Well this milestone snuck right past me: The Pragmatic Costumer blog reached 1 million visitors recently!
Thank you, everyone! Wow! I am so honored and humbled that this many people have ventured into my weird little corner of the interwebs.
The holidays are here and it can be a bit challenging to find gifts to give a hobbyist if you don’t share that hobby.
For a costumer, a good pair of sewing shears is always a welcome gift or a fresh set of sharp pins or a giftcard to the local hobby shop, but here are a few smaller, less obvious gifts that make great stocking stuffers for the historical costumer in your life.
These are general inexpensive common items that can be found in big box stores or online– stuff that might not pop immediately into your mind as a “costuming” gift, but that are infinitely handy for historical costuming!
1. Tinted Lip Balm (Average Price: $1-10)
Blistex’s Lip Vibrance is my absolute favorite (Walmart, $2.50). It has the perfect rosy pink color and is SPF 15. Plus, it has a tiny mirror on the tube! I also have Vaseline’s Rosy Lips (Dollar Tree, $1). It is more slick and glossy with barely any color, but it does a good job of keeping lips soft.
Lip balm is incredibly handy to have at outdoor events, especially in dry climates (or cold ones, as I discovered during a particularly chilly DFWCG Georgian Picnic). In addition, a little sheer tint gives your lips a healthy rosy glow without looking too made-up. A lip balm with a bit of color to it is an indispensable item I take to every costuming event!
There are a variety of historically accurate options available as well, like LBCC Historical’s 1772 tinted rose lip balm (Etsy, $10). Or, if you are feeling crafty, make your own from a historical recipe, like this one! Bonus points for making a homemade gift as well.
2. Black Safety Pins – (Average price: $2-4)
I buy my black safety pins at Walmart for about $2, but you can find them in almost any big craft store or online. I love them because they are much less visible on darker and matte fabrics! In the above picture, you can see the difference between the black safety pin and the regular silver safety pin on the very matte black linen I used for my 1878 mourning dress.
The vintage term for black lacquered metal pins is “Japanned.” In the Victorian era, they were used for mourning clothes, but black pins are incredibly handy for wearing with any dark costume were the glint of a silver pin would be glaringly obvious. Plus, you can never had too many safety pins!
3. Knee Socks and Stockings ($1-35)
It’s an age-old trope: socks for Christmas? Bleck! But to a historical costumer, stockings are the perfect stocking stuffer! You can’t go wrong with a fine pair of creamy white or black above the knee stockings, but you can go for funkier designs, too, depending on your gift recipient’s personality. I have another post about historical stockings here.
I have a wide variety of stockings from basic knee socks (Walmart, $3) to baseball socks (Academy Sports, $8) to trouser stockings (Dollar Tree, $1) to fancy clocked stockings (Fashions Revisited, $15).
I will say that I prefer a finer, even knit stocking, not necessarily sheer, just a smaller thread/stick size, like a modern dress sock. Chunky, textured, or coarse knits can cause rub spots in shoes…a not-so-nice situation if you’re having to walk around uneven ground outside all day.
You can find a huge variety of fantastic knee and over-the-knee socks online at places like Sock Dreams or Ozone Socks! For luxurious historical repros, there’s the American Duchess stocking line or Fashions Revisited.
4. Hair Donuts, Hairpins, and Hair Ties ($1-6)
Historical hair can be hard. A hair donut makes it easier! What on earth is a hair donut? A hair donut is just a puffy circle of fine mesh that helps make perfectly smooth buns easily. They are readily available from Dollar Tree, Walmart, Target, Walgreens, Sally’s Beauty Supply–or just about anywhere you can find hair accessories– and usually cost just a few dollars.. They come in a variety of sizes and colors like blonde, brunette, black, and red to help blend better into the hair. You can find hair donuts in singles or in kits.
A packs of hairpins/bobby pins and hair ties in the right color to blend into the hair are also wonderful. Hairpins and hair ties always seem to vanish after a while, so getting extras are usually a very welcome surprise. I like Goody’s Ouchless hair ties, myself (Target/Walmart, $5). They come in a variety of natural hair colors.
5. Shoe Laces ($1-12)
This may be a bit out of left field, but shoe laces are very handy to have around the sewing room. They can become a drawstring in a skirt or purse and lace up a corset. Shoelaces with metal ends are especially nice and more historically accurate (The technical term for the tips is “aglets” and they have been around for centuries). Look for solid-color flat ones in the kid’s section which work great for purses or extra-long (84″+) round ones by the men’s workboots that are ideal for corsets.
6. Cute Paper-Cutting Scissors ($3-10)
Every seamstress has a preferred type of sewing shear, so if you’re planning to get them a new pair, ask them what type they prefer. However, for just a quick gift, it’s equally handy to get a pair of scissors for cutting pattern tissue, too. Find a fun pair! An all-purpose pair of scissors with a cute handle makes it easy to tell the paper-cutting scissors from the fabric scissors. You can never have too many pairs of scissors of all types!
