Hair Tutorial: A Basic Game of Thrones or Fantasy Hairstyle

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.

Cersei

Cersei

Margaery

Margaery

Sansa

Sansa

As luck would have it, the styles aren’t too far off from an era I’ve already tackled hair for: the 1870s!

My basic 1870s hairstyle. You can click here for the tutorial.

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.”

Behold! The 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!

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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.

Getting Your Ideas on Paper: Using Croquis to Design Your Historical Gowns

Proper measurements and proportions are important not only for sewing, but creating a flattering design. If you are not a pattern size 10 (the base size from which most pattern companies grade up or down), how can you be sure you’ll look as good in the dress as the model on the cover? On top of that, if you want to make changes to the base design of a pattern, how can you be sure it will look okay?

Many costumers are generally creative people. I know so many who like to draw and paint as much as they like to sew! Putting a design to paper first can help refine a design before you choose fabric or start cutting patterns. To help distill the abstract design elements in our heads into a more concrete design, many costumers draw fashion illustrations of their dream gowns– called by their French name “Croquis” (sketch/sketches) like these:

Oscar de la Renta, 2014

Valentino, 2013-14

You’ll notice, though, that the figures in these couture drawings don’t exactly look like anyone you’ve ever met. The average human is approximately 7.5 “heads” tall. A high-fashion croquis on the other hand, is generally drawn 9 or more heads tall, with the extra length added to the legs and neck, elongating the figure:

If you assume the figure on the left with average human proportions is 5 feet tall, each “head” is about 8 inches tall. That gives the left figure an inseam of 32 inches (4 heads), total leg length from the hip of aprox. 36 inches (4.5 heads). The fashion figure on the right is 6 feet tall with a 44 inch inseam (5.5 heads), total leg length from the hip of aprox. 48 inches (6 heads).

This means that skirts seem to flow more, everything looks overall more slim, and the proportions are stretched. They have an air of fairy-like elegance– like willowy goddesses inhabiting some far-off dream. These sketches are works of art as much as the fashions that are eventually created from them. Many are drawn just for the joy of making beautiful drawings of beautiful gowns.

While there are many tall, thin women, ladies with such lengthened proportions are exceedingly rare, though not unheard of: Yekaterina Lisina, a Russian athlete and model, is the Guinness World Record Holder for the world’s longest legs. She has a hip-to- heel leg length of 52.2 inches. She is 6 feet, 9 inches tall! Remember, though: she is the record holder because her size and proportions are so extraordinary. What if you are an ordinary girl with ordinary proportions? Can an fancifully-proportioned croquis work for you? Of course it can! A fashion sketch does not need to be photo-realistic for it to help you create your masterpiece. Maybe you just want to get the basic elements in place: a floral fabric. A midnight blue cape. Spiked red pauldrons. A fashion drawing doesn’t have to be realistic to be beautiful and useful.

But what if you have concerns about how well a design will work on your particular body? An idealized figure won’t do much good if you are concerned  a square neckline might make your shoulders look boxy or mutton sleeves might make your face look like a cherry tomato between two popcorn puffs! If you create a croquis that matches your own proportions, you can experiment with raising the waistline or adding a bow or puffing the sleeves before you start choosing patterns or cutting precious fabric.

But, if you are not the best artist–or if you are like me and struggle to draw your own body realistically (sometimes I draw myself too slim, sometimes too wide, sometimes one boob is way bigger than the other…)– what can you do?

ENTER THE “TRACING REAL BODY MODELS” PROJECT!

“ROMMY”

“ZAVA”

“LEILA”

There’s such a wide variety of “average” bodies that a single, standardized “average” croquis just won’t do! The Tracing Real Body Models Project created a selection of croquis from photographs women of different shapes and sizes submitted to the project. Sadly, the blog doesn’t seem to have been active in over a decade, so there aren’t a whole bunch of models to choose from. In spite of that, I found some that are pretty close to my body type! You can print them out to draw your designs over them (or import them into your chosen design software and draw over them digitally, if you’re tech savvy). None of the models in the project are corseted, of course (When you sew historical costumes exclusively, it’s hard to remember that the average modern woman doesn’t wear one when she plans her designs!), but nothing a few pencil strokes can’t approximate.

