure how the two terms are correctly used, since one often hears them used interchangeably (and maybe they are). There does seem to be two styles however, which might account for the two terms. Mostly, riding costumes seem to fall into two categories: exposed waistcoat (often referred to as "weskit") or no waistcoat.

Earlier in the century, up until about the 1760's, they were often worn with hoops. Post 1760's the profile changed, and much like other styles of gown, they seem to be worn over a false rump or just petticoats. According to the folks in the milliner shop in Williamsburg, riding habits from the first half (or so) of the century, generally buttoned to the top of the chest and had a dart across the bust for fitting. By the later half of the century, this style was replaced by open lapels or a loose jacket over a waistcoat. By the 1770's, military motifs became very popular because of the wars. During this time you start to see a lot of red being used, probably because of the English military colors. Throughout the rest of the century, greens, blues and yellow were most common for the style. They were mostly made of wool, though there is an example at the LACMA that is silk.

Silk and cotton satin with plainweave, 1790. LACMA.

With riding costumes being styled after men's clothing, they were usually made by a tailor instead of a mantua maker, and because of this, they generally buttoned left over right, like men's clothing. And why do men's clothes button left over right, while women's are opposite, you ask? It seems that men's clothing goes left over right for protection. In battle, men would fight with their left side being their defensive side. The open part of the garment was made to face away from an opponent, so if a pointy sword came your way, it would deflect off the armor/leather/fabric, instead of catching and going though. A common theory for why women's clothing buttons right over left is that ladies often had the help of a maid dressing them, and this made it easier for a lady facing you to dress you. Or maybe for a gentleman to undress you... Hmm...

And some various styles though the years:

After the Hunt, Nicolas Lancret. 1740.

Prinzessin Amalia von Pruessen, Antoine Pesne. 1740's - 50's.

Sophie Marie Grafin Voss, Antoine Pesne. 1746.

1750 - 1759, V&A.

1750 - 1759. V&A.

Back of the above jacket.

1760, Met Museum.

1770 - 1775, V&A.

The Sudden Explosion in Fording the Brook, 1770 - 1780's

Marie Antoinette in Hunting Attire, Joseph Krantzinger. 1771.

John and Sophia Musters Out Riding at Colwick Hall, George Stubbs. 1777.

Marie Antoinette Wearing Riding Dress, Antoine Vestier. 1778.

Lady Worsley, Joshua Reynolds. 1780.

If you read my post about the bathing dress, I
mentioned an interesting, if scandalous, story
about the above Lady Worsley and an incident
at a bath house. Check out this article by the
Isle of Wight History Center for the trial details!

Mrs. William Mosely, Ralph Earl. 1781.

Possibly 1780s. Image from Flickr.

Mrs. Stevens, Francis Wheatley. 1795.

For the riding costume I will make, I'm debating between one like Lady Worsley's and the one from the LACMA. I have a ton of red wool I ordered a while back, but I also have a fair bit of silk, though none with that pattern. I'm kind of leaning toward Lady Worsley's. She has a bit of style, in my opinion...

Winter's around the corner!

2011-11-03T17:25:00.000-07:00

The cold weather is almost upon us, so lets take a look at a few 18th century winter fashion pieces no stylish lady would be without!

Winter, by Francois Boucher, 1755

Some items a lady could have worn in colder weather: muffs, cloaks, hats and bonnets, quilted petticoats, gloves and mitts, and pattens for sloppy streets. Most of the above items were worn year round, except maybe the muffs. These items were made of different weight fabrics for the different seasons. Where you might have worn linen mitts in the summer to keep away from the sun, in the winter they might have been made of wool. Quilted petticoats were also worn year round. There are also examples of quilted jackets and waistcoats. For cold weather, extant cloaks are very often seen in plain red wool, especially in America. A lot of the pictures below show lovely fur-trimmed cloaks, which were probably more prevalent in higher classes. Muffs come in all kinds of mediums (fur, feathers, silk, satin...) and they tend to increase in size toward the end of the century. Portraits were also a common decoration for muffs. Pattens were worn over the shoes to protect them from whatever might be on the streets (water, mud, snow, slop...). And don't forget the ever-present fichu. Keep that décolleté warm!

Below are some examples. Enjoy!

1770-1800 Feather and Fur Muff. Met Museum.

1785-1800 Muff with Mezzotint Portrait. MFA.

c. 1780, Embroidered, British. Met Museum.

Late 18th century pattens. Museum of London.

1750-1790. Black leather pattens with silk bows, Europe. Manchester.

Quilted petticoat and jacket. Possibly a brunswick.