7. Faux Pearl Jewelry ($3+)
Pearls are classic and have been treasured since ancient times. The great thing about a strand of pearls or a pair of pearl drop earrings is that they are timeless: they can be worn with any era of costume from Roman to Renaissance to Victorian to Retro. If you’ve got the budget for real pearls, kudos to you! But quality faux pearls are affordable and widely available anywhere that sells jewelry like Target, Kohls, Claires, etc. One of my favorite costuming necklaces is a $10 strand of glass pearls from Walmart.
8. Long Evening Gloves ($8-25)
In the past, folks generally wore gloves when they went outside no matter the season. Gloves have mostly fallen out of fashion in our modern world and finding vintage examples can be difficult. That’s why stretchy costume gloves are so great! Places like Party City and bridal shops generally have them year round in a variety of colors. Plain black, white, and ivory are the easiest to find and the most versatile, though if your giftee has a fave color, you can certainly find it online. They come in lots of colors!
9. Book Phone Case ($10+)
Lots of costumers like to use a cell phone cover designed to look like a little leather-bound book to hide this indispensable bit of modernity. I love my book phone case! Book phone cases are not one-size-fits-all, so if you plan to get one as a gift, make sure you know the model of your giftee’s phone. Unlike the other items on this list which you can find easily in stores, this one you’ll probably have to buy online. You can find genuine leather ones ($25-50) or faux-leather ones ($10-25).
Of course, each costumer is different, so not all of these gifts are 100% perfect for each person, but they might give you some ideas.There are plenty of other little gifts you can use as stocking stuffers (measuring tapes, pins, etc.) for your favorite historical costumer. If in doubt, though, just ask them what they want! They’ll be able to tell you more specific items.
HAVE A SAFE AND MERRY CHRISTMAS!
This post is a bit of a weird ride– from Charles Dickens to Trolls to Britney Spears. But you could get a great hat out of the deal!
I should have written this post almost a year ago when I went to Dickens on the Strand with Mistress of Disguise back in December of 2018, but I really fell off the blogging wagon and didn’t. So, finally, here’s a blog post about my costumes for Dickens on the Strand 2018– beginning with my thifty hat makeover:
While it’s not the most flattering hat on everyone, the trilby (commonly misidentified as a fedora) comes in a vast array of materials and sizes. In fact, after ballcaps, beanies, and cowboy hats (here in Texas at least), the trilby is the most readily available male hats. You can even buy them at Walmart for less than $10.
I have a massive love of hats! I have at least 30 of them, some of them vintage, some new, and many modded for costuming. Some of them are also my husband’s hats, like his tricorn, cowboy hat, and numerous old fedoras/trilbies. However, both fedoras and trilbies have gotten a sour reputation recently because of their association with internet trolls and creepy pick-up “artists.” Due to these bad stereotypes, my husband hasn’t been wearing his old trilbies as much anymore, so they were just gathering dust in my closet.
But did you know that fedoras actually started as a popular unisex, feminist fashion in the 1880s and trilbies are perfect for transforming into Victorian lady’s hats? Yes, indeed! So when I needed a last minute hat to go with my flannel 1880s bustle dress, I decided to take the trilby back from the trolls and give one of those old hats a new life.
During the 1870s, bonnets began to be replaced by hats as the fashionable form of daytime headgear for ladies. The ancestor of the modern fedora was actually created in the 1880s as a hat worn by all-around badass Sarah Bernhardt, who wore the first fedora during a play called, well, Fedora!
I couldn’t find a photo of Sarah Bernhardt in her original Fedora, but here she is in a different cool hat. You can see how you could easily make a similar hat by modifying a modern fedora.
In 1894, The Trilby hat was invented and also got its name from the hat style worn in the theatrical production, but the trilby was worn by a male actor and has thus been a man’s hat from the start. However, the shape shows up in women’s hats of the previous decade, making all our currently-much-maligned trilbies the perfect base for last-minute-panic Victorian bustle hats!
Natural Form Era hats. The Vintage Dancer has an excellent article on 19th century ladies’ hats! Click the fashion plate above to visit.
Lady’s Hat, circa 1885 via the Met Museum
I took trimming inspiration for my last-minute trilby transformation from 1880s hats like the lady’s on the left.
Unfortunately, I didn’t take any in-progess pics of my Dickens on the Strand hat because– in my usual fashion– I made it literally the night before Megan and I left for Galveston! However, I did absolutely nothing to the base hat, just trimmed it (haphazardly).
I used 1 roll of cream-colored ribbon from Walmart, a netting remnant, and pinned an antique silver dime brooch to the front.
Now, there is a secret to every successful hat…and I’m going to spill the beans just for you.
As I have stated before, this is just a plain old man’s store-bought trilby. Even under all the trimmings, it’s still very visibly a modern trilby…probably because it’s a good two sizes too big! It’s my husband’s, so it’s an XL hat made to fit a 6′ 2″ dude. If I just plop it down on my head, it’s so huge it engulfs half my noggin!
