HSF #10: Literary (An Inspiration Post)

The tenth challenge was due on May 20 (my birthday!) and, like all the previous challenges, I had plans that never got off the ground in time.

Story time! Since 2009, a local group and I have descended upon the Alberta Prairie Railway excursion out of Stettler, AB, Canada. The first year, it was just my mum and I in costume, and every year since, more and more members have dressed up as well. Our biggest year was 19 costumes! (Pictured below.)

In July 2011, I was frantically sewing a costume. I had picked up a large quantity of faux silk for dirt cheap - $2/m! YES. Of course I can't be seen in the same outfit two years in a row, so I set about making a new dress. I'd first made a skirt out of the bronze colour, and then I couldn't decide what I wanted to make for the bodice, so I switched to the cream colour. I ended up making a skirt, overskirt, and bodice out of the cream, and I really liked the monochrome look of it. But when I had time, I would add colour accents, since my costumes so far have been very devoid of any trimming, which is just so not Victorian. It was the first time I put a pleated ruffle on the skirt, and I adored the look of it.

Shortly after I'd decided on a colour - raspberry - my dear friend Mew sent me a message telling me to check out Gail Carriger's Parasol Protectorate series. I'd like it, she said, knowing full-well my penchant for Victorian things and the occasional dabble into vampire literature. So I bought a copy for my eReader and set to reading.

And I loved it. I loved the world she built with vampires and werewolves having always been around, and I loved the main character, Alexia, and I LOVED the Victorian-ness of it. There was some steampunk elements, and while I don't particularly like steampunk, it was nicely done. But what I loved, almost more than anything else, was a scene in which Alexia goes out for the evening dressed in a cream-coloured evening gown, with raspberry trimming.

I nearly fell out of my chair laughing. This was a series for me, all right. I still have yet to make the evening bodice to go with my skirts, or trim any of it in the appropriate colour, but it remains one of my favourite gowns. It's been to Worldcon in Reno, Fort Edmonton Park, and another convention, and it won't be retired any time soon.

Fast forward a year, to when Timeless came out. Just 43 pages in, and I nearly fell out of my chair laughing again. Alexia's dress is described as an "ecru [dress] over a bronze skirt with brown velvet detailing." I'd had the bronze skirt languishing in my to-do pile since I'd made it, requiring only a hem and possibly some trimming of some kind. Thanks to this novel, I now knew what to make to go with it. I've been keeping an eye out for ecru-coloured fabric ever since, though finding something to go with a faux silk has proven difficult (granted, I have not been looking overly hard). Then, earlier this year, I received some plain fabrics as a gift, and one them I was told was silk. Even if it isn't, the slubby texture will match the skirt nicely. Better than that - it's close enough to ecru that I'm going to call it a win.

Now the hard part is deciding what pattern I want to use, and how to trim it! Does the brown velvet go on the skirt or on the dress? I had assumed the dress itself, but the wording somewhat indicates the skirt. More than that, the following line says that the dress is a little plain for visiting vampiric royalty, but more than suitable for being seen in public. Once again using Fashions of the Gilded Age as inspiration, I think I have a good idea of what I want to make. Fashions is, I think, too "late" for the Parasol Protectorate, but social mores would not have changed so radically that the information is entirely useless.

This post is already two months late for the challenge, but my goal will be to have the dress ready for Worldcon in San Antonio at the end of August.

HSF #6: Stripes

Even though the deadline has long passed, I'd always intended to make this outfit for this challenge. I've missed every challenge but one so far... and even that one, I "cheated", since it was UFO and the only thing I had to do was hem the gown (that post is written, just awaiting pictures! As soon as my hollyhocks bloom...)

The dress is still missing buttons, but I'm calling it done. Woohoo!

The Challenge: #6 Stripes
Fabric: 100% Wool suiting, linen
Pattern: modified TV261 - 4 gore underskirt with inspiration from Fashions of the Gilded Age Vol. 1, TV464 1883 Riding Habit Bodice
Year: 1880-ish
Notions: Thread, hook and eye, buttons (eventually)
How historically accurate is it?: Maybe 75%? I used poly thread and machine stitched everything.
Hours to complete: 25-ish hours. I always forget to keep track.
First worn: First outing will be on August 5, so expect a picture post shortly after!
Total cost: $65 for the wool, maybe $10 for the linen.

I'm in looooove with the drape of this skirt. I used TV261 for the overall shape, shortened to guidelines from Fashions of the Gilded Age. I'd been wanting to try this out for awhile, and it seemed like it would work. I thought I made it a little too short, however, and was faced with a dilemma. Fashions indicated that a walking-length skirt should touch "the instep [in front], [and] the back just clears the ground" (pg 144). I cut it about 2" too short; the unhemmed pieces touch the instep in front and just clear the ground in back. But when I hemmed it and put it on, it was the perfect length. We shall see how it turns out when I wear it :D

Book Review: Fashions of the Gilded Age, Volumes 1 and 2

I bought these books after perusing another book in Frances Grimbles' bibliography, with the understanding that they weren't going to be "easy" to use. I am not an experienced tailor by any means; with only three years of high school fashion studies class under my belt, I am largely self-taught. (I hated sewing until I discovered Gothic Lolita fashion. Why pay $300 for a dress that I could make myself? But that's a story for another day.)

