Hair styling is not one of my talents, so, logically, one would assume that I might turn to wigs to make up for my skill deficit…until, of course, you hand me a wig…

Expectation:

Sexy Pin-up.

Reality:

Captain Hook

Captain Hook.

Part of my problem is that wearing and caring for a wig still requires some level of hair competency and, frankly, I just am not a wig person. I am a hat person. A hat/bonnet/veil covers a multitude of hair sins!

She may or may not be wearing a giant plastic claw clip and three glittery butterfly barrettes underneath…

However, there are a few eras when hairdos outshone (or overshadowed) the hats. One of those eras is the 1870s. If you love fancy hair and lots of it, the 1870s is the decade for you!

The 1870s were all about big hair, big curls, big braids, and big lies. Fake hair was pretty much required for a properly full 1870s look. Most fashion-conscious women owned at least one switch of hair that wasn’t theirs. Indeed, nearly every fashionable hairstyle involved different hair extensions lie tiny curled frizzettes (fuzzy, short bangs) or even huge braids and entire chignons made of someone else’s hair:

Variety of fashionable hairstyles and the hair extensions (called switches) used to create them, circa 1867.

Ten illustrations of different types of wigs and hair pieces, Revue de la Coiffure, circa 1875

There were also all manner of Victorian hair “hacks” invented to help create the elaborate updos in vogue, not unlike all the “As Seen On TV” bun makers and curling contraptions we have today.

Hair dressing combs from Revue de la Coiffure, circa 1878
These combs were sold with instruction pamphlets so ladies and their maids could create stunning hairstyles with “less effort.” I can feel my hair knotting up just looking at them!

A later Edwardian ad for Hair Switches and Chignon Forms from a 1912 Sears, Roebuck, and Co. catalog

As my Simplicity 4244 Natural Form Era project inched closer to completion, I realized that I was going to have to do SOMETHING with my hair in order to properly top off my new 1870s outfit. Hair can really make a or break an outfit, especially a historical one. I wanted to do Simplicity 4244 proper justice, and, honestly, crazy-huge hair has always been my unattainable dream. I figured it was time to give some proper historical hairstyling a try!

I assessed my skills: I could make a high pony tail and I could curl it. Oh, and I could use one of those mesh donuts to make a smooth faux bun, like I did for the DFW Costumers Guild’s outing to Dracula:

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Confession: Christopher actually curled my hair. I just stood there and wept silently at my ineptitude.

Since then, I have learned to operate the curling iron on my own, so now I can make passable spiral curls! Huzzah! I also learned the value of sectioning hair, like parting it from side to side and dividing it to make simple braids. It all sounds so ridiculously basic writing it down, but considering I struggled to make a high “Barbie” ponytail for years, the skills many women take or granted are huge victories for me! With these few triumphs under my belt, I found inspiration in both historical and modern hair tutorials:

Explicación del peinado a dos cogas (Guide for a hairstyle with two rolls), circa 1866, from La Moda Elegante

These styles (especially the ones with hair jewels), remind me of Empress Sissi’s hair.

Many of the tutorials I found were for women with thick, textured/curly, or extra-long hair. My natural hair is thin and slick, but fairly plentiful. It is all the same length and doesn’t hold curl really well, but will make a nasty knot in an instant (teasing is not my friend).

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24 hours after cowashing and air drying in the Great Texas Blow-Dryer (sweltering sunshine and western wind). It’s not a dream to style, but it is now much easier to work with than before I began cowashing and using homemade dry shampoo, which more closely mimic historical hair care methods.

With a little experimenting, I came up with an 1870s hairdo that can be done in less than 30 minutes, alone, with minimal tools and techniques. I figured there must be other ladies out there that struggle with historical hair, so I shut myself in my horribly lit bathroom for half an hour to make a photo tutorial.
My hair is below-shoulder length right now, but the method I came up with will work for shoulder length hair, too.

General Hairstyle Suitable for 1867-1880

You will need:

1 ponytail tie/elastic
1 smaller hair elastic
A curling iron
Hair pins, bobby pins, or a snap clip

Step 1: Brush your hair back into a smooth, high ponytail at your crown and secure it with a hair tie.