“Valentina” in two different decades!
Notice the amount of space between her legs/bottom and the outer edge of the skirt: this give you a good idea of how much padding and how many petticoats you will need to fluff out a design properly.

 They are also a great reminder that it’s not really the SIZE of the body under the clothes that makes a dress look historical: it’s the garments themselves that matter. That’s why having a model that looks as much like you is so important. It’ll give you a better idea of how a well-fitted historical garment should look on YOUR body once its complete. The TRBM blog has photography tips for taking a base model photos, so if you don’t see your body type represented, you could follow their photography guide, then print and trace your own photo for a perfect croquis of yourself!

Easy Edwardian Day Out – Thistle Hill House Tour with the DFWCG

Family, Friends, and Fashion!

My birthday was this past week, so when the DFW Costumers Guild scheduled Edwardian Day Out that weekend, of course I had to go! We visited Thistle Hill, a stately old house from 1904. It’s surrounded by hospitals and parking garages. Thank goodness they saved this old house from becoming another concrete car park!

Thistle Hill is a little patch of green in the middle of the medical district.
I’ve always been slightly confounded by urban Texas. On the one hand, Texans are fiercely proud of their history, particularly their 19th century pioneer heritage. On the other hand, they are capitalist to a fault and if a plot of land is worth more as parking lot than a historic house….hello new parking lot! Not many 19th century buildings are left and many that remain are in terrible disrepair. Dallas has lost the vast majority of its pre-1930 historical architecture. Fort Worth still has some of its older neighborhoods and storefronts, but many folks drive a few hours to surrounding towns like Waxahachie just to see Victorian houses! Thank goodness for for places like HFW and Dallas Heritage Village which have helped preserve historical architecture in the Metroplex.

I was going to wear my green version of Butterick 6093 again, but the week before, I found a lavender bridesmaid skirt at Goodwill that was freakishly similar to the one Becky owns!

In addition, I have a giant green tub full of *literal pounds* of Easy Edwardian stuff I’ve hoarded over the years, so I dug it out and settled on a modern cotton blouse with a fussy ruffle down the front and a vintage burgundy leather belt.

LITERAL POUNDS.

Turns out my giant tub of stuff would come in handy again: we invited Becky’s mother, Marcella, to come along for her first costumed outing. She found a lacy maxi skirt and needed a blouse and hat to go with it– and the Tub provided!

Marcella’s fabulous first historical costume. She made her coordinating drawstring purse herself!

Now, I won’t say definitively that I endorse costume hoarding, but by golly does having a variety of costuming pieces in a range of styles and sizes come in handy! It’s great for helping new-to-the-hobby friends or pulling together a last-minute outfit when nothing you’ve made fits or suits your fancy.

Time to check the Green Tub, girl! The Green Tub’s got you covered!

After being wadded up in the tub for months, my blouse needed a good pressing. To turn a modern collared blouse into a more Edwardian-esque shirtwaist, simply iron the collar flat to remove the fold. This will make it stand up like the high-collars of yesteryear! You can wrap the collar wings over each other and hide the wrap with a jabot or brooch, or do as I prefer and just fold the front tips back.

Thanks to the Tub, there was no last minute event sewing needed! It was nice to spend 2 hours planning and pressing an outfit rather than 2 days or 2 weeks frantically sewing. The most time consuming part– aside from doing my hair– was trimming my hat. Okay, so I guess that counts as sewing because I had to tack town the trimming…but it only took about 20 minutes!

This particular hat has been in my collection for years, but this is the first time I’ve had an outfit to wear it with. I originally purchased it from Dilliard’s. Usually their hats are SUPER SPENDY, but if you go at the right time, like a post-Easter sale, they mark down their hats a ton– I got this one at 80% off! However, it is still the most expensive hat I’ve ever purchased for myself. The fluffy puffball is the original decor. It’s not really Edwardian looking by itself, but the vintage brooch from my 1890s hat helped tame the goofy poof somewhat.