They are less easy than I even guessed at. Some of the patterns are presented with an apportioning scale similar to those in Edwardian Modiste and Voice of Fashion, but otherwise, they are largely scaled drawings that you will have to enlarge and modify. These are going to be a challenge for me, albeit an exciting one.

I would say that these books are valuable to have in your collection regardless of sewing skill, if you have any interest in Victorian fashion and recreating it. There is a section on undergarments, including corsets (what does the "hideous" French corset look like?? I must know!), chemises and drawers. Volume 2 contains an extensive selection of accessories, hair pieces, jewelry, shoes, and outerwear. There is one pattern for a slipper, three for aprons, and various dresses and outfits though not as many as vol. 1. There is a HUGE section at the back on fitting and sewing techniques. It is worth it for this section alone. Volume 1 contains three corsets, several petticoats, and skirts and bodices galore! Volume 2 also contains a large section on sewing techniques and TONS of information on modifying patterns, and both volumes also have lengthy introductions to each section on mores that modern costumers may never have picked up on (for example, a white petticoat while travelling "[displays] vulgarity and want of breeding so completely". [Fashions of the Gilded Age Volume 1, page 347, originally quoted from Ladies and Gentlemen's Etiquette, 1877]).

I've had the books for just over a week and I flip through them nearly every day. I'm quite enjoying the information presented and really looking forward to attempting to make up some patterns.

Adventures in Apportioning Scales

My dear friend Mew was so very sweet and thinking of me when she was shopping one day. She found a book of Victorian patterns, would I like a copy? Sure! I love Victorian patterns and adding to my collection of Things I Will Sew One Day (tm). Thank you for thinking of me <3

The book came, and it wasn't precisely what I was expecting -- not that it is not dearly appreciated anyway! I really had no idea what to expect in the first place, and I was really excited to see what it had to offer. The book was 59 Authentic Turn-of-the-Century Patterns by Kristina Harris. It's a little out-of-era for me - most of my costuming focus is the bustle years of 1869-1889 (with the bustle-less years in-between as well; they're still aesthetically pleasing to me), but some of the earliest patterns in the book were still quite lovely to my eye. It's also useful for people looking for children's patterns; there's a very small selection of girls' patterns, one boys' pattern, and 2 or 3 mens' patterns as well. I was really excited to sit down and start planning the patterns out.

But I didn't quite understand them. The sewing directions are sparse (not really a concern, I should be able to figure that out), but the drafting instructions just made no sense. You are directed to draft blouses (aka waists) by bust measurement, and skirts by waist measurement, and to regulate the length by tape measure. OK, I got the tape measure part. What does the rest of it mean?

A trawl of Google revealed that you cannot make up the patterns by the numbers given. They are not in inches, and the enlarging instructions given are partial at best. What you really need is a set of apportioning scales.

What the heck are apportioning scales? Another Google trawl led me to a blog that linked to Festyve Attire's videos on how to use Edwardian apportioning scales as given in Edwardian Modiste by Frances Grimble. The notes at the bottom also indicated that the same scales given in this book can be used for Kristina Harris' books, as they are from the same fashion magazine. Sweet, I thought. I just need to find myself a copy of a Grimble book and I should be golden.

As I am a poor working stiff in retail, buying an appropriate book was not an immediate option. The library had only one book, an early 1900s book of patterns The Voice of Fashion (Grimble). I figured I could take it out, copy the rulers I (thought I) needed, see if anything caught my attention. I know myself well enough to know that I only need enough time and opportunity looking through any given era and I will most likely develop a level of passion for it.

There's several dresses that look utterly charming. I made up the test pattern with relative ease, though I haven't had a chance to test it fully. All of my fabric and sewing supplies are currently packed up and inaccessible, but the paper part seems to be OK so far. I will have to get on making a corset for the era to be totally sure. I was impressed enough with the way the patterns are drafted to pick up copies of Modiste, and 2 mid-bustle era books also by Grimble (Fashions of the Gilded Age One and Two; funnily enough, from the bustle-less mid-era years. LOL.) I can't wait for them to arrive and get started on expanding my wardrobe.

I will hopefully remember to take detailed photos of both the drafting and construction process to post here, as these books are wonderfully fascinating! I highly recommend them to anyone looking for these eras, with the caveat that they will take some skill to prepare to an easily sew-able state.

Adventures in: Sewing Challenges!

