Threaded Bliss

Cranberry Red Wool Jacket

and Matching Petticoat,

1770s

Colonial Williamsburg, December 2012.

When I found out the family was making plans to spend Christmas week in Williamsburg, I decided I really wanted to make something new and festive to wear for the occasion.  I didn't have much time because of work deadlines that stretched until 5 days before Christmas, so I had to choose a project I knew I could finish quickly in the little time I had.  I elected to go with a matching jacket and petticoat combination for three reasons: 1) I already had a working jacket pattern that I knew worked well, so I didn't have to wait for Ashley to help drape and fit me something new; 2) a jacket is way faster than an entire gown; and 3) I had exactly 3 yards of cranberry cassimere wool that was the perfect holiday color!  So in four and a half days (which included a loooong day in the car!), I put together this jacket and petticoat, just in time for Christmas!

Colonial Williamsburg, December 2012.

The pattern: The pattern for this jacket is largely based off of the same Janet Arnold "Jacket C" pattern that we used to make Ashley's gold linen jacket.  I made the same alterations as before, cutting the front piece completely separate from the side/back piece, and including the gusset as part of that front piece, rather than stitching it in separately.  And as with Ashley's jacket, I elected to use the sleeve pattern from the Costume Close-up jacket that I'd already tweaked to my measurements.

The primary difference in pattern between this cranberry jacket and Ashley's gold one (and the Arnold original) is that for this one, I elected to use a stomacher to close the front, rather than having the edges meet at center front.  Unlike with my blue chintz version of the Costume Close-up jacket, which uses a stomacher laced into place, this one is pinned in in the same manner as a gown stomacher.

Construction details: As with all of our eighteenth-century sewing projects, this jacket and its matching petticoat are sewn entirely by hand.  The construction details, as I mentioned in the gold jacket post, are almost identical to those featured in our jacket tutorial series, with the exception - as I mentioned above - that this jacket has a stomacher that pins into place to fill in the space at center front.

The front of the jacket with one side folded back to reveal the interior. 

The front does not close at center front, but rather is filled in with

a pinned-in stomacher.

The stomacher front.

As with the original Janet Arnold jacket, and Ashley's gold one, this cranberry jacket also does not include slits at the front sides; rather, that added gusset piece (here integrated into the pattern of the front piece to save time) helps provide the extra space necessary to help the jacket flare over the hips and petticoats.

The back of the jacket, showing how the pieces are cut at angles

in the skirt to flare out at the waist over the petticoats.

A view from the back.

Colonial Williamsburg, December 2012.

The fabric: A to-die-for lightweight cranberry red cassimere wool from Burnley and Trowbridge that I couldn't resist when I saw it at the gown workshop.  This wool is so soft and drapes so beautifully that I wish now that I'd gotten the rest of the bolt!  The jacket is lined with a medium weight ivory linen.

Finishing the look: As you can easily surmise by the color choice, the picture poses, and the accessories, this ensemble was created specifically with Christmas wear in mind.  It is worn over a linen shift, my blue-green wool fully-boned stays, and a linen underpetticoat.  A striped cotton muslin neckerchief fills in the neckline, and my cap (almost impossible to see in most of the pictures!) is made of striped linen.

Colonial Williamsburg, December 2012.

In the pictures, I've complemented the outfit with ivory and pearl grey silk accessories: a hat, a muff, and a breastknot with a couple of paper flowers.  These were actually created to go with another outfit that I didn't have time to finish, so I just went ahead and paired them with this one instead, and I ended up really liking the way they all went together.  The black cloak in the picture below has its hood lined in the same ivory silk taffeta that is used on the hat and muff.  Since I plan to do a separate post for the hat and muff, I'll save any more details on them until then!

Colonial Williamsburg, December 2012.

Additional images of this project can be found on its flickr page.

Inspiring Christmas Present with Folk Art from the Past

We both apologize for being so silent of late.  With hectic work schedules and Christmas preparations, neither of us has been able to find any time to blog over the past month.  We promise a series of (we think!) exciting posts - some belated and Christmas-related, some with sewing projects, and some quite random! - coming up very soon, so stay tuned!  :-)

A Christmas tree decorated with hand-made folk art ornaments, the

traditional holiday centerpiece of the Museums of Colonial Williamsburg.

