Events

My First Historical Event! The 2018 Française Dinner

Hello all! Two months ago *cough* Hmm, make that almost three months ago (wow, it has been a while!) I attended my first historical event, the Seventh Annual Française Dinner in Alexandria, Virginia. I had so much fun at the dinner, even if things didn’t go according to plan (more on that in a moment). It was held at the historic Gadsby’s Tavern, where George Washington celebrated his birthnight ball two years in a row. They still celebrate with a birthday banquet every President’s Day weekend. I met lots of talented costumers, and I’m already thinking about how to be better prepared next year!

If you saw photos on Instagram back in March then you already know I ended up wearing my back up because I bit off more than I could chew. I wanted to challenge myself and I definitely succeeded at that at least! The attire guidelines are 1750–1800 formal wear, which essentially covers all the popular gown styles of the 18th century. Not helpful to the indecisive! I narrowed it down to a 1770’s Robe a la Française or a 1780’s Italian gown, and in the end a combination of fabric budget and complexity were the deciding factors.

I intend to do posts about the gown when it’s finally done, but everything went pretty well with undergarments and the petticoat. But the gown just didn’t get off to a good start. I had trouble getting the back pieces just right, then I cut out my sleeves without seam allowance (screw the poly taffeta, I’m still pissed about that linen! Argh), and couldn’t get the front to lay flat. So I got further and further off schedule. Until it was 3:30am and I had to admit that it wasn’t happening before my 5am bus to D.C.. I quickly packed, changed my clothes, ordered an Uber, and managed not to cry, although I may have been simply too exhausted to produce tears.

I had a moment of panic waiting for the bus in the cold at 4:40am, thinking “Why am I going by myself to an event where I don’t know a soul? This is stupid. You are stupid. Let’s go home and go to sleep.”

But you can’t go on adventures if you never leave home. This was actually the first time my son and I spent a night apart. We were both fine 😉, but kind of weird to think that we had been together every night since he was born—almost 5 years! I had to leave while he was asleep, and apparently the first thing he noticed the next morning was that the dress form was naked 🙂 “It’s gone!” he gasped. (When I came home he asked if I had fun at my princess party, how cute is that?)

I wasn’t able to check in to my AirBnB until the afternoon so I spent the morning at Union Station, and had a lovely view while I sewed on a few more eyes to my Claire jacket and sipped an absurdly large chai latte. Once I was settled in, I quickly unpacked to see what state my outfit was in and thankfully rolling everything up had kept wrinkles at bay.

Not the best photo, but here are all the layers for my outfit.

I may not have finished my gown, but I did make a linen under-petticoat, mint taffeta petticoat, and down-filled split bumpad from the American Duchess Guide. Plus, I finished my shift which had been cut out for over a year and a quickie hanging pocket from scrap fabric. So a very productive stretch from January through March!

A long bus ride isn’t very glamorous, but guess what? They don’t check your bags so you can bring full size shears and an awl without getting tasered by the TSA! I packed my awl because I still needed to punch holes for my shoe buckles, since I was being a big wuss about messing them up and kept putting it off.  (In my defense, permanent extra holes in your brand new shoes IS scary!) The American Duchess website has straightforward instructions — although don’t be a hot mess like me, marking the holes with eyeliner and hoping you don’t stab yourself in the hand an hour before you need to leave.

via GIPHY

It was so much fun, and I got to meet many talented DMV area costumers that I’ve been following online. Everyone looked amazing! I didn’t want to have my phone out, so unfortunately I don’t have many good photos. Gloria of In the Long Run Designs and her husband Mike took photos throughout the night, and have been kind enough to share them with us. Thank you!

Gadsby's Tavern

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Very intently listening for our numbers during the raffle.

 

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New friends! Sarah, myself, Amber (Virgil’s Fine Goods), and Gloria (In the Long Run Designs)

Gadbsy’s Tavern was built in 1770, and is now a restaurant and museum. The weird part is that despite many trips to Old Town growing up in Virginia, I actually saw the tavern for the first time here in New York. What’s that, poppycock you say? Truth is stranger than fiction: the original tavern ballroom was relocated to the The Met here in NYC in 1917 to preserve it and share with the museum’s visitors.

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“The rich woodwork from the ballroom of Gadsby’s Tavern reflects the continuation of the Georgian decorative tradition into the early Federal period. Constructed in 1792–93, the ballroom originally stood on the second floor of the Federal-style City Tavern and Hotel.”

— The Metropolitan Museum of Art

• • •

I’m working on getting some proper photos of my new pieces so I can share them with you. They’re all made from the American Duchess Guide, except the shift which is Simplicity 8162, and I’m quite pleased with how everything came out. Fingers crossed for some sun!

I am currently trying to finish the gown for the Van Cortlandt House meetup/picnic I’m hosting in a few weeks. I had actually started a mockup for a swallowtail jacket to wear instead, which shows you just how much this silly gown scares me! Right now we have nearly 40 expected costumers, and be sure to follow me on Instagram (@lilredsquirrel) for updates.

 

Sources:

Original Gadsby’s Tavern ballroom 

The Met Purchase of the Gadsby Ballroom

 

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Events

New Event: Historical Costumer Picnic at Van Cortlandt House Museum

It’s been a while, but I have a lot of things on deck! First up, I can finally share an event that I’ve organized for local costumers (read: thinly veiled reason to dress up and make friends).

Save the Date - Van Cortlandt House Picnic

I want to stress that I’m not an expert, and all skill levels are welcome. You don’t need come in a hand-sewn Robe a la Francaise, and since it’s a summer picnic you would probably be more comfortable in a jacket and petticoat or round gown anyway (although if you do, I will ooo and ahhh accordingly!).

You can register and find other info on Eventbrite:

https://www.eventbrite.com/e/historical-costumer-meetup-picnic-tickets-45444621085

**Please note: event is listed as free so I don’t have to pay fees. The Van Cortlandt tour is $5 at the door.

P.S. New Yorkers- you can see this Gainsborough painting “The Mall in St. James’ Park” at the Frick. Several of his other well-known portraits are also on display, as well as the Boucher room and other beauties.

Uncategorized

Plans for 2018!

Happy New Year! I hope your 2018 has been going well so far. Taylor of Dames a la Mode is kicking off the year with her #GeorgianJanuary Instagram challenge, although “challenge” isn’t really the right word as the only difficulty is trying to decide which photo to post each day. If you’re following @lilredsquirrel you’ve already seen my picks, but I love being introduced to new paintings or dresses through posts by other historical costume lovers. You can join in at anytime so take a look at the next batch of themes if it sounds like fun!

I’ve been reading a lot of “Me Made” 2017 roundups and 2018 sewing plans posts, and perhaps you’re in the same boat, but they make me feel incredibly inadequate. Which isn’t to say I’m not very happy with the progress I’ve made, but hot damn! I aspire to be one those prolific sewists with a closet full of awesome things that they’ve made (including the majority who aren’t blogging or gramming all their garments).

I am very good at making detailed lists of elaborate plans and then being hit by reality later like “In what world would you have 3 hours to sew every day to reach this goal?!” So instead of my usual “shoot for the moon!” — which ends up being “shoot for the new planet and wake up 90 years too early by yourself and proceed to ruin everything” — I am doing “rent a car and drive to a BnB.”
I decided last fall that I would like to make an 18th century gown by the end of the year and a TBD DC cosplay for NYCC in October. Both are big, multipart costumes, BUT doable over the course of several months. Also, that gives me time to look for deals and budget for my fabric and supplies. Fun, challenging, but not absurd– huzzah for 2018 me!

And then I did something totally crazy.

I got a ticket to an 18th century dinner in March!

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How amazing does this look?! The guests at a previous Francaise Dinner by BWPW Photogrpahy.

