Well Hello, Mr. Rochester!! 1840's Fashion, My Way

 Hi Everyone!

With the release of the new Jane Eyre film this month, I thought it would be fun to share this lil’ dress project I did a few years ago, but didn’t actually get an opportunity to wear it until Dec ’09:

Me, Dec 2009, in my Laughing Moon Round Gown

This dress is the product of a pattern test I did for a lovely lady in Sacramento.  She has her own line of costume patterns, Laughing Moon, and a shop in Old Town Sacramento.  I had the wonderful opportunity to sign up and try out the pattern before it was published for the masses.  A style know as the Round Gown.  She sent an unpublished copy, and I had to make the dress according to the pattern & directions, step by step, to review and ensure the process was clear and highlight any errors/typos in print or wording, ect.

This was a worthwhile experience in more ways than one.  Not only did I create a dress, but I was a contributor to the creation of a historical pattern, and a GREAT one at that!  It can be purchased here. 

But my favorite part, the icing on the cake, was finding a way to actually like dressing up in this particular silhouette in history. 

Women's fashion plate from 1844.

You see, I love the story of Jane Eyre…my sisters and I grew up watching the BBC min-series in the 80’s with insanely handsome and brooding Timothy Dalton, and adore the latest version from 2006!

But frankly, women’s fashions from the mid-19^th century scare the shit out of me.  I would not willingly choose this silhouette or even this Laughing Moon round gown to make for myself.  Perhaps it’s those severe center-part hairstyles and bonnets, or the confining drop-shoulder bodices?  Or just the fact that all the women look so …sad?

  We all have era’s of time we are attracted to for different reasons.  That’s why civil war reenactments, Dicken’s and Renaissance faires exist, right?  As much as I love costuming, these time periods have  always been my least-favorite eras of fashion.  Judging by the images of women in these periods of time, it does not look fun or pretty to me. (Such as the Tudor (left) and Elizabethan (right) ladies below)

The Laughing Moon pattern test gave me an opportunity to “make it work”. 
Here I was, faced with the challenge of making a dress from a time I did not care for, so I found a way to like it! 
What inspired me the most? 
Reading bios about various women from the 1840-1850’s.  Women who lived unconventional lives in America and, in particular, California.  Since the Gold Rush started in 1849, California is a wealth of mid-19^th century unique inspiration.

And that’s how I stumbled upon this crazy bitch, Lola Montez.

FIERCE: Note the tight leather gloves and what looks like a hand-rolled cigarette. 
My kinda mid-19th century gal!

What a perfect blend of beauty, scandal, and mental illness!  I found her story and images very inspiring.  Lola Montez: "Special friend" to writers Franz Liszt and Alexandre Dumas, Mistress to a German King, dark and dramatic, known for her “Spider Dance”, SHE is the original vamp!  The song “Whatever Lola Wants” was written just for her!  This broad knew how to LIVE!

I ended up making the Laughing Moon Round Gown in a blood red “crackle” print calico cotton.  The cotton makes in so “American” and the bizarre crimson print makes it intriguing and dare I say…sexy?  The buttons I chose for the front closure are actually “Teddy Bear” eyes intended for stuffed animals.  (I didn’t know this until I went up to the counter to buy them…needless to say, it adds to the “crazy” factor.)

My hair was full-on Lola inspired with the bun in the back, a Spanish comb, and curly sides known as Spaniel Ears (not hot).  Miss Lola Montez was basically a white girl pretending to be Latin and exotic, so I accessorized with a Lace Shawl and Spanish fan:

 

 I went to the Dicken’s Fair in San Francisco looking like this, and felt scandalous and extra-spicy!  Definitely stuck out from the Bonnet & Cape crowd…and since I’m anti-hoop, I felt liberated in my net petticoats!

I was VERY happy with the end result!  So early California! 

Me, Dec 2009: Dicken's Faire @ The Cow Palace, San Francisco.
(yes, that is sawdust on the hem of my dress...classy!)

And that’s how I was able to inspire myself to sport an 1840-50’s round gown! 

By looking to the American West and going outside the Jane Eyre/Dicken’s/European history, I was able to have the mid-19^th century “talk to me” in a different way.

Perhaps, one day, I can have that same experience with the Tudor/Elizabethan fashions.  Until then, I can remain content in knowing the Mid-19^th Century ain’t so scary anymore.