I've decided to participate in the Historical Sew Fortnightly, a themed challenge every two weeks for historical sewing :3 I probably won't be able to participate in every challenge, especially during November, but it's nice to have a tangible target and goals and peer pressure to keep one accountable. Plus I get some pretty things out of the bargain too! :D Now to decide what to make for the first challenge.

For Love of a Dress

When I was just a wee little lass, I spent a lot of time in libraries. There were two, conveniently located on my way to and from school. I can still clearly remember the way the light slanted in through the windows as I walked through the non-fiction section, looking for a book on costumes (I can't remember why I was looking for costume books), and I found...

Patterns of Fashion: The Cut and Construction of Women's Clothes, 1680-1840, by Janet Arnold.

Specifically, the 1775 polonaise. Something about the striped pattern and the silhouette captured my attention. The neat diagrams certainly helped, too. I checked the book out, made some photocopies, coloured some of those copies, and set about with grand dreams.

It's been over 15 years since I first saw that dress. It's the one that started all my love of historical costumes. I'd been to a few SCA events before that, but the kind of outfits my mum had made for me did not satisfy my then-unknown love of structure. I was not yet a proficient seamstress. I'd made a few things for school, and a Star Trek costume, but I hated sewing. Still, I had visions of one day wearing a big floofy gown.

Fast forward some 4-6 years. I can also remember the way the light slanted through the windows of my apartment when I found Katherine's website, and specifically a green polonaise that she'd sewn entirely by hand. I was blown away by A: how pretty it was, and B: that she'd had the patience to do it by hand. I hated sewing by machine! It took so much time! The idea of doing an entire outfit, by hand, blew my mind.

Shortly after this, I got into gothic lolita fashion and started learning to love to sew. Not too long after that, I started going to local conventions, simply to have an excuse to wear a costume out in public.

Somewhere in there, I fell in love with Victorian fashions. I think I loved them for the same reason I loved that polonaise. They have a similar silhouette: the heavily structured bodice, full skirt, "business in the front, party in the back" skirts. Victorian is my prime area of costuming, as there are great, commercially-available patterns. Late-18th century seemed a little harder for me to get into, with not as many patterns available. Even though using Japanese pattern books for gothic lolita taught me a fair amount about drafting patterns, the incredibly-necessary fitting of Georgian gowns still seemed too far out of reach. I did make a Butterick pattern one year, but I didn't make any of the underpinnings, so I was always afraid of ripping it in some horrible way while wearing it.

Over the years I've expanded into other areas of historical dress. I fell in love with Elizabethan, then Tudor costumes. I got into cosplay. I started going on a local attraction even though it's not all THAT interesting and kind of expensive, simply because I have an excuse to wear a new Victorian gown every year.

I'm not really sure when I came back to the late 18th century. I read a few blogs of costumers that cover many eras, and I always find myself loving their 18th century outfits and wishing I a: had one to wear, and b: somewhere to wear it. I have the same feelings about Civil War era gowns, though at least for those, my Victorian group would be easier to fit into.

I decided quite recently that it didn't matter that I technically have no event I can wear a dress like this to. Eighteenth century was my first true love of historical fashion. Therefore, I will make a dress.

And it will be beautiful.

ETA: American Duchess has a great article on how she "found her era". Mine would probably be Victorian bustle as that was the first era I started sewing for. I've been known to tell people to just give me time and enough images of an era I previously haven't considered, and in time I will probably come to love it as much as Victorian ;)

A Regency Bonnet

Hello again after a long hiatus! I've been working on small projects here and there but nothing major, and now I finally have a project worth posting for you :)

A couple weeks ago, as we drove down to a local museum, we decided that we should go watch the Canada Day fireworks. I was pretty sure I would be working until early evening, but that doesn't matter much in Edmonton. The fireworks don't start until 11pm, because it's not dark enough until then to appreciate them.

We thought we'd head downtown a little early and have a picnic first. I cannot remember how picnic attire came up but it did. "What does one wear to a Canada Day picnic?" we asked ourselves. "A Regency dress, of course!" I declared.

 There was a brief pause. "BEST IDEA EVER!" we said.

I already had a dress made, complete except for a hem. My companions did not, but the dresses are so easy to put together it doesn't take long. I briefly pondered making a new one in the two days before the event, but decided that I made such a fuss over getting my current dress hemmed that I wouldn't give myself the extra stress.

 But now I have a new worry. Head coverings. Up until probably the 1960s, no one left the house without some kind of covering on your head. It simply Was Not Done. Not that anyone but us will care that our heads are bare, but we're already going with historical underpinnings and dresses, why not add that one extra layer and have our heads covered too?

I used this tutorial at Simplicity.com to modify a hat I purchased at Walmart into a bonnet. It has a straw brim and a baseball-style crown which I can wear perched on the back of my head and tied beneath my chin for a reasonably close historical look. The crown needed covering, and I had to add ties of course. I used some scrap satin and ribbon, and overall I'm quite pleased with the finished product :) It took around 2 hours to make, and had a total cost of approximately $15.