I had seen photos of the annual Française Dinner (hosted in recent years by Jessica Jackson), but it never occurred to me that I could go. So when I spotted the announcement for ticket sales the “make all the things!” me took over and talked about it frequently for a few days, waiting for spousal eyebrow-raising and rejection. But it never came and here we are! I grew up in Virginia, and I’m very familiar with Old Town Alexandria so it’s not that big of a deal to travel there for the weekend.

And then last week Lauren and Abby of American Duchess announced they’ll be at The National Arts Club here in NYC at the end of February! Last year I bemoaned the fact that exciting things like Costume College were out of my reach and now two (Count ’em TWO!) cool events right out of the gate! However, there is the small matter of not having anything to wear.

Commence flailing and freaking out!

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Once that was out of the way, I made a lot of lists and a rough timeline. (Okay, who am I kidding, there will be plenty of flailing during this project.) My first step was to put a pair of AD shoes on layaway. I was torn because I still want the Fraser heels for Outlander outfits, but I need something formal and in a later style for the Française Dinner. I choose the black Dunmore heels and I can’t wait to see them in person!

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Dunmore black wool lachet shoes, 1770-1790. Photo via American Duchess.

Next, I need to decide on a style of dress. Not as easy! The attire guidelines specify the last half of the 18th century, 1750-1800. Since there’s a firm deadline to meet and I don’t have a backup (a J. Crew cocktail dress isn’t going to fly here!), I don’t think I’ll be able to blog about the gown until it’s all said and done. BUT I’ll be sharing little bits on Instagram along the way! Sadly, my shoes and gown will not be ready for the American Duchess book event, but I think I’ll go in my Claire cosplay. It does feel kind of wrong to attend an AD event with modern shoes peeking out, but oh well!

Will you be going to these events? Let’s be friends IRL 🙂

February 23rd    FashionSpeaks Fridays: 18th Century Fashion with American Duchess / The National Arts Club, New York, NY

March 17th    Seventh Annual Francaise Dinner / Gatsby’s Tavern, Alexandria, VA

What are you looking forward to in 2018? There are a few cosplays that I’m sure will be very popular this year, including Admiral Holdo and Rose from The Last Jedi, but also from the slew of upcoming superhero movies starting off with next month’s Black Panther, followed by Deadpool 2, Avengers: Infinity War, Ant-Man and the Wasp, The Dark Phoenix, Aquaman, and even the animated Teen Titans Go! to the Movies and Incredibles 2. Plus, there’s A Wrinkle in Time (that trailer is bursting with Bjork-worthy costumes!), Solo (the Han Solo standalone movie), The Crimes of Grindelwald (aka Fantastic Beasts 2), Disney’s Nutcracker movie, and the Tomb Raider reboot. So many cosplays, so little time.

On the historical costuming side there will be Mary, Queen of Scots, to be played by Saoirse Ronan opposite Margot Robbie as Elizabeth I, and Robin Hood with Taron Egerton as the Prince of Thieves. Granted, the world really doesn’t need another Robin Hood movie but I really like Egerton, and Jamie Foxx as Little John and Jamie Dornan as Will Scarlet has me intrigued.

Do you have grand costuming plans or just a couple everyday garments in the works — or perhaps a mix of both? I’d love to hear what you’re planning for 2018!

Costumes · Uncategorized

American Duchess Guide to 18th Century Dressmaking – Book Review

I work in book publishing so it only seems fitting that I finally combine my love of books and sewing with a book review! Unless you’re new to historical costuming, you’ve likely already heard of American Duchess, the historical reproduction shoe company and popular blog founded by Lauren Stowell that, with the addition of partner historian Abby Cox, has been expanded in recent years  to include sewing patterns through Simplicity Patterns and a sister company Royal Vintage, which features shoes from the 1920’s to the 1950’s for retro fashionistas. Now, they’ve added a book to their list of accomplishments: The American Duchess Guide to 18th Century Dressmaking: How to Hand Sew Georgian Gowns and Wear Them with Style.

Necessity is the mother of invention, as they say, and it was certainly the case with American Duchess. They filled a void by providing period-accurate, affordable shoes to costumers and re-enactors stuck with the large investment of time and money waiting on a custom pair of shoes. Lauren and Abby’s combined expertise and background in 18th century dress, illustration, and design make them ideal authors to once again fill a gap in the costuming world, namely “I have a dress pattern and historically accurate fabric. Now what?” Or rather, how would a mantua-maker in the 1700’s have sewn this gown?

The American Duchess Guide to 18th Century Dressmaking focuses on four iconic gowns of the Georgian era:

  1. The English Gown (1740’s)
  2. The Sacque Gown (1760’s – 1770’s)
  3. The Italian Gown (1770’s – 1790’s)
  4. The Round Gown (1790’s)

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If you go to their Facebook page they’ve done live sessions on each of these dresses leading up to the release.

Each chapter concludes with “How to Get Dressed and Wear Your ____ Gown” with step-by-step photos to show the proper order, with tips on how to pin your stomacher or adjust your back ties. Plus you’ll find tons of millinery and accessories to complete the look, including: aprons, caps, hats, mitts, and a fur muff that’s very appealing for our current weather!

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Interior sample – Showing how to drape the Sacque.

However, what this guide does not include are patterns—only gridded layouts for the linings. All of these gowns require draping (and likely mockups), just as they would have been created by a mantua-maker in that time. They address this issue at the very beginning, and I agree with their decision because Lauren and Abby have crafted a comprehensive guide that bridges the gap between existing costume bibles with layouts of extant garments and a finished, authentic gown. There are plenty of commercial paper patterns already on the market, including the American Duchess x Simplicity patterns, JP Ryan, Reconstructing History, etc. Their newest release Simplicity 8578 is actually the Sacque Gown or Robe a la Française shown in the book.

The introduction breaks down the various kinds of stitches used in this era, and how they were used in dressmaking. I was really looking forward to learning about the quirky mantua-maker’s seam, but I have a hard time following stitch illustrations. I would have loved step-by-step photos instead, but I’m sure it will come together once I practice. Also, as the focus is “dressmaking” there are no undergarments included, and you’re expected to have the proper stays and shift for the decade you’re recreating. You’ll be fitting and draping over your stays, and admittedly some stages do seem like they’d be very tricky without a partner. One of the best resources is the illustrated fit troubleshooting guide that shows the many traps of the sleevil, among other mishaps.

From a publishing perspective, I’m very impressed with the quality of the book at this price point. The special binding lays flat, which is very helpful when directions carry over to the next page. It’s full-color with loads and loads of beautiful photography. However, the cover’s white text on the white gown is a little hard to read. It’s absolutely packed with historical notes, tricks of the trade, and fun side bars like “Ode to Wool.” If you are merely curious about 18th century fashion or looking build a Georgian wardrobe, you will want to have this at your side.

No patterns? Hand-sewing? Yes, I’ll admit it sounds rather intimidating, but you’ll be in good hands. If you start with the simple under-petticoat, which essentially a pleated, tie-waist skirt, and continue to the petticoat I think you’ll be in a good place to start on the gown. (And yes, this is what I’m telling myself as encouragement!) If you’d like more guidance then you should look into the classes coordinated with Jennifer Rosbrugh of HistoricalSewing.com that are in the works. Not everyone is lucky enough to be take a workshop with Burnley & Trowbridge or know someone with experience in historical costuming, and I know I’ll be consulting The American Duchess Guide to 18th Century Dressmaking again and again.

TL;DR

Who is it for? Intermediate sewist with a desire to follow historical dressmaking techniques to create four authentic Georgian outfits from head to toe.

What does it include? EVERYTHING! Seriously—this is a comprehensive handbook to sewing historically accurate ensembles enlivened with the warmth of Abby and Lauren throughout.

 

Cox, Abby and Lauren Stowell. The American Duchess Guide to 18th Century Dressmaking: How to Hand Sew Georgian Gowns and Wear Them with Style. Page Street Publishing Co., 2017.