-Kathleen, In Oakland

My New Frontier: A 1960’s cocktail dress: Part One - Introduction & Sizing Up the Pattern

Hi Everyone!

Our adventures in pattern drafting continue with our much loved circa 1960 cocktail dress, Spadea’s # N-1077, otherwise known as Philip’s stunning creation, Black Beauty!

Spadea is a long-gone, mid-20^th century pattern company, and their history can be found here.

Philip has already made up this dress as is, in its original size, out of a sumptuous black satin. Then, he proceeded to bedeck, bedazzle, and encrust his creation in iridescent black glass beads.


As you can see, it is a wonderful example of finery and sophistication.   Who wouldn’t be inspired by this amazing work of art?!

Bottom Line:  I want one.  But I want a West-Coast version, made in a cool yet bold Hawiian Barkcloth, with no drape, and embellished with black palette spangles on the solid black background:

I have *just enough* Hawiian Barkcloth fabric to create this dress with no drape...
but how cute will it be?!?!?!

Our Spadea pattern is a vintage size 14, which is a modern day 6, which I am not.

In order to make this style fit, I will have to increase (grade up) the original pattern from a size 6 to a size 8 size 10. 

What is my end goal?? To have a fabulous, flattering real vintage dress pattern that fits me.  This Spadea style is perfect to start with because it is:

1.) Simple – Just a bodice, waistband, skirt, and optional front drape!  The facings at the neck/armhole area can be easily replaced with bias tape to finish the inside, which I plan to do.

2.) Flattering –Bateau neckline, hourglass shape, what’s not to LOVE?

3.) Easy to sew - with areas of opportunity to tweak , simplify or improve the construction quality and finishing.

4.) Versatile –Looks great in anything from Satin to Cotton to Lame’!  Can be made with or without the drape in front for a sleeker, or less formal look.  In fact, without the drape, this is a simple, sweet little boat-neck wiggle dress….wooork!

Well, here I go again….a whole weekend of nothing but tracing & re-tracing patterns, and the results are worth every moment!

The entire original pattern consists of  9 pieces: Front/Back Bodice, Waistband. Skirt, facings, and the front drape.  ***I will be showing the front bodice only as an example of the tracing/sizing up process.  Note: The Front Drape piece will not be included in this 1^st dress, but will be explored/sewn at a later date, in a different fabric.

First, I trace all the original tissue pieces, marking all punch holes and perforations.  This 1^st tracing is now my master copy, and it will remain unchanged, as an exact copy of the real vintage pattern.
 


 

Original tissue pattern from 1960



1st Tracing:  Exact copy of the original (Sorry, the photo is light, but you get the idea :)

I create a 2^nd tracing from the first, and I make adjustments to the body width and length by slashing & inserting strips of paper.  I have calculated how much I needed to add to the original pattern to make it fit me.  In order to increase black Beauty up to a size 10, I had to add 3 ½” total to the original pattern width, and 1” to the total length.

2nd tracing: slashed and spread to evenly increase length & width.

Here's a lil' breakdown of what I did:

WIDTH: Since the patterns for the Bodice, Waistband, and skirt are placed on the fold and represent one quarter of the body, I divided my total width measurements by 4, then applied that number to each piece.

In other words, 3 ½” divided by 4 is 7/8”, so I added 7/8” to the width of each piece.

LENGTH: I evenly divided the 1” length needed between the bodice and skirt. 

So, ½” was added to the bodice length, and ½” to skirt length.

The best way increase the overall size of a pattern, is to add throughout the body, instead of just adding to the side seams and bottom edge.

I’ve created these quick ‘n dirty images of the bodice and skirt to clearly show what I did, and what you should NOT do: 

Once all the pieces are increased in size, I clean up the overall shape, double check & triple-check notch placement, making sure everything matches and lines up for good sewing.

Now all the pieces are ready to be cut in fabric!

3rd tracing: All cleaned up in a size 10 and ready to use!

Stay tuned for Part Two:  “Sewing a Wearable Muslin” where the dress will come to life in all its size 10 glory!

-Kathleen, In Oakland

Inspiration is Everywhere!

Hello Everyone!

Here’s a little mid-week inspiration, courtesy of the San Francisco Ballet and the St. John’s store on Market Street. 

