These beautiful gowns are from the McCord Museum in Canada.
ANEA COSTUMES — Rococo remodeled These Regency garments were made...
In may I heard that "Romantic Recollection" Started a Regency challenge where you were to make something from the Regency period and then embellish it with some kind of embroidery during the course of may-June. And as I'm always up for challenges and reasons to try new things I decided to join. After some thoughts…
Lot 31 - A whitework embroidered muslin gown with long - Estimate 2000-3000 GBP
The Couture Courtesan
Oof, this project was long and drawn out. Not because the stays were particularly difficult to draft or assemble--they were the easiest stays I've ever made in that respect (aside from the math required to scale up the pattern). But it took a while to figure out the fit adjustments, make them, "finish" them, try…
Lot 49 - A gold embroidered silk tulle dance dress, - Estimate 1000-1500 GBP
Historical, cosplay and costume commissions by Aisha Miljan.
The Metropolitan Museum of Art. "Orientalism: Visions of the East in Western Dress," December 8, 1994–March 19, 1995.New York. The Metropolitan Museum of Art. "Costume and Character in the Age of Ingres," September 9–November 21, 1999
Lot 50 - A pink and white striped cotton cambric - Estimate 1500-2500 GBP
Today our Regency time travels for fashion will take us to the year 1824 and oh what an assortment of fashions we have for this year. The t...
extant, garments, gowns, dresses, outfits, antique, history, historical, textiles, fashion, Victorian, Edwardian, 18th century, Regency
Costume design by Reginald Wymer for a character in Ruddigore, 1886
Lot 55 - A whitework embroidered muslin day dress, - Estimate 1000-1500 GBP
Cut steel with jasper cameos made by Wedgwood, England, about 1776-1820
I’ve been meaning to make an early 19th century petticoat for some time, and now I finally have! It’s a plain, unadorned petticoat held up with shoulder straps, simple but serviceable. I mean to primarily wear it with my heavily pieced lower class dress. Now, it took some courage for me to post this picture, as my heavy upper arms are a sore spot with me. Be kind. The petticoat is made from bleached linen, a bit on the coarse side, and a bit too loosely woven to be perfectly period, but it’s what I had in my stash. I didn’t have very much of it, so the petticoat ended up slightly shorter than I’d have wished, but still within what’s acceptable for the period, and it does the job. I made it with the measure and cut method, as it’s so simple it doesn’t require an actual pattern. The front is cut as a shaped panel to fit the raised waist from side to side and widens towards the hem. The back is cut in two straight panels with a seam down the back. It would have been more period to have the back cut in one, with a slit cut in the fabric for the back opening, but I had to piece the back to make it wide enough. I used the books Kvinnligt Mode Under Två Sekel by Britta Hammar and Pernilla Rasmussen and Skräddaren, Sömmerskan och Modet by Pernilla Rasmussen to decide what stitches to use, as they describe several Swedish extant garments and seam methods in great detail. The skirt is stitched together with running stitches and a back stitch every inch or so. The seam allowances are folded over and stitched to the joining seam, as seen in several extant dresses in these books. As I didn’t want to lose any more skirt length than necessary, I decided to use the selvedge of the fabric for this. The selvedge sticks out a little bit, compensating for the narrow hem I had to fold back, and hemstitched to it. The selvedge is then folded down on the inside and hemstitched in place. It gives a very neat look, almost like a woven tape being used. There are examples of cut off selvedges being used to hem skirts among the lower sorts on the Swedish countryside though, so it’s not completely taken from my own head. I folded the upper part of the skirt down about a centimetre, and made two rows of gathering stitches in the back. I then pinned the skirt to a waistband (a straight piece of linen folded in half), putting a pleat in each side to give room for the hips, and drawing up the gathering threads to make shallow cartridge pleats. Skirt and waistband where then whip stitched together. I finished the waistband with running stitches along the upper edge. The waistband is almost on the wide side, but that was a conscious choice to add that extra little bit of length. For shoulder straps I cut two straight pieces of linen, folded them in half and sewed a row of running stitches along each side. I pinned them in place, tried the petticoat over the proper underpinnings, and adjusted them until I was happy with the fit. After taking it off, I made sure both sides matched, and stitched the shoulder straps to the inside of the waistband. For closure I decided on ties. I had cotton tape at home, so that is what I used. Silly enough, the waistband turned out too large (the result of me being lazy and not putting on the stays before measuring for it), and I didn’t feel like unpicking it, so I made an eyelet for one of the ties to go through, and I can let the ties wrap around to tie in front instead, making the petticoat adjustable in size. A dress in Costume in Detail by Nancy Bradfield has that feature, so I decided it was acceptable. In the pictures I have tied the tapes under the petticoat, but if I put the tape through the eyelet from the inside and out I could tie the tapes on the outside instead. I'm wearing the petticoat over a linen shift and 1810's style stays. So, while it’s no fancy sewing, at least it’s historical. I’m back, people!
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