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

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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:

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:

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.

sad hair

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!

brushes rating

Conquering the Croissants Part III: Simplicity 4244 FINAL RESULTS

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

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

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

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

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Simplicity 4244 Evening Gown Cost Breakdown

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

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

Total: $40.13

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

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

2013 Princess Ariel Redesign

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

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

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

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

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

Fashion Plate, 1880

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

Hmmmm…

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

bodice ornament

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

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

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

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

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

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

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

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

simplicity 4244 pieces

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

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

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

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

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

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

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

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

BUT…

I did not make the croissants as directed!

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

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There she is!

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

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

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

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

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

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Photo by Jen Thompson of Festive Attyre

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

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Photo by Jen Thompson of Festive Attyre

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

Simplicity 4244 Plaid Day Dress Cost Breakdown:

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

Total: $32.52

Alrighty! Review time!

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

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

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

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

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

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

Conquering the Croissants Part II: Making Simplicity 4244

In my last post, I dug into the history of the infamous “Victorian hip croissant” pattern, Simplicity 4244:

“Please tell me you are done with the croissant jokes…”

With a clearer understanding of what the pattern was supposed to do, I was ready to start baking…er…making Simplicity 4244!

simplicity 4244

“I hate you…”

I made both a day and an evening version of this dress. The pattern is accurate and easy to alter for either look, depending on your fabrics and trimmings. This is a pretty lengthy post because I wanted to be fairly thorough. It’s not a step-by-step guide, but I did make changes to suit my needs which I thought I should elaborate on.

The Process: Analyzing the Pattern

I had already figured out the era and the look the pattern was aiming for, but was the pattern itself historical in construction? As soon as I got my copy in the mail, I opened it to see what the pattern looked like. With over 70 steps printed in the guide and 32 pattern pieces (9 of which are not patterned on the tissue, but rather measured out on your own), I almost had a mini heart attack!

DROP THE PASTRIES! ABORT MISSION! ABORT MISSION!

BUT, upon further inspection, I realized that 38 of the 72 steps were instructions for trimming and only 8 to 9 of the 32 pattern pieces were actually needed to make the basic shape.

simplicity 4244 pieces

Blue highlighted pieces provide the basic structure of the gown.
Orange dotted pieces are helpful, but not required.
The rest is all trimming and train.

I was honestly expecting something hideously complicated, especially for the piece(s) that would form the side swags. I was surprised to discover the swags are polonaised via an elongated/skirted version of the bodice. Pattern pieces #1 and #3 in the image above become the swags merely by pleating them according to the guide provided by pattern piece #2. You’ll notice that I didn’t highlight 2 or 3 as necessary to make a dress from this pattern. You will see why later!

After I did my first mock-up (photo below), I thought, “Why is there a long, weird, curvy dart under the arm?” A few of the other instructions also caught me off-guard and I began to wonder, “Is some of the funkiness of this pattern due to the fact that it’s based directly off of an original garment with its own quirkiness?” After making the pattern twice now, I can say with certainty that Simplicity 4244 is quite accurately patterned from the original gown, including some period (and possibly personal) techniques. I cannot vouch for it from a strict candle-light-and-hand-dawn-well-water reenactor’s point of view, but from a hand-finish-the facings-but-machine-the-long-seams costumer’s point of view, this pattern is right out of the period. The little underarm dart/pleat, for example, is a tell-tale feature of period polonaise patterns. Frances Grimble’s book “Fashions of the Gilded Age, Vol. 1” even has a nice little excerpt about it in the introduction to the Polonaise section:

“‘[A polonaise] is shaped under the arm by a dart instead of the regular underarm seam.'” – F. Grimble quoting Harper’s Bazar, 1879, on page 310.

The same excerpt even describes the precise way 4244’s panniers and rear swag are formed from the elongated front bodice piece:

“‘In very many dresses the pannier fullness attached to the front is brought outside the side pieces and back. It is joined together by a large rosette or a sash bow on the middle seam of the back.'” – F. Grimble quoting Harper’s Bazar, 1879, on page 310

Indeed, when you compare Simplicity 4244 to original period patterns (in this case a polonaise dress on page 318 of “Fashions of the Gilded Age Vol. 1”), they are spot on, right down to having pleat markings to create the pannier swag:

4244 victorian original comparison

The purple tissue is my traced pattern of Simplicity 4244 pattern piece #4, the front lining, exactly as it is printed. The small Xs on the left side of the antique polonaise pattern denote the pleats to make the pannier for that particular style.

That’s what makes the gown a polonaise/princess-line hybrid: the front portion is constructed like a polonaise, but the one-piece construction and flat train behind are hallmarks of the princess style.

The Process: Cutting and Fitting

Choosing the correct size can be tricky, and I have, much like the over-stuffed puffs on the envelope, expanded beyond my usual bounds in recent months, so I went by the finished bust measurement on the back of envelope, which led me to choose a base size of 12. All the shaping at the waist and hips is done with French darts, so the bust measurement is the only “static” measurement besides length.

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Here’s the dress (inside out) before I added the front darts. Makes a cute 1920s dress, don’cha think?