My belt and shoes were a purple-tinged maroon, so to *tie* the hat in with the outfit, I decorated it with a sliced-n-diced neck*tie* of a similar shade:

Ha ha! Puns.
Thrift store neckties are great for decorating hats. They’re another one of those costume bits that I hoard…

The tour itself was a bit expensive ($20) and felt rushed. The house is a popular event space for dinners and weddings, so there were tables and chairs out everywhere and the staff was preoccupied with clearing the space after a dinner the previous day. However, the house is lovely and the ticket allows you to tour another local historical home, too. The biggest surprise was that the ticket is also valid for a full year! So we can go back again as many times as we like! I think there are a few more Edwardian events in our future.

Check out the full Flickr Album here: Edwardian Day Out

And check out the DFW Costumers Guild website for more info about the group and future events!

 

 

Valen-Teens Tea and My 4th Version of Butterick 6093

Butterick 6093 Redo..trois…quatre!

valenteen-tea-ii2017’s sewing projects got off to a rocky start, but I threw myself into planning for Valen-Teens Tea with the DFW Costumer’s Guild. We would be hosting a special guest: Laura, the creator and president of Shear Madness!

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Check out the Shear Madness Blog here.
And the Facebook community here.

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Photo courtesy of Barb Chancey

The event started off as informal and small, but soon grew to quite a full party! We met up at the Secret Garden Tea Room in the Montgomery Street Antique Mall in Fort Worth for an early lunch and, of course, tea:

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After tea, we browsed the antique mall for a little while and then went for a nice stroll in the Fort Worth Botanic Gardens next door.

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The event’s theme was 1910s, so Becky wore a thrifted Edwardian outfit she put together from the wonderland that is Goodwill, including her favorite lavender skirt, a pin-tucked floral blouse, and a vintage wool coat she got for a steal– $15! To top it off, she wore a rosey straw hat with a floral spray left over from my Edwardian Hat Hack.

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Becky’s outfit Breakdown:

Pink straw hat – $3.49, Goodwill
Floral Pin-tuck blouse – $4.49, Goodwill
Lavender formal skirt – $7.49, Goodwill
Vintage wool coat – $14.95, Goodwill
Total: $30.42
(Her stockings and shoes were from her daily wear clothes. Always check your own closet! you never know what will work perfectly for a costume!)

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Becky, 1915 style!

For my outfit, I dug Butterick 6093 out of the bottom of my pattern drawer. I’d made it a few years ago and had been less than impressed with the fit. However, I liked the general look and it goes together really fast, so I decided to give it another try.

Previous versions:

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Version 1, July 2015: “Straight” Size 12 made from cotton and a sari. It was a tad small.

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Version 2, August 2015: 1st attempt at a multi-sized dress made from a cotton sheet and a dupatta that Laura sent me. Made for my sister who was the same size I was at the time. It turned out a little too large.

So, I had Goldilock’s problem: the first dress was too small, the second dress was too big…I needed to find one that was just right!

Without the breaking and entering charges, of course.

I decided to make a wearable mockup first. That way, if I ran out of time to make the final dress, I would at least have a version that would work. A wearable mockup is a trial garment that is finished like a regular garment, but isn’t necessarily what you want the final garment to look like. It’s simplified and often made out of an inexpensive/not-so-important fabric. For mine, I had picked up some rolled up remnants of purple mystery fabric at Walmart years ago that had these nifty thick white and purple threads that made pin-tuck-like stripes in the fabric. I had never unrolled it to see what it was like. Turns out it’s cotton organdy! I almost saved it for a different project, but I had bought it with Edwardian specifically in mind, so I now-or-nevered it into a simple version of Butterick 6093:

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It’s sheer and unlined, so I used French seams for everything except the armscyes and waist seam.

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Of course, that means that I had to sew every seam twice, but it makes a really nice, neat finish on the inside of sheer fabrics.

Since I’m an entirely different size than I was in 2015, I decided to start Butterick 6093 from scratch. I had tried a new measurement method for my 1868 Monet outfit earlier in January, and while that outfit didn’t go as well as I’d hoped, the sizing method was actually really helpful: Instead of choosing on flat size, like 16, and then doing a whole bunch of alterations sizing it up and down in various places via mockups, you take a few extra body measurements and choose each pattern piece individually.

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My 1868 dress of failure.

Original photo by Festive Attyre
(one of the few pictures of this dress)

I got the idea from my Fashions of the Gilded Age by Francis Grimble. In the book, you have to take a lot of incremental measurements of your body in order to scale up the pattern pieces. In the case of Butterick 6093, instead of just measuring all the way around my bust or full bust, I broke it down into two separate measurements: 1) full front bust from side seam to side seam and 2) back from side seam to side seam at bust level. Then I laid out the tissue and measured the pattern pieces themselves instead of relying on Butterick’s suggested measurements.

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Minka “helped.”

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By using this method, I ended up with a size 14 back and a size 20 front! Sounds a bit crazy, right? But it works! Truly Victorian, the popular Victorian pattern brand, uses a similar method to select your pattern pieces. The method suits Butterick 6093 well because there are no darts or curved back seams to worry about.

I really love the purple organdy dress, but when I tried it on…

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Scientifically accurate rendering.

1910s dresses, like Regency dresses, can be problematic on certain body types. Indeed, the ice cream cone look was totally in from 1910-1913, but that isn’t a look I strive to recreate! The combo of the crisp fabric and the way I had gathered it made for a super-full front that would make a great Lumpy Space Princess cosplay, but not the most flattering tea gown.

Oh. My. Glob.

But when I put it on my dress form, it looked fab!

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I mean, it helps that my dress form is shaped like an ideal size 10 with the added bonus of having one of my old bras stuffed onto it like a giant Barbie voodoo doll that sulks in the corner of my sewing room:

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I expect things to look awesome the dress form, but if she’s very-near-to-literally having my exact bustline, why isn’t it a muffin-topped mess on her? It turns out that it’s got everything to do with my short waist.

My dress form is standardized to meet industry standards. That means she has an “average” torso length which happens to be about 2″ longer than mine! So the purple dress looked great on her because the very fitted skirt was the right length for her. On me, however, the top is about 1.5″ too tall causing the skirt to extend past where it should be, pushing the excess bodice length up and over the top, creating the unflattering droopy ice cream cone shape (Why do I end up describing all my sewing projects as desserts?!).
If you look at my previous versions, you will see a similar thing happening even at the smaller sizes.
I removed an inch off the top of the skirt pattern pieces for my final version.

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Image includes complimentary glob of cat hair for your viewing pleasure.

It was like the magic cure! No more ice cream cone!

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Of course, the final version doesn’t fit very well on my dress form, but that’s because it fits ME, not HER.

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Take that, Gertie!

The fabric I used for the final version is an amazing cotton shirting with woven swiss dots. Just like my failed 1868 dress, it is one of the last fabrics I purchased at Hancock’s before they went under. This time, however, I don’t feel like I wasted it! It was a dream to sew with. I used it “inside out” so the fuzzy side of the dots faced out. The cream fabric is a filmy cotton curtain I found at Goodwill that has a drawn threadwork look:

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Unlike the swiss dot, the curtain fabric was NOT a dream to sew with, so I didn’t make the long undersleeves I planned, but I did use it to make a contrasting rever! Thanks to my great experience with Butterick 3648, I am in love with revers! To turn 6093’s lapel into a rever, I simply taped it onto the bodice pattern piece on one side so when I cut it out, I ended up with this:

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I’ve grown to admire Butterick 6093’s versatile styling options. Even if you don’t want to do fancy stuff like make revers, it comes with a curved lapel that can be used alone or in a pair, a squared collar, and skirt panels that can be used alone or overlapped, or you can leave all those extra bits off, like I did for my purple dress! It also has two sleeve options, though I haven’t tried the long sleeves with the cuffs yet.

