Summer Whimsy -- 18th Century Peeping Fan: A tutorial

I've always loved hand fans -- ever since I can remember.  I recall visiting the 1964 World's Fair in NYC as a kid and the first souvenir I bought was an Asian silk fan in the China exhibit. Love them. Fans were not only fashion accessories in the 18th century, they also served a very real purpose since there was no air conditioning.  Ladies used fans as a non verbal way to flirt as well.  Fans of the 18th century were quite decorative--often made of vellum or silk with the frame being ivory.  Fans were often souvenirs, decorated with paintings of famous people, places or events.  My favorite of the 18th century fans, however, are the peeping fans.  I've read that these fans were created so that proper ladies could watch scandalous plays without being embarrassed.  I've also read that they were used for flirting.  A number of these survive today in museums:

French fan, 17th century

 18th century Spanish, Met Museum

 1770 of unknown origin

Being a crafty sort, I decided to embark on making my own peeping fan.    I had made some souvenir fans using pre made white paper party fans using this tutorial and they turned out quite well so I thought I'd try this starting with a paper prototype and if successful, making a silk fan for the final project.

I realized that I would need to cover the entire fan with images and to create a face for the center.  I also realized that I would need to cut holes in the fan and that those holes needed to be placed between the fan spines so as not to cut them.

Here is the process.

Step 1:  Completely flatten your fan and trace the paper part.  This will mean tracing the outer curve and measuring the depth of the paper to get the inner curve.  I needed larger paper as the entire fan did not fit on 8.5 X 11 inch copy paper.  I decided to divide the fan in half so that my final images could be digitized and my printer won't handle 11 X 17 inch paper.

Step 2:  I cut out the left and right templates and laid them on the flattened fan to check for fit.

Step 3:  I scanned the templates and made several copies.

Step 4:  Next came the face.  I sketched some rough shapes and played with sizes.

Step 5:  Check the eye placement to make sure the eyes can be cut without cutting the fan spines.

Step 6:  Creating the face.  I traced the outline of the face and eyes with pencil and created a watercolor prototype.

Step 7:  Scan the face into a graphics program--I used Photoshop Elements.  The color and detail often washes out when scanning so adjustments will most likely need to be made to the color.

Step 8:  Print a copy of the face to check your corrections.

Step 9:  Collect appropriate images for the rest of your fan.  I did several Google searches like "18th century arts,"  "18th century theater," and "Roccoco images" to find some that I liked.  I used images that were from paintings.   I saved the images to my computer and resized them in Photoshop Elements to sizes that I thought would work.  I then just placed them all in a word document to print and save for future use.

Step 10:  I cut out the pictures in random shapes and laid them over the template, making sure that the face was centered (I had a line drawn at the center.)  It's important to make sure that the outline of the template will not cut off the faces or main elements in the pictures.  This is probably something that could be done digitally using Photoshop or Illustrator, but I'm not that proficient with doing things that way.  I centered the same theater graphic on both sides of the face.

Step 11:  I glued the images in place and cut out the templates, checking for fit on the fan as best I could.

Step 12:  Scan the cut and paste template so that you only have a single thickness of paper.  If you've done your cut and past digitally, then you can probably skip this step.

Step13:  Apply a fixative to your printed graphics to protect them from moisture--here are two possibilities.  I selected a gloss finish.

Step 14:  Cut out your templates and glue to fan using paper glue.  You may have to do some trimming.  I found that my face was off center and I ended up cutting the spines to make the eyes.  It was okay as the added layer of paper stabilized the fan. Paint a gold trim on the edges of the fan and face and when dry, carefully fold your fan and rubber band in place for a while. 

While I was happy with the result in paper, I didn't care for the thick, bulky feel of this fan so I decided to go ahead with my original plan and reproduce it in silk.  Since all my templates were digitized, this was an easy task.  I purchased silk fans that were the exact same size and had the same decorative frames as my paper fans.

Step 1:  Print images on printable silk, peel of the paper backing and apply very fine fusible web on the back of the silk.  Then cut out your templates.

Step 2:  Pin your silk fan flat to a padded surface.  

Step 3:  You will need to line up your images. This time the face must line up as the silk graphics will not have enough support for you to cut the wooden spines of the fan.  I lined up the center first and started pressing my images moving toward the sides.  I ended up having to trim the graphics at the sides by 1/4 to 1/2 inch.

Step 4:  Trim both the top and bottom of the silk with gold and outline the face and eyes with gold.  I started with Decoart fabric paint markers which were okay but they bled a little when outlining the eyes.  I went over it with Martha Stewart acrylic paint in gold that was much better so that's what I'll use from now on.  I also painted the two wooden ends of the fan with the acrylic gold paint.

Step 5:  Refold the fan and rubber band closed for a day or so.

Voila!  Finished project!

Over all, I'm pleased with the end result.  Since I digitized my templates, these can be made quickly and I won't have the paint issues.  You can add sequins and crystals to your fan to make it as fancy as you want!

Cleaning out the sewing room one project at a time--Vintage Edition!

