A late night post

I really should be in bed by now, but I felt like writing a little project update first. I'm sure I'll regret this in the morning...
So, I've been working on the Eremitage gown, and the biggest and the fiddliest part, aka the weird curtain hem decoration is done and I think I managed to produce a drop front gown without actually having to cut  in to the hem, and still have the 1820s silhouette. Here's a couple of photos I took before the holidays. The dress still needs the gingerbread trim, the sleeves and a collar, and I need to figure out all the closings and buttons and pinnings and hooks and eyes and... Now it actually looks like this gown might have all the possible varieties of closing mechanisms save the zipper and snap fasteners.

The shirred bib front is going to have buttons or something on the top edge to attach it to the underbodice which closes at the centre front with hooks and eyes.

I'll try to have some better pictures taken over the weekend to show the construction in more detail. It's been so depressingly dark and lightless all December that there's not really  a point to try to photograph anything. But hopefully now some sunshine and daylight will return.
Yesterday I began dabbling with a project that is very un-me, meaning corsets. I don't like staymaking or corsetry, I've said it before, but there I was, enlargening patterns and cutting a toile for not one but two 19th century corsets. Weird. Both the patterns came from the Corsets and Crinolines book, one from 1844 and the other from 1880. I managed to put together the 1844 model and stick some bones in it to try it on, but I'm not really sure what I think of it. First of all, it was maybe a bit too big for me and felt like it was sliding down all the time. Also, I'm not used to the crisscross lacing thingy where you have the loops to pull the laces tight. It took forever to get the corset on, the lacing in order and the result was not worth all the effort. Back to the cutting table with that one.
I've yet to make a try-on version of the 1880s corset, I've only sewn together one layer of a mock up and I think I want to do a more careful job with it than with the 1844 semifiasco.
Actually, I really should make a new pair of Regency short stays, but I thought it'd be interesting to try and see if I could produce a passable Victorian corset. If the 1880s corset works out, I might try and make that dress Anne-Marie Dagnan is wearing in a portrait painted by Courtois.

The Museum of London pelisse (oodles of photos)

Today I went out to a nearby park with an obliging friend to take some pictures of the epic pelisse I finally finished this week. This was the biggest sewing project I've made so far, and the result pleases me very much.

I saw the the fabulous 1820s pelisse in the Museum of London last September and was instantly smitten. Here was a garment that needed to be reproduced! I begun the project in late February this year and now it's finished. In retrospect, it didn't really take that long; I had other projects in the making at the same time, so maybe if I had only been sewing the pelisse, it would've been ready earlier.

The coat pattern itself is not that complicated, I used my trusty Regency bodice pattern and took the hem pattern from Jean Hunnisett's book; it actually is the 1820s hem pattern, so the shape is very similar (at least to me) as with the original. I think I might have made the bodice a little bit longer, as the waistline begun to creep downwards again in the 1820s, but it works like it is, too.

I drafted the petal sleeves and the collar myself, and I'm especially pleased with how the collar turned out. It's so pretty! For the sleeves I used my standard Regency sleeve pattern and added the slightly flared cuffs.

The most time-consuming bit of the entire project was obviously all the trimming and the beading. I made the rouleaux piping out of the pelisse fabric; I just cut about 2,5cm wide strips of the cloth on the bias, sewed the short ends together and then machine stitched the long sides together. I then turned the tubes right side out and pinned and handsewed them on the pelisse. The coat is entirely handsewn, I only used the machine when I made the piping, because... well, it's pretty obvious why!

I drew the leaf motifs and the beading patterns on tissue paper and pinned them on the coat and then sewed the piping and the beads on. When I was finished I just ripped off the paper. This way, the piping and the beading came out very even and it was tons easier to manage the symmetry and the mirroring patterns on the front edges. I actually use the tissue paper trick pretty much always when I embroider, I find it works very well and I don't have to trace the patterns on the fabrics.

The pelisse has 140 grams of glass beads on it and - I would guess - about 30 metres of rouleaux piping.

Want to see what it looks like?

All outdoors pictures by Suvi Saraste, construction photos by me.

The pelisse and the belt have hooks and eyes closing

The original pelisse had the leaf trimming on the shoulders as well but I chose to have just the two repeats of the pattern.

I wore the fern dress underneath

I also made a little bicorn hat to go with the coat. I made the massive red bonnet earlier, but somehow that doesn't look right with the pelisse. I might make a big turban hat later, those seem to be very popular in the 1820s fashion plates.

 The bicorn came about when I was watching the 1995 Pride and Prejudice for the umpteenth time; I noticed that Mrs. Hurst (Mr. Bingley's married sister) wears a jaunty little bicorn whenever she's out and about. Inspiration! I had a couple of those floppy 70s-esque felt hats lying around, one black and one plum, I had bought them with 1 euro apiece and hadn't really done anything with them. But now!

I don't know how period accurate the bicorn really is, especially on ladies, but at least they were around at the time and soldiers and even civilian men wore them. And anyway, women's Regency fashion took a lot of influences from the military uniforms of the time. You could even say that the Museum of London pelisse has the sort of military cord trimming going on, only the cords have been arranged in nice, feminine leafy patterns.

There are some construction photos of the hat further down.

The hair was a problem, as ever. You'd think that Regency dos would be easy, but I think that nonchalant "I just whipped my hair up in a bun like this, and doesn't it look cool and simple and nicely curled" style is difficult to achieve. My hair is wavy and curls very easily, but making a nice bun with some pretty curls around my face just never works out the way I'd want. Meh. Got to keep on practicing.

So, how did I make the pelisse? Luckily, I did take a lot of photos.

Beading the back piece, I attached all the beads one by one. I found that that way the beading was more stabile and it was faster and easier than attaching a long string of beads.

Attaching the rouleaux piping. Having the paper pattern really helped with the symmetry.

I don't know how the piping was attached in the original pelisse but I chose to sew through the piping in tiny stitches.

I also added a cord piping to the front edges to support them and keep them straight.

After finishing the trimming and the beading I added facing pieces to cover up all the stitching on the inside of the coat.

An extra piece added under the hooks and eyes to conceal any gaping between the front edges

A couple of photos of the hat:

A floppy felt hat + trimming.

Bits and bobs

This is not going to be a very uniform post, just an account on a handful of projects that I recently finished.
First up, a dress in a day. Not the Colonial Williamsburgh variety, sadly, but an everyday dress that for once wasn't left to float around the sewing table waiting for hemming or buttonholes. The other day I went to the fabric shop, again, "just to look around" (famous last words). I came home with wool blend for trousers and this:

So, I made a dress out of it. There was just enough for my favourite pattern and I'm happy that this time there really was no extra fabric left over to fill my already overflowing stash. The pattern is my own, and I've made a couple other dresses using the same pattern, only altering the collar and the shape of the neckline.

Next, the 19th century reticule. I knitted it after this pattern and it really was a nice project. I don't really have anything special to say about it. I lined the bag with ordinary lining fabric and used leftover rouleaux piping for drawstrings. I like it.

The thing was big enough to fit my headt :)

The yarn is lace weight wool, some random find from a trip to Stockholm a couple of years back.

I've saved the best for last; the pelisse. Let's make it official. This week I finally finished the Museum of London pelisse. When I first saw it in the museum last September I knew I wanted to make it, but I never dared to think it would turn out this beautiful. I still want to take some proper photos of it to do it justice; somehow it doesn't feel right to just take a couple of pics in my kitchen and be done with it. It's an outdoors garment, so I try and do a proper photoshoot if I can lure somebody to help me with the camera. For now, this will have to do: