Once I’d finished my 1880s Squirrel Dress, I had to have a hat to go with it. I have yet to venture into completely handmade millinery, so I’m always eager to find existing hats that can be adapted to more historical uses. My favorite may always be the Regency Cowboy Hat bonnet, but this one is a close second– I made it from a children’s trilby hat in bright pink.
I was going for something along the lines of the hat in the center here:
Once I’d finished the basic dress, it was time to trim the skirt. Originally I’d planned a double row of wide pleats on the underskirt, with another row of pleats along the bottom edge of the apron overskirt. However, the more I looked at the ensemble the less I liked the idea of all those pleats– they seemed fussy, somehow, and not as tailored and simple as the bodice. It was time to rethink.
I decided to make one wide row of pleats to put along the hem, and to put off further decisions until that was attached. Accordingly, I pieced together a 300″ strip of my fabric (with the stripes oriented horizontally for a fun variation), did a narrow hem on both long edges, got out my homemade pleater board (more on that later), and started pleating. It was really annoying. It took forever. My pleats kept pulling out of the board as I worked, and waiting for the pleats to cool completely before moving on to the next section was extremely tedious. But I suppose it could’ve been a lot worse– I could’ve had to pin them individually before pressing them, right?
So… you know how I said that I’d sourced all of my fabrics, and had picked out a dusty pink cotton I already had in my stash to use for part of the bodice of this dress? Well, I lied. Not so much lied as had second thoughts. And third thoughts. The pink was fine next to the striped fabric, but the velvet I wanted to use for the lapels was so deep and saturated that it just made the pink fabric look washed out and plain. The tough part was that I didn’t know what else to use– I didn’t want another patterned fabric that might clash with the stripes, but I hadn’t been able to find any other solid cottons that matched well. I couldn’t use taffeta or jacquard, because that wouldn’t work with the cotton main fabric– too fancy. I could always choose white, but that seemed like giving up.
Finally, I came across a line of fabrics called “peppered cottons” by Studio E Fabrics. They’re shot cottons– fabrics with the warp and weft threads in different colors so they change color at different angles– and they came in some lovely shades. I ended up picking “Fuchsia,” which has plum-colored threads in one direction and hot pink in the other.
It works as a nice “bridge” between the cooler-toned squirrel stripe and the warmer-toned velvet. I also used it as the reverse side of the velvet collar and cuffs.
Anyway, once I had the fabric issue resolved, I was able to use my revised pattern to cut out the real bodice– I was able to use my new rotary cutter and cutting mat, which made the process so much faster! In order to get the stripes to be symmetrical I cut out my striped fabric one piece at a time, mirroring the somewhat see-through lining fabric to get the placement just right.
I will note that I made a tactical error in laying out my front bodice pieces– I should’ve taken note of the dart placement to ensure that the darker narrow stripes weren’t going to get swallowed up by the darts. If I’d had the darts take up the wider, lighter areas between the stripes, the design would’ve had a flattering taper at the waist– as it is, the stripes disappear into both darts, leaving a large stripeless area that doesn’t look quite as nice. Sadly, I didn’t realize this until I’d actually assembled the bodice, which made it far too late to fix.
So this is my sketch for my new bustle gown project.
Looks pretty normal, right? But yes, you read the title right– it’s an 1880s Squirrel Dress. A bustle gown made of the most fabulous cotton print I’ve ever seen– at first glance it’s just an abstract floral-ish stripe, but take a closer look, and:
So I’ve finally finished the evening iteration of my convertible gown, and I’m seriously in love with it. It’s so dark and elegant– what with the black-on-black textures of the fabric (moire! velvet! tulle!), the subtly glittery beading, and the velvet bows– and I’m *dying* to wear it somewhere!
Sadly, I may not have the opportunity to do so for a while, nor can I find any appropriately dramatic location for a photo shoot right now, so you’ll have to be satisfied with the picture on the dress form…
I’ll admit now that although I’m posting about this nearly last, it was actually the first thing I worked on– it just took forever to finalize because 1) I was extremely indecisive about the design, and 2) That indecision forced me to place several separate orders for the various widths of ribbon, which took a while to arrive. But I finally figured out what I wanted to do, AND managed to get it done, so here goes!
As you recall, the plan was to stitch lengths of black velvet ribbon down the front of my skirt, with small gaps in the stitching to allow for attachment of ribbon bows when a dressier look was called for.
The first thing I did was go searching for velvet ribbon in various widths– I wanted the bows to be graduated in size, which meant I needed at least four different sizes to work with. After a bit of experimenting with ribbon I had in my stash I determined that the smallest bows would be made of 1.5″ ribbon, so that was a good starting point. I ended up doing my bows out of 1.5″, 2″, 3″, and 4″ ribbon. I also bought some 1″ with my initial order just in case I needed it (spoiler: I did not).
One I had all the structural elements done, it was time to decorate! To add interest to the bodice, I draped some more of my striped netting over the top of the bust and into the armscyes, tacking down pleats asymmetrically for texture. I pinned the netting in place while it was on the dress form, tried it on to ensure I liked it, and hand-stitched it all down, similar to the bodice on my wisteria gown.
For the back I took a slightly different approach– I wanted to hide the closure rather than having the tulle get all bulky from overlapping at center back, so I only tacked down the pleated tulle on the left side of the neckline, leaving the remainder loose. I pleated the loose side down to a short length of black twill tape and added two hooks so I could fasten it at the right shoulder with thread loops.
So remember how for Costume College 2019 I made an 1898 black moiré skirt to wear as part of a Haunted Mansion ensemble? And how I got tons of extra fabric to work with based on the cut of the pattern pieces and a lucky break in my online order? Well, I couldn’t let all that go to waste, so I decided to use it to make some coordinating pieces– first, a formal evening ensemble.
The skirt will be the base, of course, and I’m making a ballgown bodice to go with it. I wanted to make sure that the skirt was both fancy enough to be part of a fabulous evening gown and plain enough to be part of a day outfit; I toyed with the idea of detachable flounces or snap-on appliques before the idea hit me– bows.
Velvet bows, to be exact– bows that can be fitted with small snap-on straps (like lingerie stays in the shoulders of vintage dresses) that slip behind gaps in the stitching of a line of plain velvet ribbon. Without the bows, the skirt will have simple rows of black ribbon down the front, but with the bows it will be dressier and tie in (no pun intended) to the bodice decoration.
I’ve decided to keep the gown completely black and accent the bodice with some black point d’ espirit netting, more velvet ribbon, and some black beaded appliques. This way I’ll be able to wear it with my gigantic rhinestone choker from the My Fair Lady costume and really make things sparkle in contrast.
Rather than buy an entirely new bodice pattern I’m going to adapt the neckline of my Truly Victorian 442 bodice pattern to make it suitable for a later period– it fit me so perfectly it seems a shame not to take advantage of that. I’ll pull up the shoulders and revise the shape of the waistline, which shouldn’t be too difficult, and replace the back lacing with hooks and eyes.
Later on I’m hoping I can make a daytime bodice with leg-of-mutton sleeves, but that’ll depend on whether I have enough leftover moiré. Wish me luck!
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.