*Disclaimer- I purchased my copy and am not affiliated with Page Street Publishing or American Duchess. Photos by little-red-squirrel.com, do not publish without permission.

Costumes

Top 7 Looks from Outlander: #5 – Hand-painted Peony Dress

Coming back to this series after a little break because SEASON 3! What do you think of Voyager so far? Me, I’m like:

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The Print Shop was done SO well, although I wish they had held off on Jamie introducing Willie because it felt a little forced. I will keep this spoiler-free, but do yourself a favor and read Voyager and then Drums of Autumn! The Outlander writers excel at bringing the books to life, and making changes that don’t make the readers pull their hair out.

Even if you haven’t read the books, I’m sure you can gather that there won’t be a return to Versailles and all the extravagant gowns (although the French Revolution will soon put a damper on the royal dress budget anyway…), so why not revel in the S2 costumes a bit?

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The last post covered Annelise’s macaron-colored ensemble from this scene in the formal gardens and now it’s Claire’s turn! Annelise’s jacket and petticoat earned the first 10/10 HA (Historically accurate) rating in the Top 7 Looks, and it’s an ideal foil for Claire’s anachronistic mocha and butter yellow gown. After looking at this gown more I realized that it’s essentially a redingote with a few modifications. The redingote was fashionable in the last quarter of the 18th century, and to me the look is synonymous with posh ladies strolling down cobblestone streets with walking sticks. Movies like Marie Antoinette and The Scandalous Lady W have some great examples of the redingote on film.

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Redingotes from Marie Antoinette with Kirsten Dunst. Note how these versions do not have front tabs.

The redingote (derived from a French corruption of “riding coat”) is a cross between an overgown and a jacket, with a button front, oversized lapels and cape collar, long sleeves, and a long open front skirt showing the petticoat underneath. It’s sort of an overgrown riding coat that often has a cutaway front or a skirt that begins away from tabs at the center front.

Here are some fashion plates and extant examples of the style (click to enlarge):

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Redingote c.1780-1790, The Met, NYC.

Claire’s version has a short standing or mandarin collar with 3/4 length sleeves, a horizontal bust dart paired with a solid yellow petticoat, with long yellow gloves and a bergére with flowers.

Outlander at Paley Center

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Close-up on the collar and covered buttons. You can see the pleated lining of her hat.
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Best shot of the pattern matching on the back and back pleats.

The silhouette is mostly true to the 18th century (I haven’t seen mandarin collars on extant ladies jackets, and there should be a point in the back seam) but the textiles are definitely modern. Also, you can see that there is lacing on the sides. Keeping in mind that these costumes have to be made before filming and final scripts, the maternity lacing is there to accommodate a bump and allow for varying size depending on what the production team decided. Granted, it’s hard to see a baby bump under all that fabric.

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Detail of the maternity lacing on Claire’s hand-painted peony gown.

The hand-painted fabric is gorgeous and another instance of early 1950’s fashion influencing Terry Dresbach’s modern historical aesthetic.  The large peonies, sprays of lilac and other flowers are dramatically oversized, and I’ve found some 1950’s and early 60’s dresses with a similar look, albeit not quite as large. The shirtwaist or button-front dress with a belt was very common, and you’ve likely seen this style in vintage shops.

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Pierre Balmain lace dress, 1953. Very similar to Claire’s look.
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Large scale rose pattern on a 1950’s Givenchy dress.
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Here is the same Givenchy dress on his muse Audrey Hepburn, which she wore in Funny Face with Fred Astaire.

Just as the Dior Suit has been re-imagined again and again, elements of this dress have been seen on runways as recently as this year. A floor-length, full skirted dress with definition at the waist and long sleeves is a silhouette that can reinterpreted endlessly— these are few modern examples:

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A large floral print with similar overall shape. Grace Kelly photographed by Phillippe Halsman.
“In Dior_s Garden” by Gianfranco Ferré for Christian Dior Haute Couture, Spring 1996
“In Dior’s Garden” by Gianfranco Ferré for Christian Dior Haute Couture, Spring 1996.

 * * *

How to Make It

Claire and Jamie in Versailles gardens

If you’re an Outlander fan, you probably spotted that the petticoat is made from the same yellow silk-wool as the citrine robe a l’anglaise. Someone snagged the floral fabric from Britex and brought it to a small con to show fans.

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This will be helpful to refer to if you try to paint it yourself!

Painting a floral design will require fabric paint in lots of colors, and a whole bunch of free time so this gown is not a quick and easy project! A solid redingote would be simpler and period correct. A false front petticoat could also be a way to cut costs, by using an inexpensive fabric for the back of the petticoat. This was common in the 18th century and earlier (such as Elizabethan gowns with open skirts), and even used on Outlander for the Citrine gown.

I discovered a very awesome pattern in researching this dress- a redingote pattern from LACMA created from an extant redingote in their collection! It’s a PDF that you can scale up so it does require little more work, but you can’t get more accurate than that! If you already have an 18th century dress block or a riding habit pattern that’s adjusted to you, you could use that as a starting point. A riding habit would be easiest since it already has a button front and horizontal dart—you can just lengthen the skirt or even use the pattern from a gown in place of the original. Unless the maternity lacing is necessary for your current body or you’re going for an exact Claire cosplay, I would leave it off.

Like Annalise’s tricorn and choker, the accessories really make this look so don’t forget about the bergere and gloves. Sometimes finishing the dress feels like crossing the finish line, but it’s the details like a wispy fichu or proper stockings that really make your outfit complete. Those smaller bits are often what makes your outfit stand apart from the crowd, even if the average person can’t quite put their finger on why it looks so nice!

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Frilled yellow silk taffeta mitts, circa 1750 – 70.

Hand-painted Peony Gown

Type: Original design (Modified Redingote)

HA Rating: 6/10  (Although, in another fabric this could be 9/10)

Est. Yardage:
Redingote- 6 yards   Petticoat- 4-5 yds

Materials:
Brown silk taffeta, hand painted with large floral design, or HA in solid silk taffeta or silk-wool blend

*Could also use poly taffeta or dupioni or shantung if not worried about being 100% period accurate

Patterns:
Hack a gown pattern to make overlapping button front and add collar

Alter a riding coat pattern to lengthen into a long skirt

1780’s Redingote Tutorial
http://koshka-the-cat.blogspot.com/2015/08/a-1780s-redingote-tutorial.html

The LACMA Pattern Project – Redingote, c. 1790
http://www.lacma.org/patternproject

JP Ryan Riding habit, Reconstructing History Riding habit 
Mill Farm riding habit
Petticoat – Simplicity-American Duchess 8411
Pannier – Simplicity-American Duchess 8411

Stays and shift: See Corsets and Crinolines (Diderot and half-boned stays), Butterick B4254 (View A or B), Simplicity 8162, or Reconstructing History

Accessories:
Bergere (straw hat) with milinery flowers
Yellow elbow length gloves (dye a vintage fabric pair or use leather paint-on dye)
Silk stockings
Yellow satin shoes

***

Top 7 Looks from Outlander Season 2

Top 7 Looks from Outlander Season 2

1. 1740’s Dior Bar Suit {Modified Riding Habit}

2. Emerald Brocade Robe à la Piemontaise

3. The Red Dress {Modified Robe de Cour}

4. Raspberry dupioni caraco and lavender petticoat

5. Mocha 1950’s Versailles Garden Party {Modified Redingote}

6. Citrine Robe a l’Anglaise

7. Sapphire Robe Volante with lace stomacher

Sources:

Posts on Redingotes: Koshka the Cat, A Fractured Fairytale, Before the Automobile

History Hoydens on Maternity clothes

The Cut of Women’s Clothes and other books on the Recommended Reading list

Stills via Outlander-Online.com

 

Outlander Project

The Stays: Part II

I am just over the moon to share the completed stays! These stays represent many hours of sewing and I’m really happy that they are done and they fit. Lurking in the back of my mind was the possibility of them being abandoned in a frustrated rage, but I’m happy to say that the whole process was easier than I anticipated. However, it took me a loooooong time!

