To go with my fur-trimmed wrap I needed a hat to wear outside. Unlike all of my other bonnets, however (which are made of straw), this one needed to be winter-appropriate, so I took out my extra velvet fabric and got started.
I picked up a basic cloth-covered sun-hat at Goodwill (brand new, tags still on!), mostly to use its nice, wide brim.
I wanted the brim to frame my face without being too sunbonnet-y, and I wanted to have a nice big crown with room for a nice hairstyle that wouldn’t get squished. Something like this (apparently it’s called a capote):
I also really like the ruching on this bonnet from the 1995 Pride and Prejudice:
To go along with my winter Regency pashmina gown, I needed some winter-appropriate outerwear to take with me on the sleigh ride. However, I wasn’t up to sewing a pelisse from scratch in my limited timeframe, so I decided to wear a modern full-length black wool coat and just add a fancy fur-trimmed wrap to wear over it.
I wasn’t ready to learn how to sew real fur pelts, so at first I looked into faux fur; but when I added up the cost of an appropriately luxurious faux fur (the good stuff is expensive!), an outer layer, a lining, and an inner layer for warmth, it seemed like an awful lot of effort and money to sew something from scratch.
So I decided to cheat.
To go with my 1840s day dress I knew I needed something to use as a head covering for Dickens Fair. Unfortunately, while the standard shape for an 1840s bonnet is really a “coal scuttle bonnet” with straight sides like this one:
… it was not possible to find one inexpensively on short notice. Further complicating the issue was the fact that I’d have to pack or ship the bonnet, which is a pain since bonnets are so bulky, so I couldn’t just make one at home and get it to California easily. What to do?
You didn’t expect me to go to a Regency dance event without a friend, did you? And of course, she wanted to go in costume as well! (or rather, I strongly encouraged her to do so and volunteered to help make it so she had no excuse to refuse) While I was putting together my blue Regency dress I was also helping her put together her burgundy dress, which was only slightly different structurally from mine.
She used a twin-sized burgundy sheet set for her outer fabric, which provided plenty of yardage for the dress with some to spare. The lining was made of a white cotton sheet that I found at Goodwill. To make the design a little more interesting we gathered the front of the bodice, by the simple expedient of making the center bodice section wider and then gathering it to fit the original-sized lining. I think it turned out well.
Once it was put together we decided it needed a little trim, so I found a length of cream-colored sheer pleated trim (leftover from the Great Hat Project) and whip-stitched it to the inside of the neckline. You can’t really see it in this photo, since she’s got a scarf tucked into her neckline to serve as a fichu.
I also got some 1 1/2″ black velvet ribbon and stitched it to the waist seam. The placement was a little tricky, because placing it under the bust really diminished the effect of the Empire waist, making it look lower than it was. But trying to sew it above the waist seam just looked funny. In the end I centered it on the seam in front, but brought it all the way up to sit on top of the seam in back. Of course, it’ll be impossible to machine-wash the dress now that it’s got delicate velvet ribbon on it, but that’s the price you pay for beauty…
A few mistakes, of course: the “blind hem” was a little more obvious than I’d have liked due to my thread being just a shade too light to fade into the background. The neckline wasn’t perfectly fitted, so I had to hand-tack it in a few places to get it to lie properly across the chest. In retrospect I should’ve lined the bodice in burgundy rather than in white, because the lining peeked over the top of the neckline despite my efforts at topstitching. I will note that unlike my blue dress (which I actually sewed after finishing this one), the back of the skirt didn’t puff out weirdly because we’d added extra fullness to the back when cutting out the panel. The curve was still technically there, but the added fabric made it disappear into the pleats so it wasn’t noticeable at all.
We also hemmed up a black velvet jacket to make her a spencer (it fit perfectly and didn’t need any other alteration), and did a really basic modification on a straw hat to make a bonnet! Overall I really like the effect, and my friend looked fabulous!
Once I had my clothes set for the Regency event, I wanted a reticule (small purse) to carry things in, so as not to spoil the effect with a modern bag. I decided to make mine out of an ivory velveteen remnant from my Velvet Pumpkin project, and lined it with a scrap of sage green faux dupioni I picked up for a dollar at the fabric store. I figured that the ivory-and-sage color combination was sufficiently neutral that it would work with either one of my outfits without being too matchy-matchy.
After some internet browsing, which indicated that many reticules were covered in elaborate floral embroidery, I decided to decorate it with the ribbon flowers left over from my daughter’s flower-embellished holiday dress— they looked vaguely period and it was a good excuse to use them up. I placed them on the fabric, but they looked kind of bare.
I needed some form of leaf or vine to connect them, so I decided to use some sheer sage-green ribbon (purchased as an option for the Birthday Princess Dress but never used), which I sewed on using a couching technique.
After my last attempt at a cute holiday dress for my daughter (it took a while for her to warm up to it), I went a little more traditionally girly with this one and decided on flowers made of ribbon, to go on an otherwise plain burgundy velvet dress. Here’s what it looked like to begin with:
I bought several different kinds of ribbon flowers on eBay– you can get 10 of the same kind for a dollar or two (free shipping) from countless sellers, as long as you’re not too picky about the flowers maybe not being exactly the same color as the photos on your screen– and collected them together to figure out how best to arrange them.
The first thing I did was cut off the random button panel in the back of the dress (I think it was meant to help adjust sizing?) and replace it with a sash made of two yards of 1 1/2″ wide burgundy satin ribbon. I tacked down the ribbon at one side seam of the dress, and let the rest remain unattached, figuring that stitching down the flowers through the ribbon and the dress would keep it in place.
Then I moved on to the real embellishment.
I can never let well enough alone, it seems, and so while I had a perfectly serviceable tabard I knew I’d need something to make it more visually interesting– more “royal,” in other words. As usual, a simple idea (adding silver trim to the hems) quickly ballooned out of control with the idea of getting several different kinds of silver iron-on trims and constructing a faux chain of office to go across the chest, and it wasn’t until I discovered that my chosen trim was unavailable in silver AND realized that it was probably not a good idea to count on ironing velvet (risk of crushing), that I came back down to a relatively sensible level of planning and decided to just make a real chain of office for my husband to wear over his tabard.
Yeah, you read that right. For some reason I thought that constructing a chain of office– which would eventually require several dozen metal bits and pieces, rhinestones, epoxies, and a few different kinds of pliers– would be the more sensible route.