This year, our family decided to spend Christmas week in Colonial Williamsburg.  Over the next few posts, I'll share some of my favorite sights from "Christmas past" around town, but here's a little taster to whet your appetite in the meantime.  One of my (many) favorite places to visit in Williamsburg during the Christmas season is the museum building which houses the DeWitt Wallace Decorative Arts Museum and the Abby Aldrich Rockefeller Folk Art Collection.  Every year, the museum displays a massive two-storey Christmas tree in its atrium, which is literally drowning in hand-crafted ornaments.  The ornaments, many inspired by the folk art pieces in the collection, are created by the museum staff and local volunteers.  Over the years, more and more ornaments have been added, and the tree itself has become a symbol of the tradition of American hand-crafted artistry over the centuries.

This year, I captured a handful of the many beautiful little pieces that reflect the clothing and fashions of the past.  What fashionable miniature treasures can be you spot in the pictures?  :-)

Some of the ornaments, like the two above and the one below, feature portraits from the Abby Aldrich Rockefeller Folk Art Collection.  The one below is one of my favorite portraits to bring out during our interpretive fashion programs and presentations because little girls delight in giggling to learn that their brothers would have been dressed like these two little boys in the eighteenth century!

Below is one of my absolute favorites.  Does she remind you of anything in particular?

If you'd like to read more about folk art ornaments and find some inspiration for creating your own, I highly recommend The Art-Full Tree: Ornaments to Make Inspired by the Abby Aldrich Rockefeller Folk Art Museum, by Jan Gilliam and Christina Westenberger (the latter of whom we had the pleasure to meet during the recent B&T gown workshop!).  Most of the ornaments featured in the book are currently displayed on the tree in the museum.

Threaded Bliss

Chocolate Brown Linen Round Gown,

1775-1780

On Palace Green after a long, hot day of cooking
and messing about in camp.

Prelude to Victory, Williamsburg, October 2012.

This gown was started at the same time that I started my peachy-pink linen gown and Ashley's tobacco-brown linen round gown (ahem...December of 2010...), and it suffered the same fate as Ashley's gown, getting buried - almost finished - in the basket of projects, until we dug both out and finished them up for Rock Ford in June.  So here, much delayed but nonetheless finished, is the long-awaited gown!

The pattern: Draped by me.

Front of the gown.

Prelude to Victory, Williamsburg, October 2012.

Construction details: This gown is entirely hand-sewn using the construction techniques detailed in multiple earlier posts, so I won't bore you with those details again!  The style is identical to that of Ashley's brown round gown, and the cut very similar to my peachy-pink linen gown, as they were all made concurrently.  The innards look exactly like those of Ashley's round gown, so I won't include any interior shots here.  If there's something you're really like to see, though, just let me know and I'd be happy to add it.

The only real difference between those other gowns and this one is that because of the limited amount of fabric I had (only 3 1/2 yards), I ended up piecing some bits here and there with this gown.  One of the sleeves, for instance, is actually made of three separate pieces.  But that just adds to my camp-following character, so I was actually quite pleased that the fabric forced me to get a bit creative!

Back of the gown.

Prelude to Victory, Williamsburg, October 2012.

The fabric: A chocolate brown medium-weight linen from, of all places, Joann, back when they actually stocked 100% linen.  I only bought 3 1/2 yards of it to add to the stash, not really thinking what I'd actually want to make out of it.  When found myself in need of new gowns for camp wear, I pulled it out and decided to see what it could do!

Finishing the look: I wore this gown (finally!) for the first time at Rock Ford Plantation in June.  Being a busy and high-traffic event, we didn't get a chance to take too many pictures during the day, so the only shots I have of it are when I was preparing supper (yes, that is kind of funny...the picture says it all...!  But you have to give me just a little credit because I didn't burn anything!).

Cooking supper...yes, really...
Rock Ford Plantation, June 2012.