I tried out my camera remote for the first time, so prepare for the stays spam 😉

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Blunt darning needles are very helpful with lacing.

 

little-red-squirrel.com stays

 

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Lol, not sure what I was doing here. “It’s SuperStays to the rescue!”

As you can see in the photos my shift isn’t finished because I got ruffle fatigue. I remembered this cute dress that I haven’t worn in ages because it’s so low cut and the lining always pops up in front… but it’s great as a shift in a pinch, even if it’s sleeveless! I like the visual detail of the tiny stripes, perhaps something to copy for a future shift.

Overall I was so pleased with the SimplicityxAmerican Duchess pattern and instructions! Seriously I did it, so anyone with basic sewing skills can definitely make this pattern. If you need that little push to jump in, this is me telling you Go for it! You just have to start. However, if you want your stays be more historically accurate you have to decide BEFORE you cut your fabric and follow a different order of construction. I will make note of these edits as I go along.

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This corset form was such a sweet Craigslist find, and although our measurements are almost exactly the same, uh… some shapes are rather different. Yeah, that is some serious overboob. Part of the problem is people are rather squishy, but dress forms are not. However, this means I can drape a gown one day!

***

After I shared The Stays: Part I way back in January *cough* I was almost ready to move on to binding. Shortly after that we decided we would be moving, and apartment hunting and packing took over my life. I had a hard time jumping back in because it felt like I had been running and suddenly had to stop right in front of the hurdle, then somehow jump it from a standstill. Plus the unpacking and reorganizing of our new place became my priority.

I spent a lot of time looking at them and thinking about what to do, and then not choosing anything at all. Then putting them away and doing the same thing in a couple weeks. I can’t be the only one who does this during sewing projects, right? It’s like being stuck in this loop and you’re just not sure the best way to go so you just keep going around.

My conundrum was that I didn’t have enough fabric to fold over the CF edge since that’s not how the Simplicity pattern is constructed. But I wanted to be historically accurate, plus I was worried about the grommets tearing up my lovely fine linen lining. I even briefly considered pulling out the boning channel stitches and moving everything over so I’d have more allowance to fold over. Um, that’s crazy talk! My sane solution was to add some chamois leather to protect the linen and support the lacing at the front and straps.

Almost all of the things I’d do differently next time happen at the cutting stage, so there really wasn’t a way for me to incorporate them unless I started over. I was laughably naive when I first started! When I bought the patterns—a year ago this week—I was intending to have this Claire Fraser costume ready for Halloween. I thought if I buckled down I could make these in a week or two and have the rest of October to do the rest of the outfit! It’s like I forgot I have a job and a toddler :/ And zero experience with garment sewing…

My advice to first-time staymakers:
First off, be honest with your measurements. It sounds easy, but we all know it can be harder in practice. Even if the numbers aren’t what you thought they’d be or wished they were, fudging them will only lead to unhappiness later when your garment doesn’t fit. I knew I was in-between sizes, but instead of making a size that matched my bust measurement and lengthening it, I took the easier route and regretted it later. (Using the size that matched my bust when I wear a generously-padded bra was not my brightest move…)
I also would suggest you make a mockup. This is such a vital part of getting any garment adjusted to your body before you start cutting into your fashion fabric. I skipped this step trying to stay on schedule, but it would have saved me the realization that my stays were too big after the boning was in and seams were already whipstitched down. 😦 Also, on that note, if you do skip the mockup remember to try them on properly before you get too far along.
Read as much as possible. This is part is fun for me, but even if research isn’t your jam be sure to look at photos of extant stays and learn about their construction. There are so many great bloggers who have shared their process (see blogroll) and American Duchess has helpful videos to go with this pattern. 

The Lining

Stitch the left lining pieces together, then do the same for the right side. You’ll recall I had to take in the back and remove the lacing there, so I also had to join the lining at the CB. When I took a closer look at the stays I realized that I had a) missed one bone on the side, b) whipstitched the seam allowance into that boning channel, and c) still had dozens of channel threads to knot. Blergh! So I undid the whipstitching, added in the missing bone, and stitched it back down again. I knotted off the channels and hid the threads in the interlining.

**HA edit: Before adding the lining and binding, sew ribbon or thin leather strips to the seams. Draw underarm guards and cut out from chamois, stitching to outside and over the armscye.

 

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Lining now sewn to rest of stays at CF edges.
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Chamois leather where grommets will go.

Then I cut two strips of leather (about one inch wide) the length of the lacing channel, as well as two circles. I sewed them on by hand, and then stitched the lining to the rest of the stays. Linen feels so nice, but quickly gets hairy so you might want to fray check the edges and let it dry while you gird your loins for the binding. (Loin girding instructions here)

The Binding

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Pretty pistachio petersham

Um well everyone says this is the worst, and I can’t say I disagree—but only because it takes so dang long by hand! Unfortunately, it’s fairly obvious which edge I started on as the bottom finished edges are kind of wonky, but the top binding corners are much neater. My center back tab has a pretty point from joining the back seam, but it’s a little too long. I’d shorten by 1/2 – 1 inch next time. Some tabs came out better than others, but I actually started to enjoy it after I had the first few under my belt. Hand-sewing hater no more!

Definitely read and reread this Foundations Revealed binding guide by the amazing Cathy Hay before you start. (I found this afterwards, but I know I’ll be coming back to it a lot.)

When I was shopping for bias binding I was looking for blue or eggplant, but both clashed with the yellow undertones in the damask. I spotted this bright olive rayon petersham ribbon on one trim store visit and kept thinking about it, so I eventually went back and bought some, thinking that if it didn’t work out I could use it as a pretty lacing ribbon.

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Front side of the tabs almost done.

I’m very happy with the finished result, and since it’s rayon it has a bit of shine that adds a little extra pizazz. If you want to use ribbon instead of cotton bias binding make sure it’s petersham. A lot of stores display their grosgrain and petersham ribbon mixed together since they are both ribbed, but the petersham has looped sides. The grosgrain has straight sides and is not flexible so it will make curves miserable. I used backstitch to make sure the front side was secure and the tiny ribs helped me keep my stitches neat! The color is similar to a quilted petticoat from the V&A, so it makes me feel like it’s somewhat authentic 😉

**HA edit: Extant stays have leather binding, which holds up to daily wear and stretches nicely along the curved edges. The same chamois leather I used for support is ideal for binding and can be found at auto stores. (I would have used it, but all cream stays felt too boring.)

**HA edit: Leave extra seam allowance along all tabs and the top edge to be able to fold over raw edges of interlining. This binds the edges before using bias tape or leather, and reduces the bulk of the edge for a thinner, yet durable binding. See  The Fashionable Past for a tutorial on this method.

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Ran out of thread at the last inner corner. *wompwomp*

Since the lining is already attached you’ll want to fold it under and/or pin it out of the way as you go along. I used a mix of pins and clips for the binding, and often just used my left hand to hold things in place while sewing. After you’ve finished sewing the front side down, flip to the inside and whipstitch the binding down all the way around. This goes much faster, but just be careful you don’t go through to the front! These stitches don’t have to be pretty since you’ll cover them with the lining.

Do the same for the top edge, paying close attention to the corners where the straps meet the body. Once all your binding is done feel free to cheer, cry, eat a box of cookies, wheel of fancy cheese or your very own cheese pizza. Make sure to wash your hands to remove chocolate smudges, pizza grease, etc. before moving on to the next part.

 The Lining, reprise

What again? Almost done with this bit- fold under the raw edges to just cover the binding edge on the inside and whipstitch all the tabs. I chose to slipstitch on the top edge to give a neater finish. Knot and hide the threads in between the main body and lining.

The Grommets

And then I smash it with a hammer!