Pattern options include:

  • 3 skirt options: 1 drape, 2 drapes, none
  • 6 collar options: single lapel, double lapels, square collar, square collar+1 lapel, square collar +2 lapels, no collar
  • 2 sleeve options: short sleeves, long sleeves

There are over 30 combos you can make from the basic pieces alone!

And that number doesn’t even include things like changing the wrap direction of the bodice, adding extra embellishments, using more than one fabric, etc.

In fact–as a testament to the versatility of the pattern–we realized that three of us had used Butterick 6093 to make our tea dresses, but our dresses were all very different!

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While I opted for the asymmetrical collar and a double-draped skirt in light cotton, Jane used a textured wool blend and completely omitted the collar, and Laura chose the square collar and a printed cotton.

Instead of gathering the bottom of the bodice, I made two large box pleats. It’s definitely unusual, but it worked! I also box pleated the back in the same manner.

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I added a kick pleat in the back– the same solution Jane had come up with.

The dress is one piece and closes at the side seam with an invisible zipper. It’s not Historically Accurate, but it’s discreet.

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For those concerned with HA, the zipper can easily be swapped out for hooks and eyes.

Overall, I would say that this pattern is a good one if you are willing to figure out the sizing. It’s flattering on nearly all body types and is a quick dress to make. I made it in about 10-12 hours (most of that time was spent ironing, TBH).

To accessorize my dress, I wore the hat I made in my Edwardian Hat Hack, my sister’s little white purse (which goes to nearly every event!), an antique necklace, some thrifted shoes, and a very serendipitous vintage coat I found the day before.

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Photo courtesy of Mistress of Disguise

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My attempt at an autochrome.

Outfit Breakdown

4 yards of green cotton – $16, Hancock’s Fabric
1 cotton curtain – $1.49, Goodwill
1 invisible zipper – $3.50, Walmart
1 spool of thread – $1.95, Walmart
Shoes – $7.99, Goodwill
1960s coat – $18.95, Goodwill

Total – $49.88

Underneath, I’m wearing my beloved Rago 821. The way it fits me very closely mimics a Teens corset, but it’s stretchy and cheap! I got it for about $30 off Amazon. I highly recommend it for 1910s and later!

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My updated, more technical review of Butterick 6093 is posted on the Sewing Pattern Review website here.

Megan’s photos of the tea can be found on Flickr here.

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And my photos can be seen here.

Hat Trick: Instant Edwardian Glamour Using a Wreath and Wide Straw Hat

The title of this post says it all! This is the easiest way to decorate a hat ever—it’s so simple I’m a little embarrassed I didn’t think of it sooner!

I love hats, but for whatever reason, I struggle to decorate them. I can never seem to get the feathers to fluff, flowers to sit just so, or bows to stand properly. However, I was wandering the cavernous aisle of the the local “At Home” (“The-Home-Store-Formerly-Known-as-Garden-Ridge”) looking at Christmas ornaments…in August…during a 105°F heat wave…

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Like Hobby Lobby, At Home always goes Christmas Crazy early. This photo is from an article written in August of last year.

I was looking at the Christmas ornaments and vulturing around the Halloween merch hoping to catch an earlybird sale of some type. Alas, no sales on clip-on Christmas birds yet! I got a whole flock a few years ago and now I always keep my eye out for them. They are perfect for perching on late Victorian hats:

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Deprived of a deep discount on feathery friends, I was about to leave the store when I saw two giant displays of faux flowers. At Home is full of fake greenery, so I had ignored these displays on my way in. However, planted beside the plastic potted petunias was the most glorious seasonal bloom in the whole of the store: the RED LINE CLEARANCE SIGN!

A photo of a treasured red blossom of the 50% off variety.