There are piles of yet to be started projects in my sewing room and I've decided that I will be every so gradually attacking those piles.  I'm not buying fabric unless something unusual that can't be made from stash arises.

I finished the first project in the pile.  This one utilized a vintage pattern and some 1940's/50's silk purchased on Ebay back in 2011.

The pattern wasn't exactly my size which is a problem one faces when buying vintage patterns.  Thanks to this article and this chart I learned that grading a pattern to the correct size isn't as daunting a task as I thought!

First I looked and the pattern pieces that needed adjusting.

Then I slashed the pattern pieces according to the directions in the article.

I took out the excess by removing the designated amount and taped the pieces together.

Then I traced the pieces, straightening out any lines that were distorted by the grading.

I made a muslin of the bodice and found that it fit perfectly.

I love the dresses of the 1950's but there are features in them that I'm not particularly fond of--most notably side zippers and metal zippers.  Most of these dresses aren't lined.  So while I was making a vintage reproduction of sorts, I chose to convert the side zipper on the pattern to the center back and to use a modern invisible zipper.  I also chose to fully line the dress with Bemberg rayon lining.   At a glance, the dress has a vintage look and some vintage details however.  I was very pleased with the final result.

Close up of bodice:

Bodice back with invisible zipper:

Some of the vintage details I kept:

Fabric covered belt

Thread belt loops

I found it interesting that patterns in this period did not include armhole facings but rather just instruct you to use fabric bias to finish the armholes.

I also covered the waist seam with the fashion fabric.

I was very happy with the end result.  The fit is perfect and I have all the proper accessories to finish off the look!

Reflecting on "Urban" Education.

I attended a function in Roland Park yesterday.  For those not familiar with Baltimore, Roland Park is an old neighborhood consisting of huge homes.  Those that live there come from old money and are considered the highest of society.  Needless to say, it's an all white neighborhood.  It's beautiful.  I could just walk and look at the houses there all day.

I decided to walk by Roland Park Elementary Middle School to take a closer look.  I've noticed it before when driving down Roland Ave. but I never stopped to really look.  It's a historic building with tasteful modern additions.  There are stained glass windows portraying children reading or engaged in other learning activities over all the doors. 

There's a banner showing that the school has an excellent Gifted and Talented program.

One showing that it has an award winning arts education program.

There are gardens devoted to people who worked or volunteered at the school.

There is an iron fence portraying fish and sea creatures and wonderful playgrounds.  There are benches and structures with plaques on them indicating that they were gifted by different classes in the school.   Roland Park Elem. Middle School is next to Gilman--an exclusive all boys K - 12 private school and across the street from Roland Park Day School--another exclusive school.  Roland Park EM School has also been named a National Blue Ribbon School.  

Did I mention that Roland Park is a Baltimore City Public School?

Now I've driven by numbers of Baltimore City public schools in West Baltimore, Fells Point, and other neighborhoods and not one of them had the street appeal of Roland Park.  The ones in West Baltimore--otherwise known as the ghetto--look like dungeons.  Why does this matter?

In the current school reform debate, we constantly hear about the dire condition of urban schools. Anyone who has ever stepped foot in a classroom knows that poverty is the driver behind the dismal results that so many urban schools see.  I teach in a poor school.  The stories I hear from students are gut wrenching.  Education is not high on one's priority list when they are living in a car and trying to find food.  Education is not high on one's priority list when they are dealing with drug addiction and abuse.  I bet if those schools in West Baltimore looked like Roland Park, students would certainly be more motivated about checking out the inside.

School Reformers like to say that it is the teachers who are responsible for the poor achievement levels in the high poverty schools. Their answer to this is to strip teachers of any employment protections, not hire experienced teachers who have committed themselves to the profession and to go with a teaching force consisting of new college graduates with minimal training who only stay 2 years.  To them this makes sense.  I often wonder if they follow this philosophy when using other services.  Do they choose the experienced surgeon who has performed a procedures thousands of times or the one just out of medical school who has never done it?  I have no doubt that they go with the experienced professional.  The same should apply to teachers.

If you think that poverty and wealth among the student population doesn't matter--talk to some teachers.

I have no doubt that the teachers at Roland Park have all they need in the way of resources to perform their jobs well.  Need microscopes?  Musical instruments?  Books?  Contact the PTA or parent group and they will raise the funds or make donations.  

The teachers in West Baltimore aren't so fortunate.  They are spending hundreds of dollars of their own money supplying basic school supplies and personal items --often including shoes, clothing and food-- to their students.  

Students at Roland Park are expected to excel.  Learning is a way of life for them.  They will be expected to attend Ivy League colleges.  These students will also enjoy a wealth of enrichment activities--authors/artists in residence, field trips and other hands on learning experiences.

Students in West Baltimore are expected to pass standardized tests to prove the worth of their teachers.  They will spend months in practice testing and test prep.  Some of the school funding used for basic needs depends on these test results.  While these students are "expected" to graduate high school, college is only a dream for some.  There are no funds for enrichment activities.  They cut into test prep time anyway.