Yet, most modern hats– even ones sized correctly for your head– sit far too low on the face. If you’ve ever gotten photos back from an event only to discover your face is all shadowed over and hidden by your hat, it’s because modern hats have very wide, deep crowns to sit far enough down on your head to keep them in place at the expense of your forehead.
But don’t worry, you still look fabulous!
Historical women’s hats, however, were designed to perch on top of elaborate hairstyles, particularly buns. Often, they hardly touched you head at all, sitting entirely atop a nest of fluffy hair instead.
Even if a hat had a deep crown, it often had an interior fabric “cap” or drawstring ring that kept the crown from swallowing your head.
Some well-designed modern hats still use this feature. This is the inside of my favorite modern “church lady” hat that I wear for Edwardian costumes. You can see the drawstring ring inside that adjusts to fit your head so the enormously tall crown doesn’t eat your face.
Any of these things can be done to modify a modern hat to fit in a historical manner. In the case of my trilby-turned-Victorian hat, I didn’t have time to put in a fitting ring, but I did have plenty of hair to stuff into it. This kept it aloft.
In fact, the true secret to historical hat success isn’t just the hat itself: it’s the hair under it!
Properly styled hair– even if it’s the most simplistic version of a period style– instantly takes you from hat rookie to hat champion!
To demonstrate this better, here is a series of hasty, terrible bathroom selfies I took.
Let’s start with a modern trilby I have that actual fits me correctly:
If you want to use a trilby to make a Victorian hat, I recommend starting with one that actually fits, or one slightly too small.
As you can see, it fits much better than my big brown one! But with the deep hat crown and modern hairstyle, the farthest back in time this hat takes me is high school in the early 2000s. No thanks!
BRING IN THE HISTORICAL HAIR!
This is my go-to basic hairstyle. It’s my collarbone length hair pulled up in a simple bun and then my beloved “curl loaf” slapped on the front. Nothing fancy.
This style is perfect for the 1880s and 1890s, but it can carry you from the late 1870s to the 1910s if you really need to. Plus, it works especially well with hats! The bun gives you something to perch your hat on so it stays off your face, and it give you something to safely stab hat pins into to keep everything in place. The curls up front also help lift the crown of the hat away from your face and, if you’ve got strong features or a large face like me, the curls peek out from under the hat a bit to soften your face. Plus, the hairstyle looks good on its own, in case you have to remove your hat.
Now that you’ve got your hair in place, you can play with how you wear your hat! To instantly take a trilby from modern to old-fashioned, wear it on the back of your head for a more bonnet-like appearance:
A fashion plate from the late 1870s showing bonnet-like hats worn on the back of the head to take trimming inspiration from.
You can also wear the trilby backwards so that the curled part of the brim is at the top of your head to help disguise the modernness even more. Covered in trimmings like puffy bows and feathers or covered in fabric to match your dress will further transform it!
Covered in lace and fabric, a modern trilby could be used as a base for these 1870s bonnets! Notice how these bonnets/hats are sitting way up high on a giant mound of hair, as was fashionable in the 1870s. The hats aren’t even touching their faces or necks. Worried you don’t have enough hair? Don’t worry! Most Victorians used plenty of hairpieces to make such fab hairstyles.
Another way to wear it is perched up on your hair completely, tilted forward a tad. Rather than disguising the shape of the trilby, this angle shows off the full shape and works well for the more tailored looks of the 1880s:
Of course, wearing it this way also puts your hair on display more, so make sure the back is nice and neat (unlike mine, ha!).
So many trim options! From the 1870s to the 1880s.
No matter how you choose to wear it, however, you will want to trim it. Depending on your trilby’s material. you might be able to get away with a few ribbons or spray of flowers, but the Victorians loved trims and, as you can see in the fashion plate examples, the base hat is often buried under a mound of bows, lace, feathers, flowers, and other crazy-fun whatnots! So get creative and go wild with the trims!
For my 1880s dress, I wore my/my husband’s giant trilby perched on top of my head. It was so huge it still kind of ate my head, but it worked perfectly for a last-minute hat with not a lick of hat blocking required! Plus, it was inexpensive. Since I recycled an old hat, I only had to spend money on the ribbon, which was, like $3. I guess if you wanted to count it, the $10 brooch was the biggest expense, though I had that on-hand, too, or it could easily have been replaced with a big button. Is this method perfectly HA and the pinnacle of design? Ha, no! But all-in-all, it worked just as I needed it to!
HAPPY COSTUMING, M’LADIES! ;)
This year I didn’t feel like I did much at all in terms of costuming, but I did make 3 new dresses and finish 2 others!
NEW STUFF I MADE
Game of Thrones Dress
Pattern Used: McCall’s 6940
Event: Scarborough Faire with friends
Notes: First fantasy dress in AGES! The pattern is pretty darn good and I learned how to do a full-bust-adjustment on a wrap-front, princess-seamed dress.
Blog Post Link: A Game of Thrones Inspired Dress from McCalls 6940
Obnoxious Plaid 1830s Dress
Pattern Used: “Duct Tape Dummy” Method + Simplicity 3723
(Lucy’s Corset Duct Tape Pattern Video) (CospLAZY How-To Writeup)
Fabric: Blinding Orange Faux Silk
Event: Georgian Picnic with DFW Costumers Guild
Notes: This dress was my first dress using my duct tape dummy pattern. I had a cold the week before the event and wasn’t going to go, but the day before, I was so bored and crabby, I needed to do something, so I pounded out this dress from pattern to wearable in less than 24 hours. The sleeves are gussied-up versions of my fave long sleeve from the Simplicity 3723 pattern. I also learned how to alter a pattern to sit off the shoulder thanks to a great tutorial from Elisalex de Castro Peake on By Hand London.
Festive Attyre’s Flickr Album: 10th Annual Georgian Picnic
Flannel Bustle Dress
Pattern Used: “Duct Tape Dummy” Method and Draping
(Lucy’s Corset Duct Tape Pattern Video) (CospLAZY How-To Writeup)
Material: Cotton Flannel
Event: Dickens on the Strand with Mistress of Disguise
Notes: I made this dress to be as warm as possible since it was for Dickens on the Strand in December. The weather, however, decided to be summery! Thank goodness the flannel was cotton, though. It was warm, but breathable. I highly recommend cotton flannel. It’s easy to sew and so cozy! The underskirt was made completely out of rectangles gathered to a waistband and the overskirt was made by dressing up my dress form and just pinning a 3 yard length of fabric over it until I got something that looked decent before tacking everything down.
Flickr Album: Dickens on the Strand 2018
UFOs (Un-Finished Objects) COMPLETED
Green 1840s Dress for my Sis
Pattern Used: Butterick 5832
Material: Quilting Cotton
Event: EXTREME GUILT
Notes: This dress was literal years in the making and I am both embarrassed it took so long and proud I finally made good on my promise to my sister!
Blog Post: My Sister’s Long Overdue 1840s Camo Dress
Mermaid Ballgown (Re-Vamped)
Pattern Used: Simplicity 4244
Material: Rayon Blend
Event: Dickens on the Strand
Notes: I didn’t have the time or the money to make a new ballgown for the Dickens Soiree, so I revamped my ancient blue Ariel Ballgown for two years and 25 pounds ago with yards and yards of lace to cover the gap where the front doesn’t quite close anymore. I also rearranged the train and added silk flowers.
Flickr Album: Dickens on the Strand 2018
Blog Post of Original Version: Conquering the Croissants Part III
I was feeling pretty down about how little it felt like I’d done this past year, but looking back, it wasn’t as empty of a year as I thought! Thank for hanging out with me here and on Facebook. Another year goes flying by!
Here’s to a Hopeful and Happy 2019!
Hairstyling is not my strong point, but over the years, I have slowly figured out a few tricks to make historical hairstyles work for me. When I made my Game of Thrones dress, I knew I would need a hairstyle to go with it. McCalls 6940 is based on Kings Landing fashions from the earlier seasons of the show. The hairstyles varied depending on the character wearing it (personality, prestige, all that jazz), but there were some basic features that seemed fairly universal: half-up, braided, and loose waves.
As luck would have it, the styles aren’t too far off from an era I’ve already tackled hair for: the 1870s!
In fact, here’s an original 1870s hairstyle “how to” that, if you stopped before the last step and just left the hair loose in back, would make a perfect Westeros style:
As you can see in the original 1870s tutorial above, hairpieces are almost always necessary to get the right look, even if you have fairly long hair. The secret to costume-perfect hair is the magical “curl loaf.”
For my Game of Thrones hairstyle, I wanted a very full look, a mix of Margaery’s overabundant curls with Cersei’s and Sansa’s braided buns. Even though I have hair past my shoulders and my fab-o curl loaf, for a properly fantastic noblewoman’s hair-do I needed MORE HAIR. My curl loaf is from from “Hair World by Jamie.” I usually buy from their eBay store because it’s usually a few dollars cheaper, but they have a regular website, too. I was so pleased with the color and service that I ordered a matching clip-on ponytail from their eBay store. The clip is HUGE and secure, so it’s easy to wear. I am pretty pleased with it!
To make the crescent bun shape, I use the clip sideways. I gathered it into a ponytail with ribbon and made two braids: only large, one small.
I have difficult hair to match because the roots are naturally much darker than my ends which are more reddish to boot. You can see what I mean in the pics below where my natural ends peek out from under the hairpiece. When I do a regular bun out of my natural hair, it looks almost fake because my ends are such a different color! I match hairpieces to my roots for that very reason. It looks more natural that way. These two hairpieces are both #10s on the HWBJ color chart and are a perfect match for my roots. My ends are closer to a #15.
Together with my curl loaf and just four bobby pins, I was able to create this hairstyle:
It looks complex, but it’s deceptively simple! First, I put my hair half up. Then I clip the ponytail on sideways, bobby pin the braids how I like them, clip on the curl loaf to hide the ribbon in back, and I’m done! I made a little illustration chart to explain it visually:
I color coded it for enhanced clarity: Yellow is your natural hair, red is the clip-in ponytail, blue is the thick braid, green is the little braid, and hot pink is the curl loaf (which I made pink because it totally looks like a tiny brain in my drawing!).