Redline Clearance in At Home usually means either 20% or 50% off the tag price, but thanks to the brazen commercial exploitation of one of the most beloved holidays of the year and the need to fill the shelves with glitter-crusted burlap Santas before school’s even started, all summer floral was a whopping 75% off! And while I was high on the rush of sudden sales and the heady smell of ten-thousand different air freshener packets from the next display over, I was suddenly struck by the need to buy wreaths wreaths wreaths because FLOWER CROWNS:

I probably could have bought all the wreaths in the world— heaven knows my heart was screaming YAAAS GURL! YAAAS! as I thrust my arms elbow-deep into a glorious pile of polyester roses—but I am strapped for cash and really don’t have any more room to store stuff. So, I settled on a few choice pieces:

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I spent less than $20! It’s a miracle!

I found two wreaths in light, more spring-like colors, and while I was loading them into the cart, I was struck by another sudden epiphany: IF A WREATH FITS ON MY HEAD, IT WILL FIT ON A HAT!

Edwardian hats are huge, drowning in waterfalls of curled ostrich plumes, cascades of silk ribbon, and sprays of flowers. They are opulent to the maximum and, up until my fateful faux flower find, they were well beyond my hat-decorating comfort zone.

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My style is usually a bit more restrained, but looking at the piles of bargain wreaths mounded up like a magical hillside from a fairytale, I knew what needed to be done!

You see, I have this wonderfully wild 1980s straw hat:

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It’s perfectly shaped for 1900-1910, but that zebra crown isn’t the most period-looking finish. So I took one of the wreaths I’d bought on clearance…

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When choosing a wreath, it’s wise to pick one on the fuller side. The more dense/bigger the blooms, the more lush your hat will look (and the better it will hide any *ahem* idiosyncrasies).

…plopped it over the brim to hide the the crown…

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Sushi-roll hat!

…and voilà! An instant Edwardian hat, no millinery skill required!

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There was no agonizing over color scheme, no tedious arranging and rearranging of every single flower, and no waiting! It’s like the Jiffy mix of hats!

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My attempt at an autochrome-esque photo.

Another bonus? Instant restyling options! If you have only one hat, you can just switch the wreath instead of having to get a new hat base. The original full price of the wreath was $15, which is still a bargain if you consider the number of flowers you get for one price and the fact that it came pre-color coordinated!
If you are dedicated to decorating a particular hat, I recommend taking it with you so you can fit the wreath over the crown before buying it. The wreath I fell in love with as a tad too small, but by clipping the wire holding it together, I was able to resize it to fit.

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I used nail clippers and re-tied the ends in place with a stripped twist tie.

If you need to spread the wreath more than an inch or two, you can fill in the gap with a big ribbon bow or a matching bloom. My wreath fits snugly enough that it stays on securely, but if you are happy with your hat and want to keep it just as it is, hot gluing or sewing the wreath in place will keep it from falling off in the wind or when you bend over.

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Edwardian Hat Trick Cost Breakdown:

Wide brimmed straw hat – $4.99, Thrift Town
Floral Wreath – $3.75, At Home (Huzzah for clearance sales!)

Total – $8.74

—– Other Hat Posts ——

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Hat Trick: Turn a Placemat into an 18th Century Hat in Three Steps

Darn string!

Flower Pots and Romanticism: The 10 Second Poke Bonnet

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Update!

Look what I found!

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Her hat looks just like mine!

Easy (Post-) Edwardian: How to Put Together a Thrifted WWI Day Dress

Dressing Like Great-Grandma!

One of my favorite hobbies is scouring the local thrift stores for “no-sew” costume pieces that save me both time and money–plus recycling is good for the planet! One of the easiest eras to thrift shop for is 1910-1920 and I’ve written a few posts about taking advantage of 1970s maxi dresses, modern a-line skirts, and 1980s secretary blouses to create on-the-fly costumes. Imagine my delight when, a few weeks ago, I discovered a new thrift shop item to add to my hunt-for list: 1980s and 1990s dresses!

