Adventures in Draping

Headless got a makeover! 

I've had the same dress form for about ten years. She was really getting sad and broken, so I finally ordered a new one. While waiting for it,  I had the brilliant idea to experiment and take the duct tape mannequin concept to new lengths. 

Draping 18th century garments on yourself is hard. Really hard. Draping on a dress form only goes so far. Patterns are great, but it's still not really the experience of draping.

So, I put on my stays and enlisted my very jet lagged mom (thanks, mom!) to wrap me up in duct tape.

HSF #4: Embellish - Tucks

The Challenge: #4: Embellish

Fabric: 15+ yards of striped, white on white, sheer cotton for the fashion fabric. The lining used under a yard of pima cotton broadcloth and the hem used a yard or two of plain ol white calico.

Pattern: Truly Victorian TV447. The 1863 Sheer dress (modified).

Year: The pattern says 1863, so I'm thinking give or take a few years.

Notions: I used thin, cotton cord for piping, cotton twill for the hem, cotton thread for everything, little buttons on the inner bodice and reed for boning the darts.

How historically accurate is it? To the best of my knowledge, pretty darn. It is machine sewn, and I shortened the thread length to better represent the small stitches present on extant examples. The dress is based on examples from the era, most notably this dress, which obviously inspired the tucks on the skirt. Check out more examples here. The dress is hand finished. The main, glaring inaccuracy is I used plastic buttons on the inside, since that's what I had (I also used my sewing machine for the button holes and I am so bummed I did that. It was fast, but it doesn't come with the same satisfaction and beauty as hand sewn. Boo pout). Also, the twill used on the hem is probably not the exact same as what was used, but the use and application of it is consistent with originals.

Hours to complete: On and off sewing since January.

First worn: Not yet. Just for fitting. Hopefully soon... like when it warms up...

Total cost: Stash project! So I consider it a freebie. Yay! But the fabric cost like $15 a yard a year or two ago when I originally purchased it.

So, on to the notes and pictures...

New additions to the family...

...the family of sewing machines! That is steadily growing.

I've been on a bit of a sewing machine binge lately. To be specific, a Singer binge. And it all started one morning at 6 am when I saw "singer" go by as I scrolled through the TV guide. I've never been a tv shopper, but within ten minutes I found myself calling HSN and ordering a machine.

Oh god. A new avenue of shopping.

To add a little context, I have been in the market for a new machine for a while now, and this one was crazy on sale.

So far I'm happy. I haven't sewn anything with it yet, besides repairing some pants, but I did use a new machine as an excuse to go to a sewing machine class. I highly recommend it. I've never gone to a class like this before. I was surprised how much I forgot about using machines. Even little things like "keep the presser foot up when threading."

Those pesky dark photos...

So often when one goes to a museum, the lighting is so low that your pictures end up looking like a blurry dark blob.

Above is a photo I took, on my phone, of one of Queen Victoria's mourning dresses. Now, disclaimer, I do not ever claim to be queen of photography. Most of my photos are snapped on my phone, with just enough effort to get a picture. I'm sure low light photos can be easily taken with a snazzy camera, but for today, I'm talking about working with the basics, so you can decipher photos for study, not for framing and putting above the mantle...

So back to fixing this. 

Below, I just used iPhoto, which comes standard on a mac, to enhance and lighten the picture enough to be able to appreciate what the photo is of. Further below, the same photo has been lightened excessively. Not so pretty to look at, but look how clear the buttons and sleeve caps and pleats become. Fabulous for study! And night and day from the original picture.

I'm no computer genius, but I will say, on most computers there is some basic photo editing software. You can also use an online photo editor. Monkey with the brightness, contrast, saturation, and shadows and you will be amazing what will pop out of the dark.

Just be sure to save an original of the photo, just in case you monkey too much...

Something helpful to keep in your sewing room.

No, not for needle poked fingers. 

... Though keeping a band aid or two around is never amiss... 

This time the paper tape is for thread. Thread, ribbon, embroidery floss, anything stringy and messy really. 