 

This part is pretty straightforward—just start making holes at the marks you made from the pattern (front and/or back). You can do this with an awl and then widen the holes with a chopstick or similar object. The kit also includes a hole cutter which gives the exact size, but if your stays are very thick it can take a lot of whacking with the mallet to go through. Snipping a small X in the leather helped and then I just trimmed any extra away after I pushed the grommet through so the washer could go on smoothly.  I chose to use grommets to save time, and I think that’s perfectly fine because they’re not visible to anyone but me and they’ll never wear out or tear.

The key here is to have the right tools. A snap/eyelet punch will not get the job done. You’ll need a grommet setting kit, which includes the setter, hole punch, wood block, and brass grommets, and a rubber or leather mallet. Do not use a metal hammer! You’ll get a smushed ugly grommet and eventually wreak your setter. I purchased this kit at a specialty hardware store, but you can order these kits online as well (just search for “C.S. Osborne grommet kit”). I actually left a blog comment for Lauren of American Duchess because the pattern notions don’t specify a size, and each size requires a different kit so I wanted to avoid buying the wrong one. She responded with alacrity and said to use size 00 or 3/16″ inside diameter – Thanks Lauren! I didn’t use the brass grommets that came with the kit because they’ll tarnish and possibly discolor the dress and chemise, although I do think the gold details would match better. My nickel-plated hardware came from here.

**HA edit: Use buttonhole twist to sew eyelets around the widened lacing hole. Periodically stretch out with the awl as you stitch if the opening gets too small.

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Pins kept the lining from sliding around and getting off center.
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Centered! phew. Ready for the other side.

Make sure that you do a few tests using all the same layers on your stays. If the stays are too thin, the shank on the grommet won’t fold over enough and can snag you or your shift. If the washer swivels around then the shank is too tall for the amount of fabric. You can always sew on a strip of chamois or a fabric scrap to thicken up that channel. Set up a cutting board on a sturdy table or the floor, and hammer away.

Ta-daaa! You have a pair of 1740’s half-boned stays! Get your lace(s) and admire your handiwork.

Thanks for reading this crazy long post—I hope you found this helpful! I’ve learned so much in this process and I’m already thinking about my next pair of stays- maybe a strapless pair or corset for a historical DC comics cosplay. I’d like to have a larger gap at the front so I can get more reduction on my waist—right now it takes off less than an inch total since the thickness of the stays adds to the measurement. Next time I’ll be sure to make a mock-up, and I think I can reduce the pattern to 3 sections on each side since I’m not curvy.

Hit me up with any questions in the comments or on Instagram @lilredsquirrel! 🙂

Costumes

Top 7 Looks from Outlander: #4 – Annalise’s Raspberry Caraco and Petticoat

I’m not great at math, unless it’s dress math!

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Caraco + Riding habit = Perfect Versailles day look

I love that moment when you see a costume and KNOW you have seen it elsewhere… and then have to hunt through the entirety of the interwebs to figure where it came from, lol. I did eventually find the pink jacket (left) in my Pinterest likes. It’s a casaquin c. 1730-40 part of the collection of the Musee de la mode in Paris.

 

 

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Portrait of Sophie Marie Gräfin Voss. Antoine Pesne, 1746.

Later I came across this portrait and *lightbulb*! The hat, ribbon choker, rounded square neckline, and unique split cuff sleeves match Annalise’s jacket exactly! Someone else recognized the resemblance of Annalise’s jacket to the Musee de la Mode casaquin and tweeted Terry, who confirmed that it was the inspiration and that they would have copied it exactly if they’d had more time to do the lace over curved edges. BUT no mention of this Gräfin Voss portrait, so feeling very pleased with my discovery. Don’t you love those behind-the-scenes tidbits, especially ones that confirm your fan theories?

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Screencap close-up on Annalise’s fabulous tricorn hat and accessories.

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Annelise’s outfit is period-perfect and the color palette makes me think of a box of macarons or blooms in a Parisian flower market. Very feminine and sweet. Her jacket is a brighter pink than the inspiration, although I wonder how rich the color was 200 years ago. Dupioni fabric has a beautiful texture and body, but a couple historical costuming blogs mentioned that silk with slubs would not have been used in this era. (I haven’t found any documentation on that however, so comment if you can point me in the right direction!) It doesn’t bother me because it doesn’t stand out like metal grommets or a hoop petticoat—you really wouldn’t think twice about it unless you happen to be an expert. BUT if you want to be HA, look for a deep pink taffeta, peau de soie or even silk-wool faille to have a similar low-shine look. There are some fabric options saved to the caraco Pinterest board.

There are a variety of jacket styles that were worn in the 18th century, including the caraco, pierrot, riding habit, and pet en l’air. Often the contemporary names given to the jackets and the way they’re worn varies, so the proper name for a jacket isn’t always clear. A caraco is a longer jacket, usually hitting mid-thigh, with a fitted back and 3/4 sleeves. The caraco bodice and skirt are cut all-in-one—no seam at hip—and flare over the hips. It was often worn closed, but also worn open over a stomacher, with a compere front (button-front with false stomacher), and with two or more flaps where a fichu could be tucked in. Sometimes the caraco is called a short gown, and that usually refers to the longer versions that go almost knee length.

I plan on going into more detail on the different types when I finish my own jacket for Claire’s Castle Leoch look, but there are links to good jacket explainers in the Sources.

Annelise raspberry caraco from Outlander, Terry Dresbach
Profile shows a fitted back, so we know it’s not a pet en l’air.

Annalise caraco detail

The petals or basques of the casaquin remind me of similar segmented skirts on jumps, a type of undress bodice worn at home. I realize that sounds odd, but in the 18th century “undress” was used as a noun, whereas today we only use it as a verb (“to get undressed”). “Undress” meant anything that was not a formal gown or fitting for company, especially of a higher social class.  If you’ve ever been to Colonial Williamsburg or a similar historical reenactment site, most of the interpreters you see are working class types in undress wear, such as linen or homespun petticoats and plain jackets. However, one woman’s imported chintz caraco and wool petticoat might be the finest outfit she owns, but everyday “undress” for an upper class woman with a couple of silk robe à la françaises in her wardrobe.

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“That’s because you don’t have a silk gown.”

A jacket and petticoat outfit is less formal than a gown, and very versatile since you can mix and match with a new petticoat or jacket. The silk fabrics elevate Annelise’s combination, making it suitable for a stroll through Versailles and implying a higher social class than the plain woolen jackets and petticoats seen on the majority of the women in the Highlands. Of course, you can mix and match as well if you already have a petticoat that would go nicely with the pink caraco—pale yellow, sky blue, or even green would be nice.

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Blurry, but only shot of Annalise’s pretty hairdo.
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Detail of two lace trims used, silver and white.
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You can tack on the voile and lace to the sleeve, or add lace to your shift.

Annalise’s outfit lets the jacket be the focus with an untrimmed petticoat. Undress ensembles favored quilted petticoats in the first half of the century, and then evolved to petticoats with flounces on the bottom third. Quilted petticoats usually had wool batting with a silk top and linen backing so they kept you warm and cozy in addition to supporting the skirt. Women always wore a plain under petticoat for volume and to smooth out any lumps from supports like her bum pad or side hoops, and the quilted ones continued to be worn as under-petties for their warmth after the fashions changed. I adore quilted petticoats and the incredible craftsmanship the designs required leaves me speechless. Definitely on my costume bucket list!

quilted green petticoat
Quilted green petticoat with printed caraco. The caraco has long sleeves, which help date it to 1770-90, and a compere front.

 

Linen, a fabric made from the flax plant, was used for lining women’s and men’s coats, and often with mismatched remnants from other garments. Although today linen is more expensive than cotton, cotton fabric wouldn’t be widely used as a cheap textile until the Industrial Revolution. You could also line it with an inexpensive poly lining or china silk.