(I snapped these pics with my blackberry, so my apologies for the quality)

Like a moth to a flame,

Like a fly to honey,

I was drawn in by the tractor beam of THIS: 

Traditional tutu gown:  Princess-cut white crushed velvet, with silver snowflake appliqués and sequins.

I wonder if St. John's has hidden cameras in front of the window? 

Because the reaction of every woman walking by is priceless. 
Just watch our eyes light up with awe and wonderment! 
What's that sound??  Oh, that's my inner child squealing with delight, for a dress like this is what we all dream about, isn't it?

I was never a big fan of white crushed velvet, but suddenly I want yards and yards of it!!

Here's another bit of magical ballet goodness:

Just Amazing!!! 
Liquid-y silver asymmetrical toga-style gown, with stunning strategic silver beading,
sequins, and rhinestones. 
Moon wire headdress with pearls and silver beads.



Enjoy!

-Kathleen, In Oakland

Break it Down Now: The Layers of my Summer Outfit / Inspiration

Hello Everyone!

Philip thought it would be fun to show all the layers of the Victorian outfit I wore to the Handcar Regatta a few weeks ago.

  

The ensemble falls somewhere between “costume” and “historical clothing” because it consists of many pieces worn from the skin out.   For me, all the layers provide the look, fit and feel of wearing clothes from another time.  The biggest surprise was just how comfortable I was in the hot sun with all these clothes…Honestly, it was not bad at all.....cotton RULES!


This particular outfit took me a little over a year to put together.…and I still need a freakin’ purse! 

The coordination (color, look, feel) of this outfit was inspired by some of my favorite things.....the opening scenes in the movie “Tombstone” and a painting by James Jacques Joseph Tissot. 

(more to come on those subjects later!)

Inspiration: The Earp brothers and their wives, from “Tombstone”

Inspiration: A close-up from “The Garden Bench” by James Jacques Joseph Tissot

Historically, this fashion is known as “Natural Form” and was a transitional look between the post –hoop/early bustle and the late Victorian “shelf” bustle.  Approx 1878-1883….give or take a few years to compensate for Europe-to-America communication speed.

Layer 1:  The Underwear ~ This boned corset and petticoat with ruffles & pintucks provide the correct silhouette for this circa 1880 outfit.  Under the corset and petti is a cotton camisole, drawers, and yet another petticoat that is thinner/shorter.  The extra petticoat underneath is essential, as it keeps all the ruffles from swimming between my legs when I walk, lol!

Layer 2:  The Underdress ~A.K.A. “The Dirtcatchers”  ~ Cotton muslin vest functions as a “corset cover” and protects both the overdress and corset from sweat / dirt / God knows what.  The underskirt has a small train which is held into “poufs” down the back with a series of ties.  Both items are easy to wash (and washed often, lol!)  My apologies for looking a little worse for wear in these pics....it was a long, hot sweaty day, and I had serious hat hair!

Layer 3:  The Overdress ~ An open-front dress known as a “Polonaise”.  Striped calico cotton with eyelet ruffle trim, brass buttons, and petersham ribbons.  This overdress is un-boned and fitted, but not tight.  All the layers underneath make the dress sit & drape perfectly.  This is a “no bustle” style.... however, all the fullness is still distributed toward the back for a bustle-y / tied back look.

Kathleen -In Oakland

Inspired By Threads: Issue 64 ~ Ribbonwork Flowers/Up Close

Hey Y'all! 

I just entered the "Inspired by Threads" Magazine contest:
http://www.threadsmagazine.com/item/16010/inspired-by-threads-contest

And I wanted to share my entry with our Patterned History followers.

In 1996, when I was 17 years old, I was inspired by Threads Issue #64 to make my Senior Prom dress.  The issue featured an article as well as an "In Detail" image on Ribbonwork Flowers. 

1920's gown I *think* was on the back cover of Threads issue #64 "Up Close". 
I no longer own a copy of the issue from 1996, so I'm pulling this from my memory. 
This image is from the

Metropolitan Museum of Art Online Costume Collection

At the time, I was apprenticing for a very talented Costume Designer in Houston, TX.  I utilized every technique I was eagerly learning:  I drafted my own bodice pattern based on 18th century fit and design (my fav. time period) The body is made in black watermarked bengaline.  Each bodice piece is flatlined and boned with Ridgeline boning set into channels.  I created my own piping/facing from blush pink bridal satin.  All the flowers I made carefully by hand according to the Threads article. 
This past summer, I visited my Mom in Houston (I live in CA now) and found that this bodice had been lovingly saved and kept safe all these years. 
I was filled with so much emotion to see it again.

Front View of the my Senior Prom bodice inspired by Threads issue #64 featuring ribbonwork flowers. 



"Up Close" View of the ribbonwork flowers...did I mention I made this when I was 17?!



The bodice laces up the back with brass grommets, and was worn with a matching skirt, made from Folkwear pattern #216 Schoolmistress Skirt, and black Sam & Libby Victorian Boots...ha!! ....so 90's!.



Inside View

I made this bodice when I was a girl, with dreams of getting out of Texas and becoming a costume designer or a museum curator.   Now, I'm 32, with a Fashion Design degree and a Technical Designer by trade.  It has been a long road, but I am still studying fashion history and making costumes every spare moment I have.... don't give up on your dreams EVER!  They give you hope in your darkest moments.....no matter how nerdy they are.  For me, sewing is not just a creative hobby, but a livelihood as well. 
As my old Costume Designer boss used to say "As long as you know how to sew, you will always be able to eat." 
Good advice.

-Kathleen in Oakland

Dirndl Bodice: Part One ~ Patternwork & Fit

The Folkwear Austrian Dirndl pattern has 2 FRONT bodice options.  *Back bodice is the same for both.

Option A has a modest square neck with button closures.  

Option B is the low, square, “serve ‘em up a bowl of tits” neckline. 

I cut and fit muslins of BOTH options, and these entries are posted in the order I worked on them.

Option B Front Bodice:

Version B was my first choice.  Not really because of the low neck, more because I liked the unique bust gore detail.  However, something alarmed me from the very beginning….this version had front armhole darts….WTF?  uh-oh….

And yep, I was right….I sewed up the muslin, and the front armholes were totally janked and ugly.  Fuck. 

The dart is unnecessary to achieve a close fit, and the armhole’s too big and scooped out, no matter how much I darted….yuck…

Oof, seriously, overall, Option B fit was astonishingly sad.  Part of me wants to re-draft this bodice for Folkwear with NO front armhole darts….eesh.

Option B was immediately aborted due to time constraints.  Yes, I have the ability to fix, but not the time.  This requires some intense pattern work and at least 1 more muslin fitting.

BYE BYE, Option B!!!

Back Bodice (same for both options A and B):

The other WTF was the back bodice.  It is 1 piece with no darts or anything.  This 1-pc design was also a huge contributor to the poor fit/balance.  So, without changing the distinctive V-shape neckline, I immediately altered the back bodice to be 3-pc with curvy princess seams: 

This solved the fit issues immediately.  Moreover, all the authentic dirndls I’ve seen have 3-pc back bodices….with piping in the seams, which I will add as well:

Revised, better fitting, Back Bodice piece, with piping basted in place.

Option A Front Bodice:

OK….so, Option B front bodice with the cool bust gores was a no-go….

At this point, I had to decide on the surest thing…which would be to attempt the more modest, basic, Option A. 

Luckily, with all my research, Option A seems to be the classic overall design still worn today. 

I cut a muslin of Option A in a medium weight khaki twill, with 1” seam allowances to play with.  Oh, and this included my revised 3-pc back bodice as well.  Thankfully, the 1^st fitting was good, with barely any changes.  Because of this, I was able to use my muslin as the interlining!  I sewed Ridgeline boning directly on the khaki  at the sides, and might add more later at the CF area, or in the front darts....not sure yet.

A view of Option A Front Piece, with inside exposed to show Ridgeline bowning sewn to interlining.  Use zig-zag stitch through center of bone.  **Be sure to round off all cut corners of boning and melt the edges with a lighter, or boning will poke through fabric to the skin....yowch!!

Each khaki piece is sandwiched in between layers of lightweight black twill.  All layers (3 total) are zig-zag stitched together at the edges to become one piece.    This can also be done with a serger, if you have one J

This construction techique of combining all layers (SELF, INTERLINING, LINING) as one piece is also known as FLATLINING.


Each of these layered pieces will eventually be basted together for final fitting/placement of the armhole, darts, and neckline….

Stay tuned for more on the Dirndl Bodice!!

Later, y'all!

-Kathleen in Oakland