When you make the ponytail on the hairpiece, use ribbon, not a hair-tie. Modern elastic hair-ties add a lot of thickness and spring and are very obvious/hard to hide. Ribbon lies smoothly and if you choose a raw silk one that is similar in color to the hair, it hides so much more easily! I’ve discovered that much of the struggle I have styling historical hair comes from overly-bulky elastic hair-ties. It’s amazing how much difference styling with ribbon or twine can make!
This hairdo looks super complex, but it only takes about 15 minutes to do and is really easy to wear!
The ponytail is a bit heavy, but it doesn’t pull or pinch my scalp, plus the braids can be rearranged in a variety of ways to change the look. If you don’t have curly or wavy hair, curl your natural hair before putting on your hairpieces for extra volume or choose a straight hairpiece instead of a curled one.
2018 has not been a good year for sewing. In fact, I’ve only sewn one new dress this year and it’s not historical at all!
Pictured above: Me during 2018 so far.
Perhaps I was feeling a bit burned out from the pressure of the historical costuming community or maybe it was my love of fantasy making a roaring appearance, but the only new costume I have made this whole year so far was, of all things, inspired by the Game of Thrones.
I don’t even really keep up with the show, but the costumes…they are fab! Check out the unbelievably beautiful embroidery! They have kindled a huge movement in the costume community, a kind of fantasy renaissance that hadn’t really happened since the Lord of Rings (over a decade ago…OMG! Where has time flown?!). As it turns out, a lot of historical costumers also fell in love with the wonderful GoT costumes. I think Katherine of The Fashionable Past really summed up why the world of Westeros was so appealing to many historical costumers:
“…They’ve truly created fashion on the show–clothes for different climates, different levels of society, different everything, yet they remain consistent in fashionable details. It was almost like discovering a new historical period.”
Kathrine has made a few GoT themed dresses with her own personal twists and designs. She noticed how similar the construction of her GoT dress was to 18th century dresses. In the course of my adventure, I discovered the skills I learned sewing the Plaid Croissant Natural Form Bustle Dress really helped make the McCalls pattern much easier to understand and sew!
I was inspired to give one a try! As it so happened, all the pieces just seems to fall into place like destiny.
A year ago, I had found my first piece of thrift-store silk. I want to be clear: I NEVER find yardage at my local Goodwill, much less silk yardage! Most of the silk I use is cut from silk shirts. I had enviously seen other costumers post on Facebook about finding silk yardage at the thrift shops. Finally, I found some–a real piece of silk–three yards of it! I was so proud and giddy that I horded it for a whole year. 3 yards isn’t enough for most historical dresses, so I didn’t quite know what to do with it. Like I am wont to do, I simply squirreled it away in the deepest recesses of the fabric horde where it waited, breath baited, to someday be recreated.
Fast forward to April and my friends invited me to Renaissance Faire!
Ren Faire is one of the “holy grail” events for costumers and though it was 100 degrees outside, I could NOT go to Ren Faire without a costume! I’d been struggling with a job switch and a general lack of creative energy, but I REFUSE to go all the way to ren faire to only look around. I want to be part of the costumed merriment!
At first, I desperately wanted to make a traditional 16th Century dress– the kirtle, the coif, the whole nine yards (of skirt fabric). But the only fabric I found that I liked was $50 a yard! Yikes! No thanks! So I thought about doing another version of my Second-Hand 17th Century Get-Up.
I’ve gained quite a bit of weight since 2013 (5 years ago?!). Alas, I don’t fit in that little jacket or skirt any longer! In light of this revelation, I began voraciously scrolling through pages and pages and pages of eBay auctions to find something that might work. I ended up in my favorite sari shop, “Antique Art of India” by sanskriti.india. I was looking for a lehenga (skirt), but instead, I found a glorious green silk organza sari. Inspiration hit me!
A sari is about 5 yards long, which, at my size, isn’t quite enough for a full dress on its own…but add 3 yards of silk dupioni to the mix…
As fate would have it, the Scarbie Faire theme for the weekend we were going was Fantasy, so a Game of Thrones dress would be perfect! And I already had several patterns to choose from in my stash.
The pieces were finally falling into place!
There are TONS of medieval and Game of Thrones style patterns to choose from. I waffled between Simplicity and McCalls because they seemed to be the top two choices in the GoT costuming community forums. Simplicity 1487/1009 was designed by Andrea Schewe, a pattern designer I admire for both her design sense and how easily I can adjust her patterns to fit my body. I know if her name is on a pattern, it will probably be fantastic!
However, the Simplicity pattern had a back zipper and a waist seam. I wanted a real wrap dress like Kathrine’s and the ones on the show. McCalls 6940 is a honest-to-goodness real wrap front dress.
All the reviews on the Game of Thrones costuming groups mentioned that the skirt on the McCalls pattern was too tight, but it’s easier to add fullness than to try to turn a zipper back into a wrap front. For this last-minute dress, I decided to use the McCalls pattern, View A. I cut a size 16 based on my full upper bust measurement. As I discovered, this was too large in the back. I should have cut a 14 or even 12 for the back.