If you would believe it, late 1980s/early 1990s fashion is actually rather similar to late 1910s fashion.

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Now, before you spit tea all over your screen, let me clarify a few stipulations.

While the 1980s and 1990s were full of crazy bright color, oddly-placed cut-outs, and head-to-toe acid-wash denim, they also saw the rise of the more conservative ankle-length jumper dress or pinafore (depending on your local dialect):

Simplicity 9764, 1980s
(Now, by the way, better known as an actual historical costume pattern for hoopskirts!)

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Vogue 1584, 1980s

jumperdressMcCalls 7812

McCall’s 7812, 1990s

McCall’s 6782, 1990s

Add a baggy collared shirt and a few additional classic late 1980s/early 1990s accessories– lace-up heels and a round brim hat or raspberry beret (which, in 1915, had actual berries)–and you suddenly realize that much more than your boots look like granny’s:

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Fashion plate, April 1915

May 1918 fashion plate

Fashion plate, circa 1915

Fashion Plate, July 1915

Autochrome by Heinrich Kühn, circa 1912 (looks more 1914-1915 to me, though)
Seriously, this could be me and my sister hanging out with my mom and one of her friends at the park.

Loose fit, natural (or slightly dropped) waistline, ankle length skirts, funky straps, fun button placement…yup! Our great-grandmothers made it cool long before Molly Ringwald and Laura Ashley!

So while I was at Goodwill a few weeks back, I was very excited to find a promising jumper dress of my own:

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Ah, memories of my school days!

 Since I’m already addicted to secretary blouses and hats, I had a great (if slightly stained) collared shirt and straw sunhat ready to go!

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Don’t I look like I should be heading out to Sunday Meeting for a potluck? I feel very much like I should have a basket of eggs, but I didn’t trust myself to set the self timer, run into position, and avoid walking all over the cat while carrying fragile, goo-filled things.

To liven up my hat, I tied a vintage silk necktie around the brim:

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Since the polka-dot dress is just slightly too large and by WWI corsets were mostly tubular (as I already am below the bust), I’m not wearing any sort of corset or waistshaper underneath! My dress would benefit from being taken in for a slightly tighter fit at the waist just for flattery’s sake, but it works okay as-is. An outfit like this is a great option if you have an event but don’t want to wear a corset all day.

Also: POCKETS!

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Awesomeness x 1000!

1995 Does 1915 Outfit Breakdown

Jumper dress – $6.99, Goodwill
Silk Blouse – $4.59, Goodwill
Hat – $3.99, Thrift Town
Silk Tie – $1.25, Goodwill

Total: $16.82
(and not a lick of time spent sewing!)

The shoes are from Oak Tree Farms and are the most expensive pair of shoes I own! I think I paid around $120 for them on eBay. You could just as easily wear a pair of inexpensive mary jane shoes (like my favorite T-straps, Jean by Angel Steps), pointed-toe pumps, or some oxford-style heels.

If you follow my Facebook page, you know of my new addiction to BeFunky, a free photo editing website. It’s great for making your digital photos look “old fashioned” and artsy! I had fun trying to mimic the two main types of photography during the 1910s…

Classic Black and White…

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…and the dreamy early color photo process, Autochrome!

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 Not exact, but close enough! :)

If you make an Easy Edwardian outfit of your own, I’d love to see it! Send me pictures on Facebook either through private message or as a post on my wall.

—-More Edwardian Costume Adventures—-

Edwardian On a Budget – Original Post
Easy Edwardian for under $10 (1900-1910)
More Easy Edwardian (1913-1914)
Butterick 6093 (the 1912 dress)  Version #1 and Version #2

A Simple 1870s Hairstyle Tutorial and a Review of Mona Lisa’s Curly Bangs Wiglet from Hair World By Jamie

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:

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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:

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“Details d’une coiffure en cheveun” hairstyle guide from 1873

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

Modern bridal hairstyles like this one by Ulyana Aster (especially 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:

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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:

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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:

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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!

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