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 You can experiment with the height of your ponytail so it works best for your hair length and comfort. If you choose to wear a hat/cap/bonnet, make sure it will sit properly over the ponytail. You might need to raise/lower it accordingly.

Step 2: Divide your ponytail into two sections–top and bottom– and bundle the top section together with a hair elastic.

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The top part of your ponytail will become the twist and the bottom part will become the falling curls. Divide the hair according to your preference. Dividing it evenly in half will result in a fuller top twist. Taking only a third of the ponytail for the top will result in a fuller set of curls in the back.

Step 3: Curl the bottom section of your ponytail into ringlets.

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For best results, use a 3/4 inch or smaller curling iron. Mine is 3/4 of an inch and it is about as large as you can go for good period ringlets. Curling irons in the era were generally smaller or women would use rag curls, another option is you have the time. Here are some photos showing Late 1860s-1870s falling curls in a few different sizes and styles: large and tumbling, medium and neat, and small and tight.

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Step 4: Twist (or braid) the top section of your ponytail.

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To get a nice, pretty loop, I loosely twisted the top section. If you have fuller/longer hair, this section would look extra fancy braided. Braids were all the rage during the 1870s– the bigger, the better!

Step 5: Loosely loop the top section around the back of the ponytail and secure the end in front/underneath.

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This sounds tricky, but it’s really more complicated to type/photograph than to actually do. You just drape the twisted top section over the curls in the back, making a nice, languid loop. Then secure and hide the ends. I used a snap clip to secure mine, but a more subtle and period-correct method would be to use hairpins or bobby pins. If your hair is really long, you might even be able to loop it twice or make a bun!

And that’s the end of my basic 1870s style!

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You could stop here, or add a decorative comb or some flowers to dress it up. The style is very similar to this lady’s, especially if you separate the ringlets a bit with your fingers:

Kate Beckinsale…Is that you?!

However, I felt that my hair was a little too smooth and flat to look really 1870s-chic, so I decided to buy a hairpiece!

My first idea was to buy a fancy bun cover, like these:

Bonus: bun covers are historically accurate! (see Figure 17)

Big braided buns are so totally 1870s that I just KNEW that if I could get one, I would look so incredibly fabulous that clouds would part, angels sing, and unicorns would frolic around me! However, I was dangerously close to my event deadline and most of these glorious chignons are only available directly from China. I couldn’t find a braided bun sold by a US seller, but I did find a large, curly one I thought might work okay and the seller advertised that their stock was shipped from the US and could arrive in 3-5 days.

lies!

LIES!

After placing my order, I got an apologetic email informing me that they actually didn’t stock my color in the US despite what the listing said, so it shipped directly from China anyway. I was miffed that I paid extra money for this style because I thought it was US stock, only to have it ship from China like the fancier, less-expensive versions I actually wanted. My order did arrive in time, though, BUT, it was nothing like the color in the picture! It was waaaaaay too dark. I think they sent me the next color down.

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The one on the left is the color I ordered (light brown). The one on the right is closer to the color I received (dark brown).

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So close, and yet so far!

So I paid more and waited longer for an item that I couldn’t use. I was disappointed to say the least– and rather heartbroken because I had invested so much hope into it, dreaming of solving my historical hair woes for good. Honestly, it is a super cute hairpiece that could have worked so well if it had been the right color!
After so much anticipation only to have my hopes dashed, I was really worried I wouldn’t find a good hairpiece in time for the event.

Still, I knew I needed something to complete my hair. I crossed my fingers and bought a little curly wiglet from Jamie’s Hair World on eBay. They assured me that they were US based (my item shipped immediately from California), and my item would arrive in a week. They were right!

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Doesn’t it look like a hairy cell phone cover? It’s about the right size and shape!

My camera sucks at capturing true colors in the awful florescent light of my room. The color is accurate to the color chart’s “Medium Golden Brown.” It is synthetic hair and is not overtly shiny. The texture is what I would call “quality Halloween wig,” not particularly soft, but not crunchy.

Before I show you how it looks on, here’s the main listing picture:

wiglet

Mullet madness!