The gown is worn over my old Diderot stays, a linen shift, and a linen underpetticoat.  I accessorized it with a hat trimmed with forest green silk ribbons (missing in the picture, sorry!), and a red printed neck handkerchief, following the inspiration of the colors in one of my favorite prints from 1764:

A Description of a City Shower, Edward Penny, 1764.

Image linked from the Museum of London.

When I brought the gown out for wear again during Prelude to Victory a couple of months ago, I opted to go with the red handkerchief again, and added a blue checked apron to complete the look, echoing the color of the quilted petticoat in the image (see the "header" picture above).

Additional pictures of this project can be found in its flickr set here.

Bringing Mary Todd Lincoln to Life: The First Lady's Costumes in "Lincoln"

Last weekend, I finally got to see "Lincoln," which I've been eagerly anticipating and reading about for months and months.  The film did not disappoint; all of the hype and praise being lavished on it is very well-deserved and I highly recommend it.  It sounds like a cliche, but the movie truly is very much a monument to the almost super-human accomplishments of one of our most honored presidents.  Daniel Day-Lewis does an unbelievable job at representing the intelligence, the quirkiness, and the heart of the enigma that was Abraham Lincoln, and the film is beautifully filmed with incredible details that will make your heart stop.

In this brief interview, the production designer, Rick Carter, discusses how he created a calendar of the last weeks of Lincoln's life to ensure that what emerged on screen would be as accurate as it was possible to make it.  Because so much documentation exists about what absorbed the president both personally and politically, and about what the spaces and furniture and artifacts of the rooms of Lincoln White House looked like, the production team was able to recreate what would have been in certain rooms on certain days, from the letters and books on a table, to the maps on the wall.  Even the sound of the ticking watch that emerges at moments throughout the film is accurate to the most minute degree: Spielberg had Lincoln's own pocket watch taken out of museum storage so that its own unique sound could be used in the movie.  I don't think any movie has quite captured and conveyed so completely an immersion into a historical period as this one does.  It really is quite an achievement.

Of course, being a period film, you know where much of my visual attention was drawn!  Sally Field as Mary Todd Lincoln worked well with Day-Lewis's impression of the president, and I was very pleasantly surprised at how much she looked the part.  "Lincoln"'s costume designer, Joanna Johnston, describes in this video how Field strategically gained weight to achieve the exact waistline and body shape of the First Lady she would portray, much to Johnston's delight because it meant the original proportions of Mary Todd Lincoln's gowns could be maintained in the recreations.  Some of the gowns you see in the film were almost exactly reproduced from extant pieces.

Joanna Johnston with two of the gowns she designed for

Mary Todd Lincoln (Sally Field) for the film.

Photo linked from EW.com.

In this previous post that I did after a visit to the Mary Todd Lincoln House Museum, I mentioned the handful of clothing items and accessories that are currently in the museum's collection.  I inquired whether any additional clothes were known to exist, and the docent pointed me to the Smithsonian inauguration gown, but said she didn't know of any more.  I've since discovered a handful of other gowns held in various museums (I feel a new post coming on...!), and Johnston says she inspected many of them - in addition to the numerous photographic and artistic representations of Mary Todd Lincoln, and contemporary fashion plates - in preparation for designing and creating Mary's look for the film.

One of the extant dresses owned and worn by Mary Todd Lincoln (right).

It was one of the inspirations for the film gown below.

Photo linked from "Matt and Emily"'s flickr photostream.

It is evident from Mary's gowns, visible in both extant items and in images, and by the (borderline politicized) controversy that raged throughout Lincoln's presidency over his wife's more than extravagant clothing expenditures, that the First Lady delighted in stretching fashion to its limits and was defined by a very unique sense of style.  She loved to display her shoulders (much to the chagrin of Washington society because of her age) and to indulge in bright colors (fuchsia, anyone?), heavy trims, and elaborate decorative elements.

Costume sketches from "Lincoln," by Richard Merritt.

Images linked from SAA Illustration Hub.

One particular dress (shown above and below), Johnston explains in this very interesting video overview of the costumes, is a combination of two of Mary Todd Lincoln's dresses.  Johnston had a French striped silk satin fabric overprinted with the floral design to meld the look of the two original gowns together.  The source for the floral sprays is pictured in the original gown above.  Period antique lace and a typical Mary Todd-sized corsage completes the stunning visual and historical effect of the ensemble.