I did have to alter the pattern to fit me which was no small task, but this is par for the course. Patterns are normally designed for B-cups and I’m an DDD/F cup. I’m a curvy gal and this pattern is not curvy at all. In fact, it has almost no waist or bust shaping, relying on the belt to draw in the excess fullness–not my favorite method of fitting, but I think I made it work.
As a busty gall, I’ve struggled to find regular everyday wrap dresses that don’t fit horribly over my bust. This dress is a wrap dress, but it also has princess seams to help make fitting a little easier…in theory. As it turns out, there is a special method for altering a wrap dress with princess seams. Plus, this dress had the special side gores that had to be accounted for!
I discovered a great tutorial by Idle Fancy that I absolutely recommend!
I followed it exactly, had the same “OMG, THIS PATTERN PIECE IS DEFORMED AND WILL NEVER WORK—Oh, it totally works!” moment she did. Mary 100% made this project easier to conquer. Thanks, chica!
Here is a picture showing my adjusted pattern pieces with the originals:
In addition to the FBA, I also reduced the length of the sleeves to half so I could fit them on the narrow sari fabric and increased the skirt width by flaring the skirt pattern pieces at the bottom then tapering back to the original width near the top to make sure the gores still fit properly. The U-shaped gores seem really intimidating, but the way they are assembled makes it surprisingly easy! In fact, I assembled the majority of the dress in a single day, just in time to wear it to Scarborough! It was ROASTING wearing all the layers, insulating silk, and long sleeves, but I had an unforgettable time with my friends. We were too busy exploring to take many pictures, but here is one Chris took at the very end of the day.
I am shiny from sweat, crater-eyed from a lack of sleep, and sore from walking for hours, but the dress held up and people even recognized it as a Game of Thrones dress despite it not being any specific recreation! Huzzah!
Still, the dress wasn’t quite finished. It needed some more trimming and refining, which I finally got around to doing this week. So, months later, here is the finally finished dress!
As you can see, the dress ended up too big in the waist, leading to all sorts of wrinkling. If I make another version of this dress, I will need to tweak the pattern to be more fitted. McCalls 6940 relies on the included belt patterns to delineate the waist, so the dress pattern itself has almost no waist shaping whatsoever, even if you aren’t fitting it over a corset. I chose to wear mine with a corset 1) because on the show, Sansa is shown in one scene wearing stays (an earlier form of the corset), 2) it helps keep the belt in place because otherwise belts tend to ride up over my belly and settle right under my boobs, and 3) I like the regal bearing it gives me.
In addition to the corset, I wore an underskirt and petticoat. These fluff the dress more and since the front of the dress is wrapped over, but open, the underskirt does show when you walk or sit. You will definitely want to wear one that complements your gown! Mine is a prom skirt I bought at Goodwill for $6.
My final thoughts on the McCalls 6940 pattern View A are thus:
-It is a solid, basic dress. It is a good base for embellishments and the real wrap front is ideal. The tie closure works, though it would benefit from another one internally (or I could just add the snap they call for).
-It is too slim through the skirt and not fitted enough in the waist. For screen accuracy and plain ol’ aesthetics, I recommend increasing the fullness of the skirt as much as you can and then use a facing to help the skirt flare out in that lovely sweep we so love. I’d also try to make it more fitted in back, like I did for my Natural Form gown.
-This design really works best with fabric that have good texture and body. It takes quite a bit of fabric, too, especially because of the enormous sleeves. I used all 3 yards of the silk with only a handful of scraps left. The sari was completely used up except for a few damaged areas I had to work around and the pallu (the pallu is the decorated end, about 1 yard worth). This is after shortening the sleeves to accommodate the narrow fabric. I flatlined the dress like I would a Victorian one, but I left the sleeves unlined for airflow. The lining will add to the yardage you need. (I used a king-sized cotton sheet)
-The sleeves want to shift. They are open on the bottom after the elbow and I found that the fabric wants to slip off your arm. You can see it happening a bit here:
This may be due to a number of factors, but I think it’s because the sleeve construction puts the center of the sleeve on the outside of the arm, so the sleeve wants to twist to the side, causing it to gradually fall off your forearm. This might be fixed by weighting the sleeves or making them full-length instead of sorter like mine. I might try lengthening the inner side if I choose to make the shorter sleeves again. That might fix the issue.
-This dress is a solid intermediate pattern. The techniques are all basic and there are no fancy tricks. The hardest part to sew (in my opinion) is the facings at the neck and hem. Just take your time to pin things accurately and you’ll be fine.
-The instructions are very clear. Read them! I thought I knew how it would work, but discovered I was making more work for myself. The instructions actually made the sewing easier for once! The marks on the tissue are important for the ties down the front. Mark them accurately if you want the closure to line up.