More than likely, teachers at Roland Park are considered to be highly effective.  

More than likely, teachers in West Baltimore are struggling and often considered to need improvement.

If the current crop of school reformers really believe that it is the teachers who are responsible for student achievement, I'd like for once to see them embark on the grand experiment of switching them.  Just switch the teachers in West Baltimore with the ones at Roland Park.  Give them some time to adjust to the culture shock and see if test results are any different.  It will be amazing to watch those ineffective former West Baltimore teachers turn overnight into effective ones.  The fate of the Roland Park teachers won't be so positive though.

I wish more people would understand that adequate funding to educate other people's children is an investment that will ultimately help the entire community and benefit everyone.  

We have a long way to go.

Pattern Review: J.P. Ryan Caraco

This review is posted on patternreview.com.  I've furnished more pics here.

1. What is the inspiration for your design?
My husband and I are 18th century reenactors. I wanted to make something to wear to Mt. Vernon for our July 4 reenactment that was sort of red, white and blue. When I read about this contest, I figured that I could wait to start the outfit on July 1 because the pattern was very basic. I focused on making all my accessories before that date.

2. In what year / decade / era does your design originate? (Estimates are just fine; no need to be scientifically precise!)

Since this was for July 4, I was aiming for the Georgian era--specifically 1776.

3. Why did you choose this design?
I like this type of jacket and didn't want to make a full gown. This is a middle class garment which was the type of person I was portraying. As reenactors, we focus on historical accuracy and I chose a design that was appropriate and fabric that was accurate. The only thing not historically accurate is the machine stitching which cannot be seen as it is encased between the lining and outer fabric and the hook and eye tape which was used for convenience. The fabric is a cotton from a supplier in Williamsburg that was researched from an extant garment of the period. The outer petticoat is 100% linen.

4. Where will this design be worn?
This design will first be worn at Mt. Vernon on July 4.

5. Was this design created for yourself or someone else?

Myself

6. If you used any vintage techniques or fabrics please tell us about them.
The fabrics are not vintage but they are historically accurate.

7. If you started with a pattern, identify the pattern. If you started with a photo of a design, you are encouraged to include the photo.

The caraco is made from J.P. Ryan's caraco pattern and the petticoat was made following the tutorial at this website: http://fashionablefrolick.blogspot.com/2011/04/threaded-bliss-tutorial.html

8. What fabric and trims did you use?

The caraco is made from a cotton chintz from Burnley and Trowbridge and it is based on a historical garment in their collection. It is lined with a 50/50 lightweight cotton/linen blend from Joann Fabrics. The petticoat is made from midweight 100% linen from fabrics-store.com. The sleeve ruffles are made of Italian cotton organdy from Wm. Booth Draper. The petticoat is bound with linen tape and the buttons on the caraco are bone button moulds also from Burnley and Trowbridge.

9. What was the most challenging aspect of your design?

This was an extremely easy pattern to make. Basically the lining and outer fabric are constructed in their entirety then sewn together and turned. The most challenging thing wth 18th century garments is fit. Since this closes with hooks and eyes in the center front, it has to fit exactly right. Fortunately J.P. Ryan patterns are very consistent and I've made others so I flat measured the pattern, made adjustments on the pattern, cut the lining out and constructed it first to try on. It was perfect so I did the same for the outer fabric. This was a 1 day project for the most part. Due to time constraints, I chose to forego making handrolled/stitched hems on the sleeve ruffles and chose to finish them with pinked scallops which was a common treatment at the time. Examples of garments with this type of finish can be seen in many museums.

A word about fitting J.P. Ryan patterns:  measure over your stays.  The patterns are designed for a body that fits the given measurements.  Size 8 is for a 34 inch bust and 26 inch waist.  I measure 34 and 28 but in my stays, my waist is 30.  I find that I have to add 4 inches to the waist for the patterns to fit.  They are very accurate.  The sleeves also run very slim.

Here is the closure of the false stomacher.  I added linen buckram to make it nice and stiff. 

The sleeve ruffles were finished with pinked scallops in lieu of hand rolled hems.

The buttons were made using bone button moulds which is historically accurate.  I actually prefer these to the modern fabric covered buttons.

The petticoat is pleated so that the box pleat is the width of the caraco stomacher front.  It is bound with linen tape.  The side seams were machine stitched, the pocket edges, pleats, binding and hem were all hand stitched.

I made the accessories before the outfit which included this silk lined/trimmed straw hat.  I love these little Georgian hats and I've made several of them.   I'll post a tutorial at some point.

A French style souvenir fan with pictures of Mt. Vernon and George and Martha Washington.

Miniature portrait jewelry.  The larger one is on a red silk bow which is pinned to the front of the jacket.  Both portraits are reductions of period paintings of George Washington.

Here are some pics of the outfit as worn July 4 at Mt. Vernon.

So far this is my favorite 18th century garment.   It's very comfortable, fits perfectly and fits the period I''m portraying very well.