Sally Field as Mary Todd Lincoln.

Photo linked from imdb.com.

Another fantastic video interview with costume designer Joanna Johnston can be found here.  And here's a link to another article with a close up of another one of Mary Todd Lincoln's movie dresses, complete with bonnet.

Fashions from Godey's Lady's Book, May 1853

It's that time again! As we mentioned in the first post in this series, we recently stumbled across a bound volume of Godey's Lady's Book from 1853. Once a month, I'll post the collection of fashion-related plates and articles that appeared in each monthly issue. You can find the previous months here.

I apologize in advance for the quality of the images. Although I have a scanner, I've discovered that there's no way I can preserve the integrity of the already fragile binding of the book and lay it flat. That means photos are the only options, and even those are difficult to achieve because of the tightly bound pages. I've done my best to ensure that everything is as clear and visible and undistorted as possible, but if there's something you really can't read or see and would like to have clarified, just let me know and I'll see what more I can do. I've set the images up so that if you click on them, they'll link you to their flickr page, where you'll be able to enlarge them all considerably and thus more easily read each one. Enjoy!

An embroidered note case and a hair net.  T

he pattern for the former is included in the fourth

image; the latter is in the seventh.

 

Fig. 1st. - Walking dress of violet-colored silk, the skirt trimmed with three graduated flounces.  The flounces are of moderate fullness, and edged by a trimming in scallops, they being inverted; that is, laid flat upon the flounce, instead of edging it.  The corsage is a basque and gilet, the first of silk, and trimmed to correspond with the skirt, having a rolling collar, and being fastened in front by three flat bows of thick satin-edged Mantua ribbon.  The vest, or gilet, comes close to the throat; it is of embroidered muslin, and fastened by small pearl or imitation opal studs, one in each scallop.  Bonnet of silk and crape a little lighter in hue, the brim is edged by narrow blonde and crape ruches, and ornamented only by a few white and Parma violets placed high up, and passing across the hair.  Small green parasol, lined with white Florence silk.

 

Fig. 2d. - Dinner-dress, the skirt of delicate rose-colored barege or mousseline, made full and plain.  Basque of white embroidered muslin, lined with very pale pink Florence silk.  Open in front, and edged by French muslin flouncing, in points of moderate width.  The sleeves are in a point on the forearm, and also edged with the flouncing, set on full like a ruffle, to avoid the necessity of under-sleeves.  Close chemisette of fine French work.  The back hair is arranged in a novel, yet classic and graceful style, smoothed into a broad band, which is upheld by a puff comb.  Front hair in light wavy bandeaux.  The whole dress is exceedingly simple and tasteful, the only ornament being a knot of rose-colored ribbon at the waist.

A dressing gown, to be made of white cambric.

Two bonnet-trimming ideas, one exterior and one interior.

A breakfast sacque of India muslin, for use as

morning wear in the summer months.

The "Louisa mantilla," of a dark sea-green silk,

trimmed with matching scalloped ribbon and heavy fringe.

The end of the pattern for knitted flowers, and the

instructions for the embroidered note case in the first image.

Patterns for embroidery and braiding.

Pattern for a knitting bag.

If you'd like to use or re-post or share these images, you're certainly welcome to do so. The only thing we ask is that credit is given where due: please provide a link back to this blog with the re-posted picture. Thanks!

Encountering "Anna Karenina" on the Streets of NYC

Last weekend, I went with my mum and a couple of family friends to see the Radio City Christmas show in NYC, which is celebrating the 85th anniversary of the Rockettes this year (more on that - with some pretty cool costume pictures - in an upcoming post!).  After the show, we wandered around Rockefeller Center, previewing some of the window displays just going up for the holiday season.

As we strolled past Banana Republic on Fifth Avenue, this just happened to catch my eye:

Does it look familiar?  It's the "poster gown" from the new Anna Karenina film, starring Keira Knightley and Jude Law!

Anna Karenina film poster.