The picture does not lie. You can make a pretty darn sexy mullet with it:

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This is fresh out of the package with no fluffing or styling which is why I call it my “curl loaf.”

While it might seem hideously wrong for the period, this wiglet is perfect for late Victorian hairstyles. Victorians loved big, curly bangs just as much as party girls in the 1980s! According to an article from 1894, full, curly bangs like this were called “Titus” bangs and were available as hairpieces just like mine (see Figure 31). If the Jamie’s wig model above just curled her “party in the back,” she’d be a dead ringer for the Victorian Goddess of Curly Bangs, actress Sarah Bernhardt!

If you collect Victorian Photographs on Pinterest, I can guarantee you that, at some point, you have seen or even pinned a photograph of Ms. Bernhardt. If by some miracle you haven’t, this webpage is full of her photos and portraits. Go forth and adore!

Rawr!

So despite its dubious appearance, the reason I chose this little wiglet is that it’s extremely versatile. Besides being worn as bangs, the pictures also show it styled as a curly chignon:

curlywiglet

And I decided to place mine at the top of my head to give my otherwise flat hair the tall, voluminous look of classic 1870s hair.

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Unlike many hairpieces which have only a few basic color choices, Jamie’s Hair World offers this hairpiece in over 20 hair colors! My hair does this funky natural ombre thing–brown at the roots that lightens to strawberry blonde– so I didn’t quite know which color would work best for me. Since I was going to wear this nearer to my roots, I chose the Medium Golden Brown. It was a good match!

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It’s super easy to put on. You just snap the little bottom combs open and clip them shut into your hair. Mine stayed perfectly in place through a whole evening in theater under my heavy tiara and didn’t budge all day in the blustery Texas wind at the Cowgirl Museum.

As I said, I’m not very adept at working with hair or wigs, so the addition of a small hat instantly hides any of my styling shortcomings and completes the look.

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This wiglet is quick, easy, and works exactly as I wanted it to. The color match was true to life as were the product pictures. As a bonus, I caught mine on sale for $15, though it is currently priced at $18 including shipping, a little more expensive than other hairpieces directly from China, but the color choices, quality assurance, and quick domestic shipping are wonderful perks. The styling and texture are very convincing in real life even with my lack of styling skills. Overall, I would give this Mona Lisa Wiglet from Hair World by Jamie a very satisfying 4.5 out of 5 rating! The perfect hairpiece for beginners!

brushes rating

 

For 10 long sewing-skill-and-weight-gaining years, I had been beguiled by bake-shop beauty Simplicity 4244, the infamous “hip-croissant” Victorian wedding dress pattern:

“You promised the bread jokes were over…”
I LIED.

While the build-up took nearly a decade, the actual sewing itself took only about four weeks to make a double batch of dresses: one week to work up the gumption to cut the pattern, one week to fiddle with the mockup, one week to sew the ballgown for Tiaras and Toe Shoes, one week to turn the mock-up into a real dress for Bustles and Bullets the following weekend.

Though it was begun second, I finished the ballgown version first:

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Simplicity 4244 Evening Gown Cost Breakdown

8.4 yards rayon/nylon fabric – $27.66, Hancock Fabrics
1 king sized grey cotton sheet (dress lining) – $4.99, Thrift Town
1 twin size polyester sheet (bustle lining) – $1.99, Thrift Town

1 spool thread – $2.49, Walmart
17 hooks and eyes – $3, Hobby Lobby

Total: $40.13

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Yes, my tiara is on crooked. I took these pictures on a whim 20 minutes before I had to transform back into my regular librarian form for work, so my hair is a mess, too. Don’t care! Still fabulous! If I were real royalty, I might just start a jaunty-tiara trend.

I fondly think of it as my “Ariel” dress because halfway through sewing it together, I realized the shimmery–and impossible to sew– material is similar to Ariel’s modern Disney princess dress:

2013 Princess Ariel Redesign

I didn’t really have time to really roll with the theme, but I did give a little nod to her with my mermaid-tail bustle:

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The bustled train and pleated chevrons are the same fabric as the body of the dress. The right side used for the accents is very shimmery and iridescent. It’s very pretty, but I thought a whole gown of it would be kind of overwhelming and not so historical looking. So for the main body, I used the “wrong” side of the fabric which is lighter and not so shiny.

