1780 Gown of Changeable Taffeta

 I decided to make a 1780 day gown using some shot silk taffeta I had.  I had originally purchased it to make a round gown but decided to go ahead and do an English gown.  6 yards was enough though I bought  couple more yards to be able to add a ruffle to the petticoat and some trim.

I made my normal center front closing English gown then decided on the trim styles.  We had a gopwn trimming workshop in which the instructor taught a "pleated and puckered" trim which dates from 1775 on so I decided to try that.

I measured the circumference of my sleeve and cut a wide strip twice that measure by 9 inches for each sleeve.  In order to get a scalloped/pinked line good and straight, I drew a chalk line 1/2 inch parallel with each long edge which I cut on using my 7mm scalloping shears.  For the foundation pieces, I traced the bottom of my sleeve pattern piece and extended that 1 inch below the hem and measured up 6 inches.  Basically it was a 6 inch wide piece.  I also added a little to the seam allowance.  I pressed each long edge up 1 inch.

Before working with my pinked/scalloped pieces, I treated the edges with a non fraying agent.  I prefer June Tailor Fray Block but I was out of that so I used another brand I had.  I've discovered that the trick to applying these fray stop agents is to use a very fine artist's brush and apply it thinly to the very edge.  If the liquid is thick, it won't sink into the fabric which is actually an advantage.  The side that gets "painted" is the wrong side.  

So the diagram below shows the stitching/pleating.  I drew a chalk line one inch from each scalloped edge and I used a chalk marking pencil to draw two large zig zags that were parallel. Use basting stitches to stitch on the zig zag lines leaving thread ends loose on each end so you will be able to draw up the thread but don't draw it up yet!  Make small box pleats along the chalk line, pinning that line to the very edge of the linen foundation piece both at the top and the bottom.

You can see the pinned box pleats.  After those were pleated, I had just a big puffy piece in the middle.  As I pulled on the thread ends (holding both together, the puffy zig zags started to take shape.   You will need to fiddle with this to distribute the puffs/gathers evenly.

Once the gathers are to your liking, stitch the pleats in place along the edge.  Then take small tacking stitches across the center of the zig zags--straight across, hiding these stitches in the folds.  Your stitches on the back will be large.  Also turn under one short edge and stitch

You can see the stitching across the center and where the pleats have been stitched.

I ended up stitching 2 more rows of tacking stitches to control some of the folds/gathers in the front.

Line up the hemmed short edge with the sleeve seam and match the sleeve edge with the bottom edge of the linen on the trim.  Pin in place and tuck the unhemmed short edge under the hemmed edge.   Tack the trim in place on the top and bottom (along where you stitched the pleats).

I decided to add a ruffle to the petticoat.  I cut 4 crosswise strips of taffeta that were 9 inches wide.  I marked a chalkline 1/2 inch in parallel to the long edges and pinked just as had done with the sleeve trim strips.  I also used the fray stop agent on those edges. I seamed these strips together on the short edges, making a huge ring that was twice the circumference of my petticoat.  I needed a guideline for pinning my ruffle so I drew a chalkline on the petticoat 6.5 inches from the hem so that the ruffle would hang off the edge by about an inch and a half. I divided the petticoat into 4ths which were not centered and pinned the ruffle strip to the petticoat at those points.  I don't measure my pleats.  I eyeball them so I just pleated as accurately as I could and it all worked out.

I decided to add scalloped pleated trim to the neck. The finished trim is 2 inches wide but I followed the same procedure of cutting the strip wider and drawing a chalkline to scallop on.  I cut strips that were a bit more than twice the neck (2 strips would each be half that.    I start my pleating for neck trim at the center back and work around, pinning pleats on each side alternately.   Here is the finished gown.  I think I will add trim along the gown skirt fronts as well as internal ties to be able to pull the skirts up.  I'll do that at a later time.

Here is the gown as worn.  Accessories:  a silk gauze Dormeuse cap, silk gauze half handkerchief,  sprigged silk gauze apron and yellow accents which include yellow bows, shoes and a French hat.

Hanging with my 1780 lady friends in Newport!

I'm very pleased with this gown.  I wasn't terribly motivated but once I got the sleeve trim done, I started really liking it.  The beige looks so plain but in the light, you can see the gold threads and they really glisten!  

"Women's plain and flowered sattin mitts"

 Mitts, mitts and more mitts.  I've been on a roll and have way too many pairs but I continue enjoying the research and construction of them.  What's a body to do?

I finally decided to make satin mitts out of some Duchess satin I had.  I made a pair of fancy unlined ones as a sample for a workshop I taught but this post is about another pair.  I finally decided to tackle the embroidery on my favorite extant pair of mitts in the Museum of Fine Arts, Boston.

These are constructed of silk satin and they are fully lined.  There are just so many interesting details but I particularly like the piecing on these mitts.  I can just imagine an 18th century seamstress pulling together her scraps to construct these.  I decided not to piece mine but really wanted to focus on the embroidery in particular.  Let's take a closer look.