 

How to Make It

Outlander screencap 2x05

This is certainly the most straightforward make so far! You can sew the jacket and the petticoat from available patterns without having to do any pattern drafting. However, you’ll definitely want to do a mock-up with the correct underpinnings as getting the front to line up and close neatly will probably require some adjustments. Annalise’s jacket has separate basques or skirt pieces, so mark the hip all the way around your pattern pieces. Then sew the jacket pieces together, stopping at that hip mark. Finish the seams of the basques separately and trim with lace. The covered buttons at the elbow and center back seam are such a nice detail so don’t skip them!

I’m currently working on my wool jacket using the JP Ryan jacket pattern, and I recommend using her pattern View A for this project. So far the shape is very accurate and the directions are clear, but an absolute beginner might feel overwhelmed. I’ll do a full pattern review when I’ve finished the jacket. If you want to copy the Musee de la Mode casaquin’s petal hem just a spend a bit of time with a French curve to get a similar shape.

The tricorn hat really makes this ensemble and I’ve seen similar hats from Frontier Milinery on Etsy. Talk about a perfect match! Personally I’d love have one like this—you could also wear the hat with a vintage outfit like a fascinator.

Frontier Milinery
Pink, violet, and teal dupioni tricorn hats

Type: Caraco jacket with closed front and petticoat

HA Rating: 10/10

Est. Yardage:
Jacket- 3 yds. Petticoat- 4-5 yds (depending on size of skirt supports)

Materials:
Silk (or poly) dupioni or shantung
Also: Peau de soie, silk-wool blends or similar low shine silk fabric
Scalloped edge lace
Notions: hooks and eyes, covered button kit

Patterns:
JP Ryan 18thC jackets, view A
Shift with lace trimmed sleeves or tacked on engageantes
Bum roll or pad or panniers

Undergarments (to be used for all costumes)
Paniers/Side Hoops: Simplicity-American Duchess 8411, Dreamstress Panier-Along tutorial OR Bum pad: Simplicity 8162
Stays: Recommend strapless stays with this neckline. See Corsets and Crinolines (Diderot and half-boned stays), Butterick B4254 (View A or B), Simplicity 8162, or Reconstructing History
Shift/Chemise: Self-drafted or Simplicity 8162

Accessories:
Purple or pink tricorn hat
Ruched ribbon choker

Brooch for choker

Leather or fabric-covered 18th century shoes (These dyeable sateen ones from American Duchess are on sale, and would be perfect as-is or dyed magenta or amethyst!)

***

Top 7 Looks from Outlander Season 2

Top 7 Looks from Outlander Season 2

1. 1740’s Dior Bar Suit {Modified Riding Habit}

2. Emerald Brocade Robe à la Piemontaise

3. The Red Dress {Modified Robe de Cour}

4. Raspberry dupioni caraco and lavender petticoat

5. Mocha 1950’s Versailles Garden Party {Modified Redingote}

6. Citrine Robe a l’Anglaise

7. Sapphire Robe Volante with lace stomacher

 

 

 

Sources:

Posts on 18th century jackets: Larsdatter.com, American Duchess

The Cut of Women’s Clothes and other books on the Recommended Reading list

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Costumes

Top 7 Looks from Outlander: #3 – The Red Dress

Less than a week until the Season 3 premiere so I’m going to have to pick up the pace! WELP. Sorry guys, but I had to focus on my sewing! FINALLY finished my first pair of stays, and can’t wait to share them with a post soon. If you’re just jumping in, here’s my ranking of the Top 7 Looks from Outlander Season 2:

1. 1740’s Dior Bar Suit {Modified Riding Habit}

2. Emerald Brocade Robe à la Piemontaise

3. The Red Dress {Modified Robe de Cour}

4. Raspberry dupioni caraco and lavender petticoat

5. Mocha 1950’s Versailles Garden Party {Modified Redingote}

6. Citrine Robe a l’Anglaise

7. Sapphire Robe Volante with lace stomacher

Screencap from Outlander S2e2

Claire’s famous Red Dress is one of the few garments from the book that needed to be shown on the show, and certainly one that fans have been aching to see brought to life. I already talked a bit about it in this post, but this is an original design that riffs on the Robe de Cour, the most formal gown worn in Europe during the 18th century.

Terry Dresbach has repeatedly said that she does not base her costumes purely on descriptions from the books, and I think that’s the whole point of having a costume designer. They can create a visual language that provides the time, place and mood. Not all authors are good at writing about what their characters are wearing, anyways. On the flip side, sometimes veering from the book is a no-no. Hermione’s dress should have been BLUE, and I don’t give a crap what Emma Watson likes to wear!

Thank you to people with ample time to photoshop who have remedied this situation.

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via Pinterest
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Never thought I’d combine my love of Harry Potter & Snatch 😉

Film and TV productions that attempt “modern historical” are often the result of a combination of ‘the powers that be’ deciding that viewers don’t think historical clothing is sexy or relateable and/or a limited budget. So you might end up with the hot mess that is Reign.

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Reign ladies-in-waiting, wearing their best Anthropologie-does-Renn-Faire looks. Blowouts and Coachella headgear, why not!

I should note that I’ve never even watched this show, but Netflix keeps trying to suggest it to me. A show about teenage Mary Stuart, aka future Mary, Queen of Scots, sounds amazing, but alas I couldn’t get past what I saw in the commercials. I was obsessed with Cate Blanchett in Elizabeth when I was in high school, so assuming that they had to do this Gossip Girl/Renn Faire mashup to attract teens is a real lowest-common-denominator bummer.  But back to the Red Dress!

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Decidedly not a bummer! Terry Dresbach was tasked with creating a dress that results in a fan favorite Jamie quote, moves the plot, and looks like something that Claire would have designed with her mantua-maker. Claire is very much a modern woman who bristles at the norms and customs of the 18th century (tbh the 20th century too!) and it’s reflected in her minimalist, elegant clothing. Claire suffers no fools—or frou-frou! Louise on the other hand is the picture of French rococo, full of pastel jacquards, frothy ribbons, and coquettish charms. Claire is dressed in deep jewel tones that are either unadorned or given unusual details to have her be just a hair off. Again, she’s a time-traveler and the lead so it’s a good design choice.

Ruby red, plus emerald, garnet. tanzanite, citrine, and amethyst

The Red Dress is modern historical done right—you can see the elements of the 18th century without being thrown off by the anachronistic twists. So let’s break down the modern and the historical aspects of the design.

There’s a lot of 1950’s influence in this dress, much like the Dior Suit. The shade of red immediately brought to mind the famous Revlon lipstick Cherries in the Snow, which they have continued to make since it came out in 1952. The lipstick and matching nail polish were bestsellers, and probably what your grandmother or great aunt was wearing in those old black and white photos you love. This va-va-voom ad from 1953 with model Dorian Leigh certainly doesn’t require you to read between the lines!

Revlon 1953 ad for Cherries in the Snow
“Who knows the black lace thoughts you think while shopping in a gingham frock?”
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Inspiration board from Terry Dresbach’s blog
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…for a nip slip.

The plunging neckline, however—can we still call it that when it’s nowhere near the neck? The boobline?-—is totally 2016. Obviously this a dress for the bold (although amazingly less NSFW than the King’s mistress OUCHIES) so if you’re doing a cosplay version all I can say is werk werk werk werk werk. Also, don’t lean over 😜

Of course, if you make the Red Dress you can adjust the neckline to suit your comfort level. Just sew up the center front seam until you’ve got a level of décolletage you won’t regret later. If you want to be more modest AND historically accurate, then sew it completely closed and bring on the lace and bling. You could also tone down the boob-tasticness by adding a lace tucker or a chiffon ruffle like Claire’s purple dress, which looks like it was drafted from the same pattern. Hey, we can’t all be former Victoria Secret models like Ms. Balfe! I’ve always been a rectangle in those magazine “what shape are you?” quizzes so I’m forever Team Modest Bosom.