You may be getting the feeling that there’s something else different about this dress. It seems to be missing something….

Oh! I know! To make a ballgown version, I left off the sleeves:

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To slow off my toned-by-ten-hours-of-typing-a-day upper arms, of course. Why pretend to look rich if you can’t flaunt your sedentary lifestyle?

Fashion Plate, 1880

Well, that is true: my version is missing the sleeves of the original, but that’s not quite what’s bothering you?

Hmmmm…

Is it the plainness of the design? I did leave off all the trimmings except for the pleated chevrons on the skirt. Indeed, my ballgown is rather plain compared to the original pattern design and other fancy gowns of the era. I started it only a week before the event (a bad habit I’ve developed, I know!), so I didn’t get to add all the extra bits that would really make it ball-worthy. I did try to glam it up with a glittering golden floral spray I found for a steal on eBay:

bodice ornament

Jealous? Don’t be! Get one for yourself (or two) here!
I always expect eBay jewelry to be a little less pretty in person than the professional photos show, but this floral spray is just as gorgeous in person as it is in the picture.

Besides, I didn’t want my dress to outshine my glorious eBay tiara!

tiara

If you need a princess crown on a pauper’s budget, this tiara was only $25 with shipping!
It’s good quality and the seller I purchased from is in the US, so if you live in the States and need a tiara quick (like I did), I highly recommend this shop.

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What? I’m STILL missing something?!
Well, let’s look at the original again:

Ah! I’ve got it now! You’ve noticed that my ballgown is COMPLETELY GLUTEN FREE!

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No breakfast foods in sight! It is a dinner dress, after all.

I am aware of the letdown this must be. After all, the whole reason everyone is so fascinated by this pattern in the first place is the handbang-sized puffs ballooning out of the side, but I SWEAR I have an excuse!

Simplicity 4244 calls for 14 yards of fabric to make according to the directions (not including all the bias binding and pleated trim). The shimmery teal fabric I chose was one of the bargain bin closeout bolts at Hancock Fabrics (*weeps silently*), so I only had 8.4 yards to work with. As I revealed in my post about constructing this gown, the pannier swags at the hips are formed by two very long polonaised bodice pieces:

simplicity 4244 pieces

Pattern pieces #1, #1A, and #3 become the swags.

With only 2/3 the fabric I needed to make the pattern as designed, I had to choose between these fabric-hogging swags and the full, luscious bustled train I desired. For the sake of my time, sanity, and design sense, I chose the full bustle.

My sacrifice (*more silent weeping*) does have an upside besides a swanky mermaid bustle: it shows the most basic structure of Simplicity 4244 and how easily you can change the design to suit you or your fabric. To do away with the overlay, I just cut pieces #4, #5, and #6 (the bodice lining, front and side skirt pieces) as one. That made the full front without the need for the polonaise layer over the top.

It also proved that the identifiably Natural Form Era lines of the dress are not dependent on the panniers. Since the pattern pieces themselves are historically accurate, the Victorian framework is already there for you to work with.

Lessons learned: The bare minimum amount of 45″ wide yardage to make an 1870s dress from this pattern is about 8 yards, and the design is not dependent on the panniers for the historical look.
Also, every women needs a tiara
!

Rest assured, friends, I did not neglect the fluffy polonaise croissants entirely.

Baking bread and latent ideas are two things you don’t want to neglect.

Before I made the ballgown, I made a mock-up. Since my initial half mock-up for this dress had gone so well, I decided to make my full mock-up a wearable mock-up. A wearable mock-up is one that you finish just like a regular gown, essentially a full garment. It was still an experiment, though, so I didn’t want to waste money on fabric if it wasn’t going to work. I chose a cheap $1-a-yard plaid cotton gauze from Walmart and used a king-sized cotton sheet for lining. Since I had the full 14 yards–well, 13.75 yards as there were some mangled sections– of fabric, I was able to make the polonaised front sections and even have enough fabric left for long sleeves and pleated trim around the hem!

BUT…

I did not make the croissants as directed!