1770-1800. Woman's riding hood, Massachusetts. MFA.

Mitts. Possibly velvet. Image from Resplendent Revolution.

Leather gloves. Image from Resplendent Revolution.

And some ladies in their winter finery...

1781

1777. An ermine muff.

Madame Mole-Reymond, by Vigee le Brun, 1786

Lady Lavinia Spencer by Sir Joshua Spencer, 1781.

1780's

1787

Mrs. Sarah Siddons, by Thomas Gainsborough, 1785

An example of a beaver hat.

A Halloween party and a most awesome pouf...

2011-11-02T19:11:00.000-07:00

The pouf! Omagosh it was large - and heavy - but it was a blast to wear! I got the wig from Antoinette's Atelier. She makes the most amazing and beautiful wigs. My own hair is powdered and incorporated into the front. It was actually very easy to do. To attach the wig, I left an inch of hair out along my hairline, from ear to ear, then put the wig on, securing it along the front with a bunch of pins inserted at an angle, not straight back, so they would catch my hair underneath. Then I curled the hair left out with a small barrel iron and pinned sections back into the wig. You can see what hair is mine in the pictures pretty easily, but in person it looked more like part of the wig. Then I sprayed hair spray and took a brush full of Ageless Artiface Perfumed Powder and coated my hair before the spray could dry. Be generous with the powder - the more the better. It will probably go everywhere, so be prepared. I put everything on but my dress before the powdering commenced. When I had sufficient powder I sprayed again... Then powdered again... Then sprayed yet again. I will say, it stayed pretty powdery throughout the night. Success! I also used a little of Ageless Artiface's Liquid Rouge. It's a lovely color, but it stains your fingers/countertops/everything like crazy, so proceed with caution.

And the pouf from all angles...

The plumes are ostrich feathers. Each plume has three or four feathers sewn together down the spine. To get the plumes to curl forward I wrapped them around my fingers and gently curled them into shape. Each plume is sewn to a bobby pin. Once pinned into the wig, I used a couple more bobby pins to secure it in place. The sparkly swag is actually a necklace from Forever 21. I pulled off the chain and pinned the decorative part into the wig. After these close ups were taken I also added a marcasite, rococo bow brooch I got in Williamsburg. Never too much sparkle!

How to make the plumes: Lay the feathers on top of each other, making sure the spines are aligned from the base to the tip. If you have any slightly shorter feathers, I would recommend sandwiching them in the middle. Then starting at the base (the thickest part of the stem), secure a thread of the same color as the feathers, and start to sew, spiraling the spines, up towards the tips. This takes a bit of care to avoid tangling the thread up with the unruly feathery bits. Do keep the thread taught. When I reached the top, I doubled back a little, to a thicker part of the spines, and secured the thread and snipped the excess. Take care not to pull too tight and break/crease the spines. To attach the bobby pin at the base, I used a second length of thread, doubled it up, and wrapped the stem and the bobby pin together, passing the thread through the bend in the pin. I suppose you could also hot glue the pins on, but I'm not a huge fan of hot glue.

Some other treatments you can do to the feathers are to trim the really unruly edges, to make them more uniform, or you can curl the edges with a low heat curling iron. Apparently you can also curl them with a blunt scissors, like you would curl ribbon, but I was too scared to do this and take a chunk out. If your plumes are looking a little sad, you can fluff them over steam and it poufs them back up. You can also use a curling iron to put some curl in the top of the plumes. I just used my fingers to do this, and I blew on them a little, like when you blow on your sunglasses to clean them. It's a little warm and moist so it helps set the curl. Take care to be gentle when curling the plumes so they don't snap.

Just one of each size feather. A little sad.

Three feathers layered. Much more grand!

You can see the thread sewn around the spine of the feathers.

And some pre party pics of the whole ensemble...

And that's a palm tree behind the flapper's head...
not more plumes!

Hahaha those are my hair extensions clipped in,
with the nasty bits hidden under the hat.
Not a bad last minute option.

My husband's clothes were ordered from Jas. Townsend and Son. I think he's starting to come around to the whole costuming thing. At first he was like, what is this? What's with all these layers? But now, when we were in Williamsburg, he saw an 18th century hunting coat and he was like, "Can you make me one of those?" And there was this little twinkle in his eye. Ooo someone caught the bug!

Halloweens Past

2011-10-31T10:19:00.000-07:00

As I was browsing through my computer this morning, I came across some fun costumes from past Halloweens. Thought I'd share some pictures and how to's. Have a Happy Halloween everybody!

Last year around Halloween I got a little obsessed with watching The Tudors. A few weeks before Halloween I decided I wanted a Tudor gown so my Husband and I ordered some costumes online, thinking I had no time to make one. Well his turned out great, but mine didn't fit at all and was just a polyester mess, so two weeks before Halloween I bought fabric and stitched my little heart out! Actually I don't really remember rushing. Just sitting on the couch for days, watching Ghost Adventures and putting this together. Love it! I want to wear it again some day. I wish I had a picture of me in it.

It is worn over a shift, 16th century stays, a farthingale, petticoat and a bum roll. When I wore it, I also had a girdle. I found a gorgeous one at Sapphire and Sage.

Queen Eliazabeth: Schloss Ambras Portrait Girdle
from Sapphire and Sage

I modified a simplicity pattern for it and also got some help from my Tudor Tailor book. It's not the most authentic piece, but I don't worry too much about that for Halloween. The baroque pearls and fur are real - okay well they're cultured pearls, but whatever. The black work cuffs are hand stitched by me, using an authentic tudor design. The rhinestone/satiny braided bits at the neck are actually cut up headbands from Target. Always keep your eyes peeled for items that might work in a costume! You never know where you may find things...

The pattern seems to be based on the below painting of a young Elizabeth.

Now on to the 20th century. Ooo the flapper! This was an outfit that I did not lend one stitch to, however I wanted to share it because it shows you can generally always find things in your closet to make a last minute costume. And one that looks good too!

I tried to make appropriate 1920's layers, so under the dress there is a lacey bra for flattening (gotta get that boyish look!), tap pants (if you've never seen them, they're like silk shorts) and a silk and lace slip. I wore garters to keep my seamed stockings up, but you could also roll them down and rouge your knees!

The dress is by Juicy Couture and the shoes are peep-toe, T-straps from - I think - Nine West. The fur wrap is faux fur from Forever 21. The headband is from Target. The only thing I bought for this was the wig. I got it from a Halloween store. I've had really good luck with Halloween store wigs. You just have to monkey with them a little to make them more presentable. This one was smooshed flat so I fluffed it within an inch of its life and it didn't look half bad after that!

And a side note about 20th century undies. Check out What Katie Did. They have great faux vintage lingerie.

For the makeup, in my opinion, the two most important features for the 1920s are the eyebrows and the lips. My eyebrows are much thinker than this, so I smoothed them down with pomade. You can also use bar soap straight from the bar, wax or the special stuff you get at the costume store just for smoothing down hair. I don't know what it's called. Once I had them sufficiently flattened, I dusted them with powder and used a very opaque concealer to paint out the bottom half of my eyebrow hair, so just the top half showed dark. Then I used a brow pencil to draw out the ends past their natural length. For the lips I again used the concealer. With a lipstick brush I drew on the cupid's bow shape. For the rest of the face, for evening, you can use a dramatic eye and some blush. There's a great book about vintage makeup called Retro Makeup, by Lauren Rennells. She also a great hair book, too.

Clara Bow

Please excuse the weird "look up to the left" thing I was doing. I have no idea where that came from. Maybe it was the martinis...

From The Fedora Lounge

From Victoriana Magazine

The picture below was from a looooonnngggg time ago. Pictures of the rest of the dress have evaporated, but I wanted to show the hair and how to make those side curls out of your own hair (if it's long. If it's shorter it's pretty easy). I used a small barrel curling iron and got really close to the scalp. Careful! I used as much of the hair as I could in the curl without it getting too bulky, then fastened a bobby pin through the backside. The excess hair is left hanging out the back of the curl. Here this hair is pulled back and incorporated into, I think, a bun. You could do all kinds of braiding/curling/whatever back there.

Fancy a swim? Going for a dip 18th century style.

2011-10-30T15:24:00.000-07:00

Martha Washington's bathing dress

At Mount Vernon, they have a wonderful new museum showcasing all kinds of things from the Washingtons' home. Some things I found particularly cool were George's dressing table, the family silver and china, a wing chair from their bedroom and, especially, Martha's bathing dress. I have never seen an example of an 18th century swim suit before so this was especially interesting to me.

Though water therapy has been around since ancient times, the 18th century saw a revival in the popularity of going to spas and "taking the waters" for one's health, especially amongst the upper class. Water cures were said to cure a wide range of conditions. People both swam in it and drank it. Today, in some spas, they still have similar treatments. When I was in Greece, Thalassotherapy (from thalassa which means the sea) was offered at most of the hotel spas. I tried it out. Very cool. Mostly it's a series of pools, one very highly salinated so you float, another with salts and essential oils, and the last with a current. And no, I didn't drink any. Ick.

Engraving of women taking mud baths.
Image from the Science Photo Library.