I decided to fit the dress over my new Corset Story corset. While it’s not entirely accurate, the long tapered waist and a dramatic hips are perfect under the close-fitting Natural Form style. I don’t have very prominent hips to begin with, so having the extra va-va-voom really helps get the proper shape. Here’s the first mock-up I made, a straight size 12, using only the top half of the pieces to make a “bodice” of sorts:

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You could probably make this dress into a two piece dress if you chopped the pieces off at the hips like I did for my mock-up.

Not bad! I did end up completely changing the darts to accommodate my larger bust-waist ratio and shorter waist. At first, I thought I might need to remove the underarm dart, too, because it was pulling strangely, but I figured out that, like the other darts, it just needed to be tweaked to fit my body. This where the “direct from historical garment” part comes in to play. You may need longer/shorter/deeper/shallower or otherwise slightly different darts than the original wearer. Altering darts is part of the joys and sorrows of being a uniquely shaped human being!

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Original pattern in purple on the left, my changes on the right. Notice I didn’t include the side dart on my pattern. I found it easier to pinch them out by hand before adding the sleeves in order to obtain the best possible fit.

I am exceptionally proud of my French Darts. I’d never sewn them before and I was very pleased that I did them passably the very first time!

The Process: Fabric Choice

As discussed in my previous post, fabric choice is hugely important since it changes the way the swags lie. The original dress was silk satin which lets the panniers hang properly. A great fabric choice to be sure, but so very very very far out of price range!
Instead, I scurried off to Walmart for bargain-bin cotton gauze. Walmart had them in a few colors–purple was my first choice– but this yellow plaid had enough for a dress: 14 yards. And, yes, it did take nearly the entire 14 yards to make my plaid dress! If you plan on doing the original Vandyke hem and pleating, you will need closer to 16 to be safe. This is accounted for on the back of the envelope.

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Thin cotton gauze/voile is an excellent choice for this gown. It’s got the drape needed, but still has body; plus, it’s easy to sew. Highly recommend–especially at $1 a yard!

I also bought the last bit of an iridescent rayon/nylon blend from the bargain section of Hancock Fabrics (*sad sigh*) for the evening gown version.
I am terribly upset that H.F. is going out of business. I found so much awesome fabric there.

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I only had 8.4 yards of this stuff. It was painful and tedious, but I was able to squeeze an evening dress out of it with only a few tiny scraps to spare.

I used cotton sheets for the lining in both gowns. It took 1 king-sized sheet each.

The Process: Cutting

This is where I started to deviate from the design. The pattern pieces are so huge that I found it easier to cut my fabric into sections as I went. I cut the lining out of the sheet first which helped me work out the best cutting configuration for my needs.

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Obligatory “helper cat” picture.
Also, you can see some of the changes I made to the pattern. The two front skirt pieces, for example, I cut as one. On an original gown, the separate pieces were probably done so they could fit on narrower pieces of silk. My fabric was able to accommodate them as one, though. Since I was making a day dress, I also omitted the extra piece for the super-long train by cutting the back piece about 3 inches from the fold. This provided enough fabric for a full back without being overwhelming.

I am 5 foot 6 inches tall. I lengthened the skirt by about an inch all around the bottom to make it walking/ankle-length when I wear a small heel. As I discovered later, the skirt pieces are squared off at the bottom in order to form the triangle edge. If you are going for a smooth hem (as I was) you’ll need to taper them; otherwise, the bottom will not match up. I discovered this too late to fix the plaid gown, but I was able to cover the weirdness with trim.

The Process: Assembling/Not Assembling the Hip Swags

Alrighty! Here’s the fun part everyone’s curious about! How in the great blue blazes do do you make those croissants?!

Well, you assemble the skirt front(s) and lining:

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And sew pattern pieces #1/1.a on top:

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Then use use the provided guide to pleat it up into the pannier shape at the side. That’s literally it. How you pleat pattern piece #1 (and #3, if you are making the gown with the tail swags in the back) is what determines how delicious your croissants/panniers look.

It is now confession time: I majorly deviated from the pattern here. I wrestled with this decision. After all, half the glory of this pattern is the soft, fluffy hip-croissants of infamy! But, no matter how strong my drive to prove this pattern is good in spite of what folks may say, my drive to experiment with the pattern was stronger. So instead of pleating the sides from hip to bum like the pattern guide told me to, I pleated it the whole way down.

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I wasn’t sure if having lots of pleats terminating so abruptly on a princess-line gown was accurate, but my dress ended up looking similar to this extant gown:

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Brautkleid (Wedding Dress), circa 1881

In fact, my plaid dress ended up being very similar to this gown even though I didn’t mean it to be! I must have been surfing on a 1881 wavelength as I was sewing.

LESSON LEARNED: You do not need to make the hip croissants if you don’t want to! You can play with the polonaise front as much as you want. Look at extant examples for inspiration. Get creative!

For my ballgown, I left the polonaise panniers off entirely in order to get a full dress out of only 8 yards of fabric. Instead, I used pleated bands of decoration down the front.