I guess you could say that instead of full, fluffy French croissants, I made Pillsbury crescent rolls. I pleated the polonaise down the entire length of the side and skipped the rear swag entirely.
Here is the result:

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There she is!

I know, no delicious hip pastries, but the construction of the front remains nearly the same. The bottom of the polonaise front “floats” over the lining beneath:

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Since I made the mock-up with the ballgown in mind, the square neckline is a little too…ahem!…sexy for respectable daywear, especially for a old married missus like m’self! So I accessorized it with a fabulous micro-pleated cotton collar I hacked directly off an old button front blouse I’d found at Goodwill three days prior. I thought the shirt was hideous, but something in my mind nagged me to take it home. Glad I listened! The collar slips over my head like a scarf and is just the right size to keep me looking proper:

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The bows were made from the very last bit of ribbon left over from my 1850s bonnet. I used this amazing bow tutorial from The Ribbon Retreat to make the two big bows.

My dress form is a little wonky and no where near my shape, so the fit of the bodice and booty isn’t the greatest on her, but you get the idea. This dress isn’t designed to be worn over a full bustle. Instead, the bustle ties inside and my ancient tablecloth bum pad give it the right amount of fullness. Despite reducing the size of the train, it still ended up rather sizable for a walking dress. I can walk in it, though, and walk I did– around the Fort Worth Cowgirl Museum with the DFW Costumer’s Guild!

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Photo by Jen Thompson of Festive Attyre
(with some help from an obliging gentleman in the lobby!)

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Photo by Jen Thompson of Festive Attyre

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Photo by Jen Thompson of Festive Attyre
I love this picture because I actually wrangled my hair into a passably suitable hairstyle despite being hair illiterate!

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Photo by Jen Thompson of Festive Attyre

We had a wonderful time together dressed as 1880s city folk and turn-of-the-century country cowgirls! As you can see, I was the “oldest” of the bunch, just eking over the 1880 mark. There are more photos of our outing in Jen’s Cowgirl Museum album on Flickr and if you’d like to play dress up with us, check out the DFW Costumer’s Guild website for a list of events!

Simplicity 4244 Plaid Day Dress Cost Breakdown:

14 yards of plaid cotton gauze – $14, Walmart
1 king sized sheet – $4.99, Thirft Town
Hooks and eyes – $2, Hobby Lobby
1 nearly-full spool of thread – $2.49, Walmart
Ruffle collar stolen from blouse – $4.29, Goodwill
Navy ribbon – $4.75, eBay

Total: $32.52

Alrighty! Review time!

Let’s take off the rose colored glasses and get going.

This gown is tricky for me to review because while all the techniques and the pattern pieces themselves are all fairly straight forward, the sheer amount of fabric and the fitting requirements make it unsuitable for a beginner.

If you forgo the trimming, as I did, I think a confident (or stubborn) intermediate seamstress could tackle this project with good results. I consider myself an intermediate seamstress, and I was challenged, but not frustrated, by this pattern. I would NOT try to make a ball gown out of it in a week as I did! Take your time and go slowly. You will need to be willing to work with your body in order to get the smooth fit over the torso required to make this pattern shine, so be prepared to practice making lots of darts! There is a fair amount of hand finishing: facing the neckline, sewing hooks and eyes or buttons, and sewing on the bows. If you choose to do a proper hand-sewn hem instead of a machined hem, be prepared to spend a few hours to sew the 100+ inch length (depending on your train). The large pattern pieces require lots of space to cut and assemble and can be unwieldy around the sewing machine. However, I feel the work is well worth the result you can get. The accuracy is spectacular and, as a base, the pattern offers plenty of opportunities for customization.

I had fun making this pattern and will likely make it again in the future–perhaps this time with all the carbs included!

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Part I: Researching Simplicity 4244
Part II: Making Simplicity 4244

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Sadly, this pattern is Out of Print (OOP), so it can only be purchased through private sales. If you want a copy, check online auction and craft sites. I think it’s a good candidate for a re-issue by Simplicity. Maybe if enough of us “Conquer the Croissants,” they’ll consider re-printing it so everyone can more easily get a copy to play with!

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