The "gentle" paper tape is sticky enough to hold, but not too sticky, like some regular tape, so it's easy to remove and doesn't leave gross residue or badly pull on the fibers when you pull it off. 

A little piece is great for keeping the thread from unraveling on spools that don't have a notch for holding the thread, like the green thread above. I use it also for the spools that do have the notch, like the brown thread. For me, it's just faster and more tidy than trying to catch the thread in the little slit or notch. 

It's also great for embroidery floss, both like the blue above and the brown skein, below. Something I do, which works for me, with the skeins - which can be so messy! - is I pull off the tubular labels, save the one with the color number, cut it lengthwise and wrap it back around the floss. Then I secure the label back with a little piece of tape. You can use regular tape for this too, of course, since it's not touching the floss. 

Another thing this tape is handy for is to use it in place of pins, when pins might get in the way, especially when using a sewing machine. Example: holding down a zipper or applique/trim to be stitched. Just be sure to test on an inconspicuous bit of fabric first, or on a scrap. 

A tidy sewing room is a happy one! :)

Hand sewing tips from a quilter.

Ever looking to learn about different areas of sewing, I've been wanting to give hand quilting a go. I know very little about it, though for some time I have wanted to learn how - I really want to hand quilt a petticoat someday! So I ordered this book from Amazon. It's very interesting, and it doesn't only benefit quilters, there is a lot that can be applied to all hand sewing.

That Perfect Stitch:
 The Secrets of Fine Hand Quilting,
 by Dierdra A. McElroy

There is even a two page chart that describes all different weights and brands of thread and their pros and cons, an article that shows how needles are made and loads more.

I wanted to share a few interesting hand sewing tips I got from reading this:

- Thread has a twist, just like perle, only smaller. Thread on a spool has either an "S" twist (to the right) or a "Z" twist (to the left). These twisted strands are combined with others to form "plies," as in "two-ply" thread. The "Z" twist thread was developed to be used in sewing machines, since the machine can actually untwist "S" thread. Twists matter to hand-sewers and embroiderers because you can tighten the twist, or loosen the twist, depending on how you move the needle. If you twist too much, the thread can kink up and get knotty.

Image via

- Your thread has a right and wrong direction. The way thread is wound onto a spool results in the thread having a "nap," which is like little hairs that stick out. I have heard a good way to feel which direction the nap goes is to run a thread across your lips. One way will seem rougher. This is against the nap. Think of this like a feather: if you stuck a feather through a button hole backwards, the feather would ruffle. Usually, the way the thread comes off the spool, the end you snip should be the end you knot, with the beginning of the thread going through the needle. If you sew with the nap the thread will stay smoother and will be less likely to tangle and fray.

- Waxing you thread. It is often recommended to wax your thread before passing it though the fabric. This helps the thread to stay smooth and not fray and break down. What I learned from this book is if you only run the wax over your thread and go, the wax can be rubbed off in a couple passes. It is helpful to iron the wax into the thread, or even put waxed threads in a very warm place to help the wax soak into the thread. Prepare many ahead of time so you can sew away!

- Keep your thread looking its best and use short lengths (like 18in). The longer the thread, the more times it passes through the fabric, the more worn and fuzzy it will become. Also, make sure your needle is large enough to make a good hole in your fabric so the thread has ample room to pass. Take care not to have a needle to big as it can leave your work looking sloppy.

- Match your thread to your fabric. It seems quite obvious, but even I shortcut and use a thread for its color sometimes and not its content. And it's not only for aesthetic reasons. Some threads, like polyester are too strong for natural fabrics, and over time, they can cut through the fabric. Silk stretches and can leave fabric pieces loose over time, which looks sloppy. As a pre-automobile-mostly historical costumer, polyester is never a good option. Just don't buy it. Ick.

- Marking your fabric safely. This one scared me. I usually use a disappearing purple marker for my embroidery designs, but apparently the chemicals in them can break down fabric over time. Yikes! So either wash after using one of these, or use chalk or pounce. Tailors chalk is also a no-no for fine work. Apparently it is mixed with indeterminate wax to keep it sturdy. Paraffin and beeswax are really the only safe waxes for fabrics. I also read, in a book by the Royal School of Needlework, that you can use pounce and then go back with a fine brush, dipped in grey watercolor, to outline your design.