-Make or buy a snazzy belt. Since it is key to achieving the look and fit, you’ll need a belt to go with your gown. The pattern comes with two. I haven’t tried making them, but the armor-like one (based off Cersei’s in the show) looks wicked cool. If you don’t want to make your own, I recommend a comfy wide elastic belt. They are easy to put on and adjust, plus there are tons of styles online to choose from. I picked a rather basic black one with a brass closure to match the beading on the sari. Bonus points for it being something I can wear everyday, too! There are fancier models, though, like these that I found just by doing a quick Amazon search for “wide elastic belt:”
Overall, I had a ton of fun making and wearing this dress. I am very glad I stepped out of my comfort zone to make something new! I also liked that it was fairly low-pressure. Sometimes historical accuracy can be a little claustrophobic if you have tons of internet people judging your every stitch and trim. Since this was entirely fantasy, there was much less pressure! I look forward to making another one of these dresses in the future. If you are feeling adventurous or need something fresh to jumpstart your creativity, I think this could be a great project. I worked for me! I’m still stressed and not feeling very motivated to costume, but I am proud to have made at least one dress this year.
For those of you curious about how I did my hair, I made a small tutorial thing for ya:
I love a good bonnet, even if badly photographed. <3
Museum photography has come a long way in the past decade. I remember when the only way to explore a museum’s collection was to physically travel to view an exhibit in person, be buddies with a curator, or read about them in textbooks, sometimes with a blessed-but-grainy black and white picture the size of a domino. Now museums around the world have their collections photographed and available for free online!
We have gone from this:
Huzzah! Hooray! Oh, happy day!
And believe me, I am infinitely grateful. But, I am also infinitely concerned with systematic forward progression and implementing improved standards of quality (i.e. I am demanding and persnickety). Today, I am picking on the Met because the Met is one of my favorite museums. They seem open and honest about their collections– even candidly blogging about some drawings in their collection were massively mis-attributed! You can even give them feedback about their website, rating it and saying what you liked and what you didn’t. I appreciate their openness and make full use of it. MMoA, you asked for it!
In my many invested hours of research (i.e. PINTEREST), I have discovered many beautiful Met Museum objects with hideous photos, in particular, 19th century bonnets and hats. Granted, there are plenty of hideous objects with lovely pictures as well. There is clearly a miracle-working photographer in the costume department because they made this clunky sunbonnet look so lovely I kind of want it…which is saying something because I LOATHE 19th-century sunbonnets!
Cotton Sunbonnet, circa 1860
This photo makes it look good enough to actually wear!
Now, compare that picture with this one:
Sunbonnet, circa 1838
Ah, there’s the warm, familiar hatred again. If Jedi had to wear sunbonnets, I would instantly become a Sith. No questions! Sunbonnet Crusher duty? SIGN ME UP!
Okay, so maybe I am exaggerating a little. You see, that second bonnet isn’t terrible at all! In fact, it’s actually way more adorable than the photo lets on. It’s made of a spotted calico that’s kind of polka-dotty from a distance, it’s got pinked trim, a nifty straw brim, and a sweet bow perched on top. But that photo just does not do it justice when you compare it to other bonnet photographs in the collection:
Snedden Designer Bonnet with Pearls, circa 1883
(another bonnet that has benefited from the leap in photography technology)
Velvet Evening Bonnet, 1802
Bonnet, circa 1887
“But, Liz! Those are all fashionable, fancy-lady bonnets! You can’t compare a daytime 1850s sunbonnet to a 1880s millioneress’s bonnet!”
True: there are many bonnets of vastly different styles, decades, price-points and occasions, but being fancier doesn’t make them any less likely to be photographed poorly. The Met does not discriminate based on social class! Case in point:
Which of these two photos looks like a million bucks to you?
I started making note of all the bonnets I found that were begging for a better photo. The list was quite long! However, I narrowed it down to just a few.
MOST of the bonnets are this list were not picked just because I thought they needed a prettier photo–though, confession: some are on the list because they are OMGorgeous! There are so many pretty-but-not-artistically-photographed bonnets in the Met’s collection, like this early 19th century bonnet. However, many of them, despite their flash-blasted, yellow-tinged photographs, still shine through with clear detail. Instead, I chose bonnets that I thought were actively hampered by their photo– those with great texture that was lost, fit that was hard to judge, or colors that weren’t properly portrayed, all details that are actively explored and sought after by costume and textile researchers.
THE TOP 10 BONNETS AT THE MET THAT DESERVE BETTER PHOTOS!
#10: “Ye Old Bonnet?!” circa 1799-1810
Originally #10 was this straw bonnet that I loved the shape of, but there is no view of the front. However, I stumbled upon this bonnet/headdress just before publishing my list. I was so intrigued, I knew it had to be on the list! There is no other “bonnet” like it in the Met’s collection and if that date is correct (question: has anyone seen something like this from the era?), it would make it one of the earliest pieces in the bonnet sub-category. I want to know more!
#9: “Happy Spring Day in a Dust Storm” Bonnet, circa 1860
This is one of those “It’s just so pretty it needs to be shown off!” bonnets. The layers of trimmings are so lovely, but the dingy, grainy photo does its richness a great disservice.
