This post focuses on construction of the hat I made to wear with my mint wool 1780s redingote. For the post on construction of the redingote itself, click here.
I should begin by noting that I have no idea how HA or not the construction of my hat is. We apparently do know that wire and buckram were used in hat making at the time but don’t know how much it would have resembled our modern materials or just how they were used. We don’t have any surviving examples of these hats (that we yet know of) to check against. So please do keep this in mind – this is *my* interpretation of how such hats maybe *could* have been made.
Anyway, here is the hat in question:
This is a short and sweet post on the hat I made at the last minute to go with my recent striped silk mid-1790s open robe.
In early November I got to attend a lovely annual event here in the DC area: The Pumpkin Tea and Candlelight Dinner hosted by the ever-gracious Lady Detalle.
This post is about the outfit I put together for the afternoon tea.
The group shots and photos of me in my outfit were graciously taken by Gloria of In the Long Run Designs.
Everyone looked SO GOOD!
If you’re just joining, this is my follow-up post to last week’s that was full of pretty photoshoot pictures of my recent 1875 bustle gown, made for my Big Ass Birthday Bash. This post focuses on construction and the insides of the ensemble. And thank you to everyone who responded to the last post with questions about the making of this outfit, I’ll do my best in answering them!
The foundations for this dress are my trusty pink Victorian corset along with the Laughing Moon bustle/crinoline I made earlier in the summer…..
Well, I did it! I’ve now made everything that was on my historical sewing list for 2017 – and I still have a couple months to cram in a few more makes, ha! This dress was the last on the list and was made for my recent Big Bustle Birthday Bash. And last week I was able to do a dedicated photoshoot of it courtesy of Taylor of Dames a la Mode.
This dress is the first off the list of 2017 historical sewing projects. Hooray for crossing items off lists, I love that feeling! (if you’d like to, you can check out the full-ish list here)
This is something I had planned/wanted to make for some time – basically ever since I bought the fabric a few years ago. It’s a scrummy silk taffeta in irregular micro-stripes of light robins egg blue and ivory and I the moment I saw I had late 18th century visions. In fact, I loved it so much that after first buying 6m of it I went back to the store (it was on sale at Fabricland) and bought the rest of the bolt for a total of about 12m!
After making my quarter-back Italian gown in the fall I really wanted to make an Anglaise with an en fourreau back. Initially I thought I would do the regular kind, just with the late 18th century quite narrow en fourreau. But then I saw this and I was instantly won over:
I had actually seen one (or two) other such dresses in-person in the UK as part of my research so I knew it wasn’t a complete one-off-outlier and I think it’s just such a neat twist on the en fourreau style I had to have it!
I was also keen to try a cutaway front bodice (often referred to as a “Zone front” but as that’s a modern term I try to stay away from using it) and so put all of these elements together in one dress.
My latest – very frantic – make, is an 1876/77 Natural Form day or reception dress in striped silk taffeta and plum cotton sateen.
It was made to wear at a Victorian Christmas tea I hosted at our house last Saturday. A big part of the reason for the tea’s Victorian theme is that I’d started missing Victorian sewing over the past few months, nearly all the historical events and activities around here have been either 18th century or regency. I know, I know, life is so rough, huh? I swear I’m not complaining but I have wanted a little change of pace. I’m also still deeply into a Natural Form phase and had started planning out this dress at least two years ago so I was delighted to have a reason and opportunity to finally make it a reality!
Now I can finally show you the whole look of my new 1780s ensemble all put together!
(In case you’re just tuning in and/or would like to revisit the construction posts I wrote about this here are links to the bodice, petticoat, and skirt + finishing)
(and I will still be doing a post about the sleeve cuffs, some of the underpinnings, and the wig, which I will link to here when it’s done and up)
Taylor (aka Dames a la Mode) graciously volunteered to do a photoshoot for me last Friday. The location is St James church + yard just up 8th street from my house here on Capitol Hill that’s done in an atmospheric faux-gothic-Jacobean mash-up style. I kinda love it!
And now on to the show!
A quick re-cap of the original dress/pattern in Patterns of Fashion and how I modified it:
the original dress has a box-pleated skirt but I wanted the tight, narrow knife pleats so common for this period.
(Also, here are links to my posts on making the bodice and petticoat)
So I used the skirt pattern from another dress in Patterns of Fashion as a rough guide.
Although I still did things a little differently from either. I cut my skirt as two full-width panels of my fabric with a little bit of a train at the back but completely straight along the top. Instead of cutting the waist edge with a curve I just sewed it with one – you’ll see what I mean in a moment.
The style of the petticoat is based off the original one that goes with my primary dress inspiration/pattern in Patterns of Fashion:
Although to make it I simply cut 2 panels of my fabric, with the back slightly longer than the front to help accommodate the false rump that’s going under there. I also pleated mine differently from the original since it appears to have been done according to an older style where the pleats all face towards the side/pocket openings – another clue that the ensemble *may* have been an earlier one altered in the late 1770s/early 1780s. During the later period petticoat pleats tend to all face towards the centre back similarly to dress skirts, although the pleats themselves tend to be larger than on dress skirts.