The Process: Assembling the Back

This part is easy. You just follow the instructions given. The train is completely customizable depending on how full or long you want it. Since the train is a separate width of fabric from the back pattern piece, you can easily make it of an accent fabric like I did for my ball gown. The train gives you a lot of options to play with it by making pleats, adding layers of ruffles and lace, tucking in flowers, or playing with draping. It’s quite fun! I’m not a huge fan of the flat train. I find it rather uninteresting and difficult to maneuver, especially at crowded public events, so for my ballgown, I created a mermaid tail train.

To make the mermaid tail, I cut the train lining the size I wanted the finished train to be. Then I cut the fashion fabric much longer in order to make three fat box pleats:

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I made them a too far down, so I ended up tacking the top of the pleats up in order to get them to fall attractively.

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An entertaining view of the WIP laying flat on its side. SO. MUCH. TRAIN.

Even if you choose to leave out the train entirely, the back of the dress is very full. My plaid dress is only six inches wider than the back piece (the pattern calls for an extra 20 inches to make a full train) and it is still very VERY full and long. I struggled to get the whole thing in a picture when it’s flat:

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This would be gorgeous going down the aisle on a wedding gown and the length is pretty much fashion-plate ideal for the Natural Form Era! However, it makes getting around modern life difficult, so for the sake of myself and others, I bustled it up with some cotton tape, creating a nice little “meringue” pouf at the back to make up for my lack of croissants:

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Minka is miffed that mommy won’t let her play in the wonderful plaid tent.

A NOTE for ladies with narrow and/or swayed backs and/or large busts with a small ribcage:
The lower back of this pattern is very VERY wide. The pannier pleats are probably under the model’s arm rather than father back as they should be because the lower back is too wide. I ended up taking nearly FOUR INCHES of width out of the lower back to get it to hug my spine the way it should!

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This one change greatly improved the side profile and fit of the dress. So if you find yourself tugging at your front French darts wondering why you keep taking out more but it still doesn’t look right, take some width out of the back first! It will also help slim your side profile and give you that graceful, swooping line so prized during the Natural Form Era!

The Process: Sleeves

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Again, I failed to stick to the pattern. I didn’t make this dress with the sleeves given. Instead, I created a 3/4 length, one-piece curved sleeve (which I should post a tutorial for soon) for the plaid dress and left the sleeves off entirely for the ball gown. This was just personal preference. The two-piece, short sleeve pattern that comes with Simplicity 4244 is perfectly fine and period correct; it’s just not to my taste.

Sorry, folks!

The Process: Finishing

The pattern calls for 15 tiny buttons and button holes down the front. I have never done buttonholes before and hadn’t even figured them into my pattern fitting, so I used hooks and bars (flat eyes) to close the front instead. Again, just a personal preference.
I made 4 inch wide hem facings to finish the hems. A hem facing protects the lining and fashion fabric from wear and weighs down the train so it lays more smoothly on the ground rather than bunching up or flipping over. I also added a key component that Simplicity 4244 is completely missing: interior bustle ties!

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I can loosen or tighten the ties to give me the shape I want. The cream colored cotton tape is helping distribute the weight of the train along the seam. A period gown would also have a waist tape (an interior belt) to help support everything. I left the tape long so if I ever put a waist tape in, I can use it to help hold up the train.

Having the interior bustle tie under the skirt in back pulls the front tight to the body so that you get the very slim front profile and flared train/tail in the back. It keeps the sides from flaring out like in the line drawing and on the model which Natural Form Era gowns are not supposed to do. You can tell the original gown probably had ties, too: the ruched trimming at the bottom ends abruptly about the place where the gown would wrap around the wearer:

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Bustle ties would pull the ends under the train, masking the abrupt stop.

I did not use either of the collars provided by the pattern. Instead, I just bias bound the square neckline (this step is is included in the pattern directions). I learned a very handy trick for making beautiful, neatly-turned facings: understitching!

Understitching keeps the facing from rolling over to the front. There are tons of tutorials, but this tutorial on Craftsy helped me the most:

“Essential Techniques: Discover the Secret to Perfectly Sewn Necklines!” by Linda Reynolds

I used the same technique for the armholes of the ball gown.

Between learning how to make French darts and understitching, I can safely say that I have graduated to the Intermediate sewing level! I even made it official on PatternReview.com. :P

However, those two techniques were the only new skills I needed to learn in order to make this dress. Everything else– plackets, hem facings, hooks and eyes, and pleats were all things I’d done before. In fact, most of the techniques to make the basic version of this gown without all the trimmings are fairly easy to learn. The most challenging part of the whole thing is the front placket. The rest is wrangling the huge amount of fabric and getting the fit the way you want it.

I know I said that this was going to be the final review, but my process analysis went waaaaaaaaaaaaaaaay longer than anticipated! So this is now an overstuffed, underdone trilogy!

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Keep Reading:


Part III: Simplicity 4244 for Day and Night

(also, fewer half-baked jokes….)

Careful, they’re still hot!

YEEEEEEEEEEEEEAAAAAAAAAAAAAAHHHHH!