Image via Needle 'n Thread.
Buy it at Berlin Embroidery.

These were just a few bits and pieces I found especially interesting, as the entire book was fascinating. Such a lot of knowledge! I would recommend it to anyone that hand sews or quilts.

I think I'm going to sign up for a quilting class soon (because I now know that quilting isn't just a running stitch...) and then make myself a petticoat! Exciting!

Detail of 18th century quilted petticoat.

The POLITE MACARONI presenting a NOSEGAY
to MISS BLOSSOM
via 1812: War and Pieces

Quilted white satin travelling petticoat, c. 1745-1760
via A History of English Embroidery

Storing your vintage clothes and quality textiles.

Acid-free, unbuffered, archival boxes and tissue
from the Container Store.

Much to our excitement, The Container Store opened up near us recently. My husband and I went on a little spree - if you can call storage container shopping a spree, that is. He did the garage and I went for the sewing room.

About a year ago I did a really thorough go-through and cleaned and organized the sewing room. Sooo much better than the mess of fabrics it was before. I got stacking cube things from Target and now I have boxes for everything: silks, linens, buttons, passementerie, thread, etc. The only mess that was left was where to put the finished costumes and my collection of vintage clothes. They hung in my closet for a while, but they just take up so much room! I decided to get boxes and store them properly, so they don't get dusty and nasty. 

In a recent post I mentioned how important it is to store textiles in an acid free environment, so I was thrilled when I found archival boxes and tissue at that store - usually I have to order everything online. I bought boxes and tissue and got to packing. I started with the vintage textiles, but I intend to store all the costumes I have like this. 

Start with clean garments. Dirt and nasties can damage textiles over time, making them weak. Layer your garment on the tissue, top with tissue and neatly fold so that there is tissue between each fold of fabric. This helps reduce creasing and wrinkling. You can even layer extra tissue or washed, unbleached muslin around folds to further reduce the chance of creasing. 

Place in the box that has enough room so the garment is not squished. Store your boxes in a cool, dry place, that is climate controlled - no garages and attics, they go from hot to cold to extremely with the season. It is also important to air out your textiles on occasion, taking care to refold them in different places to give the fabric a rest. 

Don't forget to label so you know what's in the box! I found paper on roll, like tape, that work great for labeling the outside of the boxes. 

For more in depth instructions on at-home archival quality storage, click here to visit the Smithsonian's page, and if you don't have room for boxes, you can wrap with tissue and set aside a drawer or cabinet to store your things. Be nice to your completed sewing projects and vintage babies! Keep them at their best :)

The Darning Stitch

When you look at the two extant sleeve ruffles below, the bows (top ruffle) and the leaves (bottom) are good examples of the darning stitch and the effect you get when you employ it on sheer fabric. It's a pretty basic stitch, almost like a running stitch, that adds density to an area, making the design pop, so it's not an endless parade of chain stitch.

LACMA (M.84.63.1a-b)
Linen embroidery (chainstitch) and pulled threadwork
on muslin with linen bobbin lace edging,
2 1/4 x 7 1/2 x 35 in.

LACMA, c.1760 (M.82.26.2a-b)
Linen embroidery (darning stitch and pulled fabric work)
on cotton, 3 1/2 x 8 1/2 x 38 in.

Most often you see this stitch used to darn socks, or other mending where a seam would be uncomfortable. It also reinforces the fabric since you are adding extra warp or weft to the area.

But my my, it's not easy. Especially on such fine work. The stitches are sooo small! I actually borrowed (stole really, because I'm not giving it back) my husband's lighted magnifying glass lamp thing that screws onto the table. It's amazing! It helps so much. Not only is everything big enough to see, but it's also nice and bright. Really bright.

Left, skipping two threads, catching one.
Right, catching every thread.
This is macro, btw... It's soooo small in person!
Each of those darned patches are actually 1/8 of an inch square.  