#8: “Black Velvet Mystery” Bonnet, circa 1850
This bonnet already has a beautifully lit, crisp new photo, yet, it’s impossible to tell how it fits! It’s listed as a bonnet, but the shape and fit isn’t obvious. Does it perch on the back of the head? Is it a child-sized cap? Or is it bigger than it looks? This is a piece that would really benefit from a display head.
#7: “Snow Princess” Lace Bonnet, circa 1885-90
Another stunner suffering from bad lighting and graininess! This bonnet is mummified in lovely lace, has a velvet edge, and a feather on top! The interplay of textures and true color are lost, though, and the angle of the two photos almost look like two different hats! Click here to see the second photo of the back. You’ll see what I mean. Also, this hat has a photo of the designer’s label, but it’s not listed in the description (J. Pendlebury / Wigan). This was a very expensive hat during its day! It would be so lovely for a bride.
#6: “Scarlet’s Envy” Promenade Bonnet, circa 1851-1862
The vast majority of the Met’s mid-19th century bonnet collection suffers from small, badly-lit photos. I imagine they must have been doing them all in a swift batch in order to give us, the demanding costuming community, visual references. The Met has worked hard to get photos for every object’s online catalogue page! They are getting closer to achieving that goal. I am so thankful for their hard work. However, this gal is beautiful, but the silk gathers and layers upon layers of delicate trimming aren’t very well portrayed. I also think it’s later in date than listed. Any bonnet experts have a firmer date for it?
#5: “Autumnal Delight” Bonnet, circa 1864-1867
This bonnet is just fabulous! At first I thought that it was a lovely example of straw work, but then I read the description…can you believe this bonnet is made of horsehair?! I would have never guessed! Once again, the small, grainy photos erase this bonnet’s main draw: the unique materials and lush interplay of textures. Just look at those woven plumes and tiny tassels! This is probably my personal favorite bonnet on the list. I would wear it in a heartbeat.
#4: “The WAT?!” Bonnet, circa 1800-1925
I’m calling this one that “WAT?!” bonnet not because I find it poorly designed (though the display certainly makes it look odd), but because it is in desperate need of a cleaning, some context, and a more accurate date. 125 YEARS, MET?! REALLY?! This bonnet/hat is from around 1900 and would have been paired with a Gibson Girl hairstyle, hence the shallow back (to fit around a chignon) and large forward swoop (to go over the puffy pompadour front). It even has a designer label inside that they photographed, but the cataloger failed to note in the description. It’s not a show-stopping hat by any means, but it certainly deserves better basic cataloguing in addition to a fresh photo!
#3: “Cinderella” Bonnet/Cap, circa 1845-50
Just look at that lace and ribbon! Wow! Even in that terrible lighting, it looks amazing. However, the image is small and grainy, so you can’t see all the wonderful details. This one is just too pretty not to have a better photo!
#2: “Faceplant” Poke Bonnet, circa 1840-69
This bonnet is so sad! It looks like a jellyfish washed up on the shore or a snail trying to crawl away. I suppose if you were a nice “Sunday’s best” bonnet that got labelled as a poke bonnet, you’d be sad, too. This bonnet would be so much happier if its beautiful silk satin shirring and lace were properly photographed on a stand or mannequin!
#1: “Moping Mop” Ribbon Bonnet, circa 1841
The last bonnet looked sad, but this poor bonnet is actively trying to hide. Perhaps it’s in such poor shape that this is the only way to display it (like this crumbling 1830s straw bonnet), but it’s completely impossible to tell that it’s even a cap/bonnet. What’s even odder is that unlike many of the bonnets in the collection which suffer from dating swathes that range from a generalized 20 year period to the egregious 125 YEAR RANGE OMG MET WTF, this bonnet has been dated precisely to 1841. In addition, it was purchased with donation money in 1982, apparently by choice. Either it was part of a lot that had other pieces in it the Met wanted and the cap just came with, or they purposefully bought it, possibly with provenance granting it such a firm date, like a letter or label. And yet, here it is, just flopped on a table like a mound of seaweed.
The more I looked at these bonnets with less-than-ideal photos, the more I realized how shallow and callous it was to judge a bonnet by its photo. In our massively visual online culture, objects with the prettiest images often get sharing priority, meaning that many perfectly fabulous fashions get ignored! This affects not only personal research, but can affect the quality of conservation, too. Many objects that receive well-made professional photographs often receive special cleaning and repairs in order for them to display and photograph to the object’s best advantage. In a collection like the Met’s–with over 300+ bonnets alone– such a large undertaking would involve not only lots of time, equipment, and effort from the photographer(s), but a large investment from the conservation department– and let’s face it: we may love bonnets, but there are probably more pressing conservation projects than cleaning a common straw sunbonnet, no matter how cute it is.
Interested in seeing more awesome bonnets with horrific pictures?
Click here to view the Met’s bonnet collection online
Let me know which one is your favorite! Is it a delicate straw bonnet from the 1840s? A sky-high feathered stunner from the 1880s? A tubular Regency poke bonnet? Post a link below so I can see it!