Note that there is no herringbone stitching which is the most common embroidery you see on mitts.  The straight lines and the stitching around the thumb are double feather stitch.  While I've stitched feather stitch before, I've never stitched double feather and never done either in this tiny scale.   The wavy line in the middle is stitched with single feather stitches with straight stitches forming the floral motifs.   I also noted that the seams appear to be whip stitched on the outside which is interesting.

So how did I copy the embroidery?  First I resized the above cropped image to the size I wanted my finished embroidery to be.  Then I put it on a light tablet and traced it.

Because the image isn't exactly symmetrical, I mirror imaged it and printed both side by side.

Once again, I used my light table to trace this design on my mitts.  Note--when tracing the double feather stitch, I only traced the zig zag and not the individual stitches.  Likewise with the wavy line--I only traced the line itself knowing to change the direction of the feather stitches with each wave after studying the original photograph for some time.  I use a regular fine lead mechanical pencil for tracing embroidery on 18th century designs.  My quilted petticoat research noted that pencil markings could often be seen on extants.

The embroidery was stitched with 1 strand of Soie d'Alger silk floss.  

The mitts were constructed in my usual manner for lined mitts.  I'm quite pleased with the way they turned out.

The two layers of silk will be quite warm for the winter as well!

Also--Two other pairs of mitts, created as workshop samples for teaching:

Satin unlined mitts.  Embroidery worked with 1 strand of Soie d'Alger silk floss.  Faggoting stitch worked with 4 strands.  Tips are lined with taffeta.

Taffeta mitts, unlined, embroidery worked with 1 strand of Soie d'Alger silk floss.  The embroidery for these was copied from a pair in the Amsterdam Museum.

Next mitts on the menu will be French blue lambskin which will be made for teaching purposes.

1920s One-Hour Dress: Wearable Fitting Toile

 One of the most popular styles seen in the 1920s was one known as the One Hour Dress.  There were many variations on this simple dress with numerous booklets published by Mary Brooks Picken.  This dress is basically cut like a kimono top with no sleeve seam and a side extension at the high hip for pleats/gathers at the sides.  Other variations have a full waist seam which allow pleats/gathers all the way around.  There are also versions with gores creating a slightly flared skirt.  Sleeves may be kept short or sleeve extensions in a variety of styles can be added.  There are a number of neckline variations:  simple round, collars in various shapes and sizes, V-shaped inserts of contrasting fabric.  The list goes on.

Here is a pic of one of the brochures from 1924-25.  This one has a full waist seam.

Reprint of a period pattern with a flared insert on the sides. Note the front slot closure and embroidered collar and cuffs.

Diagrams from a French fashion magazine showing the pattern diagram and how contrasting fabrics can be used to create a different style.  This one is from the mid 20s.

Reprint from a period sewing book with ideas for adding other details to the simple one hour dress.

Reprint of mid 20s period pattern.

This design doesn't really require a pattern.  I followed the diagram on Festive Attyre's Lawn Party dress post.  I enlarged the diagram then took my own measurements to compare.  Period sewing guides give detailed instructions on drafting these patterns.  Basically I took my bust measurement plus desired amount of ease and my high hip measurement with ease.  I also measured the front length from shoulder to where I wanted the skirt to be.   You can see my pattern here along with the one I made for my slip.

I needed to make a fitting muslin so I bought some cheap gingham check, figuring I could actually wear it.  It's a cotton blend which I'm not overly fond of but I'll make a better version later.  I cut the sleeveless dress and stitched it together.  Here is my first fitting over modern underpinnings.  It fits fine.  I'm glad I raised the "waistline" and added a larger side extension for the gathers.  No amount of corsetry can make a straight style of dress work on my body.

I had planned to wear this with red accessories so I decided to add a red collar, cuffs and some sort of belt.  I used pattern tracing cloth to draft a collar based on one I'd seen with button accents.

I did the same to create cuffs.

The collar and cuffs were interfaced and faced with self fabric.  They were attached using bias tape as facing.  I had found these buttons at Joanns that resembled some vegetable ivory ones I found in my 1922 catalog.

My original plan was to do some sort of belt with a button closure.  After perusing more period images, I decided to go with side ties which I saw on an extant dress.  I needed to pull the sides in a couple of inches so this worked well.

Accessories:  Red silk Regency bonnet, 1920s vintage glass bead necklace, 1920s gold watch (belonged to David's grandmother), Red paste repro earrings and ring, seamed stockings, 1920s vintage handbag, T-strap shoes (I've preordered 20s red pumps that haven't arrived yet!).  I found that my jockey style Regency bonnet had the shape and color that I needed.  I'd like to refashion a red straw hat eventually to wear with this.  

Here is the dress in action.  

I think I need to raise the "waistline" almost to my natural waist.  My hips are 6 - 8 inches larger than my bust so it's hard to get the straight silhouette if the straight part of the dress has to go over my hips.

I have mixed feelings about this style.  I'm going to play around with my basic pattern a bit more:  raise the waistline almost to my natural waist and do a full waist seam to add fullness over my hips.  I'll also do a 3/4 length sleeve.  Basically, I'll add style details that flatter my shape.   I think my next attempt at a 20s dress will be a Robe de Style as I think that will be more flattering.  Bottom line--this is probably the worst decade I could choose for my body type but I have no doubt that many women in the 20s struggled with these same issues.  I'll find something that works.