1840s Day Dress, Part VI: Finishing Touches

After I finished the main dress, I decided to add some decorative touches in the form of an antique lace collar and cuffs. I bought mine as a set on eBay, and while they may not be strictly period-accurate– I think the set is probably from several decades after the 1840s, at the earliest– they’re lovely and work well with the dress.

One issue I had was that the lace was extremely yellowed from age– I knew I’d have to whiten it somehow. Soaking in a baking soda solution did nothing, as did Woolite, so I brought out the big guns and soaked it for an hour in an OxiClean bath. That did the trick! A quick press with a warm iron and it was ready to use.

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1840s Day Dress, Part V: Skirt

After I finished my bodice, all that was left was the skirt! Laughing Moon 114 has a very basic skirt pattern– it’s just four panels of fabric, with a pocket option that I took full advantage of, hoping to minimize the things I’d have to carry at Dickens Fair. I drafted my own pocket pattern, though, since reviews concur that the drafted pocket is too deep to get your hands all the way into, which makes it less useful. I put it on the right front seam, which was a convenient location.

One thing I did was to cut my skirt slightly wider than the pattern– it was supposed to be three 44″ panels plus one more 13″ panel for a total of about 144″ once the seam allowances were accounted for. I thought a 13″ wide back panel sounded ridiculously narrow, but rather than risk going too wide for 1840s with four 44″ panels, I split the difference and made my fourth panel only about 30″ wide. Not sure if it really made much of a difference in fullness, but it turned out fine.

1840s Day Dress, Part IV: Sleeves and Closures

I chose to use the sleeves from View A of the Laughing Moon 114 pattern– short mancherons over tight, bias-cut long sleeves. While the pattern said that I wouldn’t need to line the mancherons, I didn’t like the look of them unlined– instead, I cut out identical pieces out of my fashion fabric and self-lined the mancherons before attaching them to the long, unlined sleeves.

I hand-basted the sleeves into the armscyes to make sure that all of the layers stayed where they were supposed to be, then machine-stitched over my basting. Then (important step) I clipped the curves on the armscye seams, allowing for more movement. The piping turned out looking great– such a nice tiny detail.

1840s Day Dress, Part III: Bodice Construction

Once I finished my mockup, it was time to cut into my fabric. I made the bodice lining out of ivory cotton sateen– it’s a nice, firmly-woven fabric that’s silky-smooth on one side, so perfect for sturdy linings. I couldn’t tell from the pattern whether the center front seam was supposed to be facing the right side or wrong side, so I made it face the wrong side. In retrospect, it probably should’ve gone the other way, to make the foldover neckline easier to do on the overlay, but it was fine.

1840s Day Dress, Part II: Bodice Mockup

So I had my fabric– red calico– and my pattern– Laughing Moon 114. It was time to get to work!

As usual, before trying to make the actual bodice I made a mockup from the pattern, to ensure that it fit properly. Luckily for me, the measurements and proportions of my dress form are pretty darned close to my corseted measurements, so I can do most of the fitting work on the form rather than having to put on the mockup every time.

The bodice is constructed out of a fitted lining and a gathered overlay, so I figured that I really only needed to mock up the lining to make sure it would fit. I cut out the entire bodice lining (View B, size 14) and tried it on.

1840s Day Dress, Part I: Pattern and Fabric Mishaps (or, Adventures in Indecision)

Given my love of historical costuming, I often bemoan the fact that despite growing up in Northern California, which appears in retrospect to have been a Mecca of costuming resources and events, the only thing I took advantage of at the time was attending the Northern California Renaissance Faire (which was admittedly awesome). Now I’m in Massachusetts, where costuming events are less abundant and fabric stores are harder to get to. But as luck would have it, I’m going home for Christmas this year and I’ll be in the area for the last day of the San Francisco Dickens Fair!

As soon as I made plans to go, I knew I’d need a dress– nothing too complicated, and hopefully something that could be shoved into a suitcase without taking up too much space or sustaining lasting damage. Unfortunately, the event’s stated period (1842-1863) is smack dab in the middle of a gap in my costuming portfolio– I have nothing between 1815 and 1890. So I have to make something new.

Let’s just say it did not start off well.

I swear, this post took forever to write because every time I thought I had finalized my pattern/fabric choices, something happened to mess it up and I had to go back and update. Anyway, read on for the saga of “the Dickens Fair dress of indecision”…

1910 Afternoon Dress, Part I: Design and Patterns

I think that my favorite time period to dress for has to be between 1890 and 1910. You get the narrow waist of the Victorian era without all the skirt structure and fuss that make the hoopskirt and bustle periods so much trouble to sew; plus the sweeping skirts and flowing lines are both flattering to the figure and fun to swan around in.

As you already know I love my 1910’s white embroidered lingerie dress, particularly for afternoon events, but even a classic “little white dress” can’t meet one’s costuming needs for every event, especially when it’s a delicate antique. After seeing some spectacular day dresses at an afternoon tea party I decided that I needed something with a little more color, possibly a dusty rose or a periwinkle blue– but I didn’t have a real vision for the dress until I saw some lace on Etsy I wanted to use, plus a bunch of images online… and suddenly it all crystallized into a dress design! Don’t you love it when that happens?