On the historical side this gown has many elements of the Robe de Cour, or “court dress.” Another name for this style of dress is grand habit (“full dress”), but as the fashions of the French court carried to other countries it simply became the dress to be worn in the presence of royalty. In English it was called a stiff-bodied gown. Compare Claire’s dress to these two ruby Robes de Cour worn by royals in the mid-late 18th century.

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Henriette of France, youngest of Louis XV’s twin daughters. Love that she played the viola de gamba!

This gorgeous scarlet red and gold brocade robe de cour is worn by Louis XV’s daughter Henriette, the younger of his twin daughters born in 1727. That date sounded way too early to me, but it turns out Louis XV was married at 15, and “finally” fathered an heir (and a spare) at the ripe old age of 17! So if you do the math, Louis XV has 18 year old daughters AND a 16 year old married son at the time of Bonnie Prince Charlie’s campaign. Blergh.

Maria Amalia of Habsburg Lorraina Parma
Archduchess Maria Amalia c.1765. One of Empress Maria Theresa’s 11 daughters, and thus older sister to Marie Antoinette.
Cherry Satin Robe de Cour from Gallerie des modes
“Habit de cour de satin cerise” fashion plate from Gallerie des Modes, 1778.

These are both later Robes de Cour, as Maria Amalia was born in 1746 shortly before the Battle of Culloden, and the print is from 1778. However, the dress style has barely changed: same low, off-the-shoulder bodice that laces up the back, layered lace sleeves, ornate stomacher, and petticoat with large panniers. The lace sleeves are detachable, but I’m not sure if they were tacked onto the chemise or the bodice. This cloth-of-gold bodice was worn by Lady Mary Douglas at the coronation of George III. There’s a cool FIDM blog post about how they took to the hospital to be x-rayed and examine all the layers of the only surviving English “stiff-bodied gown” without damaging it. It looks like the strip of ivory silk is where the lace sleeves would have been attached.

Gold robe de cour bodice
Gold robe de cour bodice worn by Lady Mary Douglas, 1761. FIDM Helen Larson Collection.

The court bodice was fully boned, laced up the back, and many also had tabs, so it was basically a bodice-stays hybrid. No stays were worn underneath the robe de cour, so Terry Dresbach took that idea and ran with it.

outlander-lacma-reddress-front
Photos from the Outlander exhibit at the Paley Center via TerryDresbach.com
outlander-lacma-reddress-back
Back lacing with modesty panel, although perhaps a misnomer here…

There are usually bows or ribbon decoration at the elbow, which is interpreted very simply on Claire’s gown. You can see a piped edge along the bodice which is sitting on top of a cartridge-pleated skirt, just like on the Emerald Robe à la Piemontaise. The photo also shows where the center inverted box pleat ends.

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Close up on the ribbon detail and the skirt’s accordion pleats.

The hem length is high ankle, and that isn’t really fashionable until the last quarter of the century, and then only for less formal dresses. Even when the empire waist came into fashion, the Robe de Cour skirt still grazes the floor with wide panniers (yeah, it’s not sexy look). But the shorter hem modernizes Claire’s dress and helps set the dress apart in a crowd. Plus, gotta show off your custom shoes! Similar strap-happy heels on the Pinterest board.

Outlander S2 Shoes for the red dress.

In addition the amazing dress, this episode also gave us one of my fave Outlander memes.

In Jamie’s defense, he did give Claire a heads up. “I said I was a virgin, not a monk.” Haha!

Jamie's reaction to Annelise S2e2
AWKWARD

Sad face for pretty Annelise wearing this dull frock so she doesn’t steal the spotlight from Claire. Don’t feel too bad, though because she gets the lovely raspberry caraco and lavender petticoat outfit that we’ll cover next!

How to Make It

I’m going to assume that anyone making this gown, or a historically accurate version, has a pretty fancy party to attend. I haven’t tackled panniers or cartridge pleating yet, but if you’ve made stays or another type of boned bodice before this project is very doable. Practice crab-walking sideways through doors to see if this dress is for you 😉

Claire red dress profile

Type: Original design {Modified Robe de Cour}

HA Rating: 6/10
(It would turn heads, but you wouldn’t be immediately be thrown in gaol as a time-traveling witch like showing up in Forever 21)

Est. Yardage:
Bodice and petticoat: 10- 15 yds (Terry Dresbach said she needed 15 yds, but the American Duchess pattern calls for 8.5 yds)

Materials:
Silk duchesse satin or charmeuse
Self trim or matching satin ribbon and chiffon for neckline edge

Patterns:
The front-runner is definitely the Simplicity x American Duchess pattern, including Bodice, accordion-pleated skirt, and panniers– Simplicity-American Duchess 8411

Undergarments:
Paniers/Side Hoops: Simplicity-American Duchess 8411
Dreamstress Panier-Along tutorial
Stays and a Shift/Chemise aren’t necessary for this dress, but you’ll need a cotton petticoat so the panniers don’t make the skirt look lumpy.

Accessories:

Confidence or a couple glasses of wine or both
Garnet or ruby earrings
Red satin heels (modern or rococo)
Hair piece to help give volume on top and hair powder (to be historically accurate)

 

Up Next: #4, Raspberry Caraco and Lavender Petticoat!

 

Sources:

Helpful posts from the Dreamstress and American Duchess

Patterns of Fashion and other books on the Recommended Reading list

Costumes

Top 7 Looks from Outlander: #2- Emerald Robe á la Piemontaise

Outalnder-starz-claire-green-promo

So excited to talk about #2 of the Top 7 Looks from Outlander S2: Claire’s emerald brocade Robe á la Piemontaise!

When I first saw this promo photo I wanted it soooo badly! If you’ve known me for longer than five minutes that comes as no surprise because green is my favorite color. That gorgeous fabric gives me daydreams of using the rent money on yards of silk. Just kidding! That’s what credit cards are for. Emergencies… very important fancy fabric emergencies. *sigh* Being a responsible adult is no fun.

Outlander Claire green profile
Much pretty. Much arm flailing.

So while I enjoyed the NYC billboards with VIVE LES FRASERS, and I’m presuming 10-foot-tall cleavage, I just wanted to see this dress in action. We had to wait until episode 7 to see it!  Unlike #1, the 1740’s Dior Suit, this is a true 18th century style. However, the Robe á la Piemontaise was not fashionable until the late 1770’s to 1780’s so it’s about 40 years early. Back in January I joined in on the #GeorgianJanuary Instagram theme month, and mistakenly called this gown a Robe á la Française. I simply hadn’t read as much at that point and didn’t notice the difference from francaises. Also called sacque or sack-back dresses, these gowns both have pleated fabric across the shoulders that look almost identical from the back.

I don’t speak French, but it’s safe to say that if I can figure out robe à la Française means French dress, you probably did as well 😉 So what’s a Robe à la Piemontaise? According to Google Translate it’s “dress with piemontaise,” which makes it sound like it comes with a sauce on the side. *eye roll*

I still remember un po’ italiano, and recognized the Italian term “Piemontese,” as in cucina piemontese. Piemonte is Italy’s Piedmont region in the north along the Alps, as the name comes from “foot of the mountain” (piede + montagna). The capital of the region is Turin, which I got to visit very briefly back when I did study abroad. A Wikipedia rabbit hole led me to Clotilde, sister of Louis XVI and later Queen of Sardinia. She was a devout Catholic and wanted to become a nun, but a royal marriage is simply too valuable politically to be wasted. The King, her brother, arranged for her to marry Charles Emmanuel, Prince of Pièmont when Clotilde was just 16 years old. Her sister-in-law Marie Antoinette writes of her younger sister Èlisabeth being very upset over her sister leaving France, but apparently there was no love lost between the congenial-yet-conservative Clotilde and her fashionable SIL. The official marriage, after a proxy one in Versailles, took place in Turin in 1775—right around the time this dress was briefly fashionable! Unfortunately I couldn’t find any direct references to this dress style possibly being named after the new Princess of Piemonte or an Italian import, and it will take more time to look for primary sources.