Taking the waters at the pump room, Bath, 1784.

And a funny story from History Undressed:

There was a famous scandal of Sir Richard Worsley, the Governor of the Isle fo Wight…Apparently while his wife bathed nude in a bathhouse, he lifted his friend, Captain Maurice Bisset upon his shoulders to see his wife naked. How does the saying go? “What’s yours is mine…” Sir Richard Worsley and his wife Lady Worsley ended up getting a divorce later on, and it was found that he had in essence prostituted his wife to many men, however she didn’t seem to mind too much… At the time her husband helped his friend peek at her, she laughed it off. Her lovers have been numbered around 27…

But back to the dress.

When Mrs. Washington would go to Berkeley Springs, Virginia, for her daughter, Patsy's, epilepsy, she would wear this gown to keep her decent. The top picture may show the back view of the gown, because in the exhibit, the neckline was relatively high and rounded. The slit shown may have been at the back for ease of dressing, as I can't imagine Martha wearing a slit that low in the front... But perhaps I am mistaken. If anyone knows for sure, please correct me. I would have loved to take pictures to show, but photography wasn't allowed. Bummer. The above picture is courtesy of http://marthawashington.us/items/show/48.

The dress is made of course linen with a blue and white gingham pattern. Its a medium to dark blue, like an indigo. Down the wearer's right side of the dress, along the seam, are three or four patchwork pieces of some varying, but similar, pieces of the blue gingham. At the bottom are lead weights about 1 1/2 inches in diameter. These would keep the dress from rising in the water. From the right side, you can see two of these weights, along the side seam, held in place inside a rectangular patch, with a seam separating the two pieces. Below is a sketch of what I can remember from the exhibit. PS, oops, the picture shows the wearer's left side with the patchwork. I don't know what was on the left side, since the dress was at an angle in it's case.

As for the other pieces I mentioned, a few notes:

George Washington's dressing table followed him from his presidency to Mount Vernon. The top opens to revel a mirror. I love antique mirrors because you look in, see your face, and I think of all the people throughout history who have seen their face looking back at them. Oh to see the hall of mirrors! Imagine what they have seen!

George's dressing table.
Image from George Washington Wired.

I thought the wing chair was interesting because I had no idea wing chairs were originally for the ill or weak. Now people have them throughout the house, however in the 18th century, they were mostly only found in private rooms, like bed chambers. The wing sides being for the purpose of keeping away any drafts. The chair at Mount Vernon has casters, or wheels, and I think they said it was the only example of the chair like this with chippendale motif and casters on the back legs, as well as the front.

Wiggery and poufs!

2011-10-29T22:46:00.000-07:00

So I'm back in town and I had a fantastic trip! We went great places and I learned a ton of new things as I wandered through museums etc, and I can't wait to share! ... But, I have so many pictures I can't even face uploading them yet... So in the mean time, I thought I'd share some great wigs, since I've been working on my wig for Halloween today. Eeek! I am up to my chin in ostrich feathers!

Some tidbits about 18th century wigs...

- In America, a ladies wig could easily cost as much as 5 or 6 acres of land. This type of pricing is why only about 5% of the population wore wigs.

- How to powder: Using your fingers, apply your pomade to the hair, then using a small bellows filled with powder, puff the powder onto the wig. Apparently you would have needed to do this more than once in the course of an evening. Messy...

- The pomade was made of lard mixed with essential oils. I touched some in the wig-making shop in Williamsburg. Very interesting. If you have never touched lard it feels like shinier, oilier, whipped butter. Below is a picture of a wig bellows. The photo shows no size reference, but unlike a fire bellows, it fits in one hand.

- Since people were often shaved bald under their wigs, not everybody incorporated their natural hair into their hairstyles. One notable person who didn't wear a wig at all was George Washington. His man servant, William Lee, kept after his hair. The painting below shows George with William Lee in the background.

Painting by John Trumbull, 1780

- Over to France. The famous pouf could reach up to three feet high.

- Marie Antoinette often had her hair inspired by an event (pouf a la circonstance). For example, the Belle Poule. A hairdo with a naval ship of the same name adorning her hair, marking the entrance of France into the American Revolution. There was also the pouf a l'inoculation, which commemorated Louis XVI getting his small pox vaccine. Note about that: smallpox vaccines were fairly common in Austria, but not widely recognized in France. Louis XV died of smallpox. And a side note about that too: apparently Louis XV was the first Bourbon whose heart was not cut out and put in a special box. Instead, alcohol was put over his body and he was covered in quicklime. Had to add that - it was just too strange!