Image linked from Just Jared.

The display included three costumes from the film: Anna/Keira Knightley's red gown, Vronsky/Jude Law's white uniform, and the gorgeous pearl grey ensemble with fur accessories below.  These are being showcased to complement and promote Banana Republic's new fall line, conceptualized by Anna Karenina's costume designer, Jacqueline Durran, and inspired by the 1870s-esque Russian fashions featured in the movie.

Close-up of the bodice of the gown.  My apologies,

I couldn't get away from the reflective glare on the glass!

I haven't yet seen the film, but I've been following the tidbits trickling out about the costumes, and I have to say that I'm both intrigued by and incredibly skeptical about the approach the production has taken to its period setting.  Rather than doing a strict "costume drama" depiction of 1870s Russia, the film's designers elected to adopt a more interpretive stance, translating rather than transcribing the period fashions and sets to the screen.

Costume designer Jacqueline Durran wanted to represent the indulgent luxury of Anna's world in the character's dress style and appearance; as a member of Russia's social elite who moved in aristocratic circles, Anna Karenina kept abreast of the latest European trends.  Durran wanted to reflect Anna's height-of-fashion opulence in a way that would speak to both her unique identity as a nineteenth-century character, and as a technique to convey that chic luxuriousness to modern audiences.

Anna/Keira Knightley with director Joe Wright on set.  This is a

nice example of Durran's fusion of 1950s couture with the look

of the 1870s.  Does it work?  I'm not yet convinced...

Image linked from IMDB.

In an interview on the film's official website, she describes the thought process that justified her approach as follows:

"I thought that Joe [Wright]'s idea was genius because a lot of 1950s couture was itself looking back to an earlier time.  We looked at some images from the time next to fashion pictures from the 1870s and although there were eight decades apart, the two periods meshed together very well.

"We associate 1950s couture with chic elegance, and so this would be a signifier to the audience and a way in for them to the image Joe wants conveyed.  With Anna, I did keep an 1870s skirt shape all the way through - while pushing the bodices in the direction of the 1950s.  There is also a 1950s feel to several of the other costumes, such as Anna's gray silk jacket - it's very much a 1950s jacket shape, with buttons down the front, although even this is paired with an 1870s skirt."

(quoted from the official Focus Features website)

Pearl grey jacket and skirt with fur accessories.  *sigh*

Durran goes to describe how the asymmetrical lines of a number of Anna's gowns (you can see it clearly in the red example here), along with their clever folding and draping of fabrics into elaborate necklines and bustles, were intended to pay homage to 1950s French couture, while keeping it in the restricted realm of being a clearly stylized element of an 1870s costume.  She also notes how she used color strategically throughout to reflect Anna's changing social and emotional status.  At the beginning, trapped in the stifling world of Karenin's social circle, her clothes exhibit a darker palate; as she falls in love with Vronksy and is swept into their whirlwind romance, the tone of her clothes becomes correspondingly lighter.  With the disintegration of her relationship with her lover, however, and her descent towards her tragic end, her outfits once more become somber, mirroring the intensity of her dark, brooding mood (this red gown, as you might expect, comes at the climax of the film).

 

As I said, I have yet to see the movie, so I'm reserving judgment until I can see how these costumes work with the overall concept and look of the piece on screen.  These looks make my fashion heart go pitter patter, but my historical costume head replies with sadness at the lost opportunity for some pretty incredible truly accurate period pieces.  We'll see...

 

Has anyone seen the movie yet?  What did you make of the costumes?  Did you think the "fusion" of periods worked with the overall production?



Threaded Bliss

Blue-Green Worsted Stays, 1740-1760

Perhaps you might recall this post, back in April of 2011, when we recounted our weekend spent at a Burnley and Trowbridge stays workshop.  Well, nineteen months later, I finally finished those stays!  I worked on them in fits and starts, sewing a panel here and panel there, boning a panel here and another there, and then putting them down for sometimes months at a time before picking them up again.  The announcement of the fall gown workshop, however, finally provided the motivation to finish them, which I miraculously managed to do a week in advance.  I'm so thrilled to have them completed, and even more thrilled by how comfortable they are!