The bow before being filled in.

Halfway there! Left side is done.

The bow is now fully filled in. See the difference?

Engageantes!

For quite a while now I have wanted some ruffly engageantes to spice up my gowns. I was going to just whip up some plain ones and knock them off my sewing to-do list but then the embroidery fairy got the best of me. I was inspired :)

Scroll down a bit and you will see some great extant examples of ruffles from the LACMA. I took a bit of inspiration from all of these and sketched out a design. I traced the outline onto my cotton background and loosely hemmed the edges to keep the fabric nice and neat for my frame. I mark the embroidery pattern as I go, not before. It just seems to disappear!

The frame I rigged up a bit. It was a cheapie one that had velcro your fabric was supposed to stick to. Not a chance. So I took some wide twill, finished the edges and hammered it to the wood dowel with thumb tacks. I used tacks instead of nails because the heads are smooth and wont catch on the delicate fabric. You baste your fabric to the twill and then turn the dowels to advance the fabric.

Hemming the edges before framing up the fabric with help
it from unraveling and keep it neat.

Thumb tacks, hammered into the dowel, keep the
twill secure and won't snag.

Baste the fabric to the twill to keep it taught as you
turn the dowels.

Ta dah!

I took cues from the extant examples and used a cotton ground (I think it was a voile I had on hand) and fine linen thread (90/2 white from William Booth Draper). The thread I cut in shorter lengths (about 20 in) and waxed it well. I used refined white beeswax for this. Some waxes I have tried turned yellow after a while so I bought cosmetic grade refined beeswax and made my own molds. It works awesome for whitework. I will put some up for sale soon to share.

I love my cute little beeswaxies!

On it's way! Linen thread (90/2) on cotton.

The embroidery style I am going for is reminiscent of Schwalm, which is similar to Dresden, but not quite as fine. It is a lot of chain stitch, with some shapes outlined in coral stitch, too, and with pulled thread work. I've never done embroidery this fine, but as long as the light is good, I have noticed it goes pretty fast, and the more I do, the more even the stitches get. Yay pretty!

I'm so excited for them!

LACMA (M.84.63.1a-b)
Linen embroidery (chainstitch) and pulled threadwork
on muslin with linen bobbin lace edging,
2 1/4 x 7 1/2 x 35 in.

LACMA (M.81.143.4a-b)
Linen embroidery (satin and darning stitches)
on cotton ground, 13 3/4 x 7 3/8 in

LACMA, c.1760 (M.82.26.2a-b)
Linen embroidery (darning stitch and pulled fabric work)
on cotton, 3 1/2 x 8 1/2 x 38 in.

LACMA (M.81.97.2a-b)
Silk embroidery (running, darning stitches) and
pulled threadwork on cotton, 5 x 9 1/2 x 44 in. 

Stumpwork

The Restoration of King Charles II
English, c.1665
The Holburne Museum

I'm very much in love with stumpwork right now. It is a style of embroidery that first was popular in the 17th century. 

It uses multiple stitches, many of which are also used in other styles of embroidery (like satin stitch) but what makes it unique is that uses many raised, or 3D, stitches, including couching and silk ribbon embroidery. Stumpwork achieves this three dimensional look by also employing padding under the stitches, sometimes even wood chips for noses! On occasion you might also see bits of things (i.e. buttons, beads, twigs, coins, shells etc) worked into the embroidery, allowing the work to be highly personalized.

Stumpwork casket, English, c.1660 (embroidery)
The Bridgeman Art Library

The Basing House Embroidery
English, c 1665

Modern stumpwork is absolutely charming! Check out these modern embroideries using this centuries old technique.

Branching Out, by Lorna Bateman Embroidery

Detail of a stumpwork kit, designed by Lorna Bateman
Image via S is for Snail.

French knot sheep, via 

Detail of a stumpwork sampler
stitched by Jenny at
Vinuela Sew and Sews

And here is small sampling of stitches one might use for stumpwork, from loopylace.com.