- Marie also wore the pouf a la jardiniere, which included artichokes, carrots, radishes and even the head of a cabbage. This pouf may have been a pouf au sentiment. A hairstyle to express a feeling. One lady at court is quoted saying, "I shall never again wear anything but vegetables! It looks so simple, and is so much more natural than even flowers." Oh, fashion!

- Those long fancy head scratchers that ladies used were called grattoirs. They could be made of ivory, silver, gold and sometimes diamonds.

Grattoirs from a Christie's Auction. April 2006.

- To go to sleep, ladies would have their hair wrapped up in a triple bandage, grease, pins and all.

A lady getting her pouf dressed for bed..

- There was an invention called the coiffure a la grand-mere, by le Sieur Beaulard, which was a mechanism that allowed the hairdo to be lowered in stature, and then raised again, at the wearers pleasure. It was named the grand-mere, or grand mother, after the older ladies who disapproved of the new, very high hairstyles.

- To protect their amazing hair from the elements, ladies would wear a calash, a type of bonnet, structured with boning, that accordioned open. A calash covers and protects the hair without touching it and mussing it. See the lady in the black calash below.

And I leave you with some more fab hair to drool over... Enjoy!

Pictures of my wig to come!

And this info comes with special thanks to Caroline Weber, whose book, Queen of Fashion, is a wealth of information! Thanks also to whoever was in the wig-making shop at Williamsburg, because I must have bugged them to death with questions!

2011-10-16T14:20:00.000-07:00

I'm going to have a busy, busy week of traveling and eating and shopping and fabulousness! But I'll be back soon with all kinds of new fun - shopping finds, history, tidbits, pictures, who knows! Maybe even some awesome antiques and costuming supplies for the boutique. I'll keep my eyes peeled... Can't wait to share :)In the mean time, follow along on twitter for anything fab I might see along the way! @dressedntime - Cheers! Have a lovely week all!

A pocketbook, leather shoes and a little more on buckles.

2011-10-14T10:50:00.000-07:00

So a little about each piece:

The pocketbook is finally finished. It is bound with navy wool tape from William Booth Draper. As I understand it, this method of binding the edges of an item with tape is called "ferreting." Please do correct me if I'm wrong. I learned this from "The Glossary of 18th Century Costume Terminology." They don't specifically list pocketbooks as something this term applies to, but I'm inferring...

The inside of the pocketbook is constructed very simply, with no little gussets at the edge of the pockets inside. This is a personal preference. I have never actually seen this method of construction on an extant wallet, just to note. Also, a lot of original wallets have a piece of the wool tape, connected to each corner, creating a bit of a triangle, which I think is supposed to keep the flap edges down. I didn't do this simply because I never really liked how it looked.

The papers are reproduction 18th century
American money from Williamsburg.

Below are some originals. You can see the triangular tape I mentioned and some other methods of constructing the inside pockets.

Man's wallet. Live Auctioneers.

MFA, American, New England 1750 - 1800

The shoes are leather Devonshires from American Duchess. The design in based on this pair of original shoes. I do not know where they are housed. If anyone does, please do share.

The original shoes are made of cloth. I can't tell what type of fabric, however. The design seems to be painted on and the edges are bound. Perhaps they are bound in silk because it looks shiny and smooth.

For mine, I chose to use leather shoes to try something different. I went totally non-traditional and decorated them with permanent markers. It worked fantastic! I find, you can get a much smoother and more precise fine line with markers than with a paint brush. It was cheating a little, but who's counting... I would have loved to be able to bind the edges, but I couldn't figure out a good way to do this, since the shoes are already constructed, and I wasn't going to go opening up seams!

I did not seal the design in any way. No more scotchguard for me! I don't think it works on leather though... I think there is sealant you can use for when you stain leather, but I don't have any. Also, I was a little timid to mess with them further after the scotch guard fiasco on the last pair. These shoes can probably go outside and be just fine. I will have to see and report back.

The buckles are from Fugawee. A note about attaching buckles to the latchets: a lot of reproduction buckles do not have very sharp prongs. To help this, mark the spots and use an awl to make the holes. Please don't ever use a leather punch. It will leave too large holes in leather and you will never be able to adjust the size again without the previous holes showing, and if the shoes are fabric, there is a good chance the cloth will start to fray.

In my last post, about the black silk shoes, there was a lot of attention paid to the antique buckles I shared. I wanted to show them in closer detail, since there was quite a bit of interest regarding how they poke through the latchets. I mentioned they have very sharp prongs, making them incredibly easy to attach without ruining your shoes. Please excuse that they are a bit tarnished. See below:

I think the lower prong may be broken off a little.