The pattern: The pattern for the stays was taken directly from the infamous pink/lavender wool satin stays, dated 1740-1760, in the collection of Colonial Williamsburg (acc. no. 1966-188).

Lavender (faded to pink) wool satin stays (acc. no. 1966-188).
On view at the DeWitt Wallace Museum at Colonial Williamsburg.

 

Mr. Hutter brought a vast array of show-and-tell materials, tools, and examples to the workshop.  Included was an exact reproduction of the above set of stays, made by the expertly skilled hands at the Margaret Hunter shop at Colonial Williamsburg.

A reproduction of the extant stays above, produced by the

Margaret Hunter shop at Colonial Williamsburg.

Construction details: Every bit of these stays, including all of the channels, is sewn by hand.  Because this was a workshop project, I won't go into too much detail about the construction process, but here's a quick outline of how things went together.

The workshop was led by Mark Hutter, journeyman tailor at Colonial Williamsburg.  During the weekend, we learned how to take measurements using the tools and techniques of the eighteenth-century tailor and staymaker.  After choosing the stays pattern best suited to our body type (each pattern option was taken by the tailor off of originals in various museum and private collections), we applied these measurements to our pattern.

Double-checking the fit at the workshop.  As you can see,

the sides met in the back, so I had some adjusting to do!

We cut and basted our panels together and then Mr. Hutter double-checked the fit, made adjustments, and sent us on our way to finish them.  Below you'll see the state of my stays at the end of the workshop weekend.

A (upside-down!) glimpse of my stays on the final day of the workshop.

Each panel then had its boning pattern transferred onto it, and those lines sewn to create the channels. 

All of the panels with their channels completed.

Then the panels were attached together and the stays were fully boned.  Believe it or not, it took me longer to bone than it did to sew the channels because I had to do so much smoothing and whittling to size my boning in order to get it to go into the channels.

All boned and waiting to be trimmed...

The excess fabric was then trimmed from both inside and along the edges, and the leather welting and binding attached, and voila!  My stays!

Edges and interior excess trimmed and ready to be bound.

I have not yet lined them, as you can see.  After all of this effort, I just didn't have the energy, and they're perfectly functional without it for now.  I already have the lining in my stash, though, so sooner (or later...!), I'll add it in.

The completed stays.  They've already shaped themselves a
little after only a few days' wear, so they're really quite comfortable.

Detail of the center front.

Lots of backstitches!

Back panels, with welting to cover the seams.

The fabric: A blue-green worsted wool from Burnley and Trowbridge.  The two interlayers that form the channels are linen.  The binding and welting is an off-white kid leather, also from Burnley and Trowbridge.  The boning is hand-pounded ash.

Finishing the look: The one thing - just one thing - that I would change about these stays is that the center front point should be a tad bit longer.  When I made my adjustments after the fit-check at the workshop, I took quite a bit of width out at center front and lost the space there to build in the necessary stomach-holding-in length.  I consulted Mr. Hutter about this issue, and we've remedied it nicely with the addition of a longer busk (which isn't in the pictures).  Next time, next stays, I know what to fix!  And yes, there will be another set of stays...:-)

Center front.  The point should be just a tad bit longer.

The stays have an even 3" gap at center back.  This is a tad bit wider than the ideal gap, but still perfectly acceptable.  The goal is, of course, to get the sides parallel, and there was success there, so I won't let the extra bit of space bother me!

Back of the stays.  The tangled-looking tapes at the waistline

are the ties from my underpetticoat, not the lacing of the stays!

Stays are, of course, always worn over one's linen shift.  I also prefer to wear mine over an underpetticoat, just because that helps them sit more comfortably on my hips, but you certainly don't have to do things in that order; Ashley always ties her underpetticoat over her stays.

Side view of the shape the stays produce.

One side of the back panels.

Speaking of Ashley...now you all have to join with me in bugging her to get working more diligently on hers so she can finish them, too!

Additional photos can be found in this project's flickr set.

If you're interested in taking a stays workshop (and I highly recommend it!), visit Burnley and Trowbridge's website for the latest course listings.