Let’s compare these sack-back dresses, which look very similar at first glance.

Cream silk gown of Spanish origin from San Telmo Museoa, a museum dedicated to Basque culture. Likely 1770-85.

Green imperial brocade Robe á la Française of French origin from The Met, NYC. Likely 1750-75.

However, the profile tells a different story!

You can see that the gown on the left has detached pleats and the green one on the right has pleats that are one piece (back and skirt). So now we know the cream gown is a piemontaise, and confirmed that the green brocade is indeed a francaise. You can’t see the wall behind the dress in the profile view of a francaise. (Sorry, going to get lazy with proper terms.)

Those pleats were often used as an opportunity to show off some nice pattern matching like these two:

Claire’s piemontaise has this as well, but her pleats are wider. This could also be for visual balance since Caitriona Balfe is 5’10”, but it’s very likely that this dress was actually meant to be a francaise before the production team lost their cutters (more on this in the great Frock Flicks interview with Terry Dresbach).
outlander s2ep7 screencap
Very wide, cape-like pleats. Also, squinty-disdainful royals.
Although the francaise and the piemontaise look like dresses with a long train attached to the neckline, both are constructed from a long length of fabric with a complicated draping so that the skirt and the train are one piece. Keeping in mind how valuable fabric was during this time period, this technique makes perfect sense because you can easily remake the gown if fashion or your body changes. You still have yards of uncut fabric. Garments were given as gifts or inherited, and altered to suit the new owner. This is why you might see a museum item with a description like “Spitalfields silk c1720-30, dress altered 1750-1760” where the textile can be dated decades before the style of the garment, with old seams or pin holes as evidence of a re-fashioning.
Here’s what it looks like on the inside!
AugustaAuctions-shrimp-interior
Look at this crazy mix of lining fabrics!

The back can be fitted with the CB ties, and you can see the reinforced fabric and stitches where the pleats are attached. This is a museum deaccession from the Brooklyn Museum that was sold by Augusta Auctions.

Damask or Brocade or Jacquard?

Since I don’t have much on the provenance of the dress, I wanted to delve into the textiles and the confusing intermingling of damask/brocade/jacquard. Shopping online you might see descriptions like this one from Mood: “British Amethyst Damask Satin-Faced Jacquard.” What the heck does that even mean?!

Let’s look back to see where this word salad came from.

French jacquard loom
Jacquard loom with punchcards from Musée d’Art et d’Industrie, via techniques-patterns.com.

Silk fabric production came to Europe from China, and by the Renaissance we can see evidence of complicated woven fabrics in paintings and frescoes. For example, “The Birth of Mary” by Ghirlandaio, which is in Santa Maria Novella in Florence. The fabric pattern on the noblewoman in the middle is very beautiful in person, and the detail is impressive even five centuries later.

Birth_of_St_Mary_in_Santa_Maria_Novella_in_Firenze_by_Domenico_Ghirlandaio
Zoom in on the gilt fabric. Image via WikiCommons

Brocade comes from the Italian wood brocatto originating from the past tense of broccare, which my dictionary give as “to brocade” but the older usage apparently meant “to stud with nails.” Brocco means stick or thorn in modern Italian, and broccoli means “tiny nails” so you can see the etymology. Brocade patterns required great skill and a lot of time; it would take weeks just to prepare the loom with up to 40 different thread colors, and then months of weaving it with the help of a draw boy standing overhead.

The name “jacquard” given to fabric refers to fabrics made on the Jacquard loom, invented in 1804 by Joseph-Marie Jacquard. His loom used punch cards to help create the design, meaning that a less-skilled worker could make a beautiful fabric much faster. A Jacquard loom can make various kinds of weaves including damask, brocatelle, brocade, and matelasse. So you could say that all of these are jacquard fabrics, but the way it’s most often used now is to describe a lighter-weight damask or brocade, with brocade calling to mind a heavier, stiff fabric. The Dreamstress blog goes into more depth and I really recommend it if you’re curious to know more.

I browsed the NYC garment district for some examples:

Damask: A reversible floral or ornamental design often in one color (flat and satin) or two (design and solid ground).

Brocade: Various designs, but gives a raised embroidered look. It is not reversible–wrong side of fabric will usually be striped.

IMG_8453
Typical striped reverse showing the different thread colors.

This was tagged as a “double-faced brocade” and you can see that this one has been woven to be reversible.

Imperial brocade: A type of brocade with metallic threads

IMG_8446
A nice shade of green, but obviously intended for a priest’s vestments!

Compare with this embroidered satin–see how there’s no visible weave or loose threads on the reverse?

IMG_8459

I came up with a little jingle to help me remember.

Flip it, mirrored- damask!
Flip it, striped- brocade!
Flip it, hairy-  discontinuous brocade!

Okay, that last one needs work, but maybe it will help you 😉

 How to Make It

We’ve gone over how a Piemontaise differs from the Francaise, the most popular formal gown for the latter three-quarters of the 18th century. But looking more closely at Claire’s version, I’m certain it’s actually a bodice over a cartridge-pleated skirt—just like the Red Dress.

Claire Fraser promo photo green brocade dress

There should be a petticoat underneath the open skirt of the gown like the extant dresses above. The large box pleat at the center of the skirt allows the bodice tabs to lie flat, and also mimics the look of gown-over-petticoat.

Green-brocade-OutlanderCostume-twitter
Terry’s a big fan of cartridge pleating, which looks gorgeous and gives a lot of volume. Georgian gowns have the skirt knife-pleated to the bodice.
claire-emerald-damask-byfireplace
Definitely looks like a single skirt here

 

Type: Robe à la Piemontaise

HA Rating: 9/10

Materials:
Silk damask or brocade, also blue/green changeable taffeta
Hook and eye closures (front)
Boning (along center front)

Est. Yardage:
Gown with matching petticoat: 10-12 yds
Satin fabric or ribbon for ruching trim (plus lining, lacing for lining back, etc.)

Patterns:
JP Ryan Robe à la Française/ Pet en l’air
Reconstructing History Robe à la Française
Robe a la Piemontaise tutorial by The Fashionable Past (with layout from Danish museum)

Robe a la Francaise overview by Couture Mayah
Mill Farm Robe a la Française
Overskirt/Petticoat – Simplicity-American Duchess 8411

Undergarments (to be used for all costumes)
Paniers/Side Hoops: Simplicity-American Duchess 8411, Dreamstress Panier-Along tutorial
Stays: Recommend strapless stays with this neckline. See Corsets and Crinolines (Diderot and half-boned stays), Butterick B4254 (View A or B), Simplicity 8162, or Reconstructing History
Shift/Chemise: Self-drafted or Simplicity 8162

Accessories:
Poison-detecting necklace (optional)
Drop earrings
Silk stockings with ribbon garters
Green satin 18th century repro shoes (Modern heels like these would fun if you’d like to look more like a time-traveler 😉 )

Back to fabrics—
If you’ve ever tried to find brocades or damasks that don’t look like they should be on a couch or a Halloween costume, you’re already well aware of how frustrating period fabric shopping can be. The lack of appropriate prints makes looking for a specific color like this beautiful deep green practically impossible. Months ago I found a perfect silk brocade for this project at a famous NYC fabric store… for the low low price of $79.95 a yard!
I would plan on budgeting for 10 yards, and for solid and jacquard silks you can expect to see $20-65 a yard. Beauties like this silk masterpiece can set you back $155/yard.
French cream silk brocade
This sample has been swatched so you can see the reverse.
This is assuming that you already have all the necessary undergarments and don’t need fabric for those as well. So yes, historical costuming can be an expensive hobby! In fact, the high cost of these textiles is why the Outlander costume department hand-painted and embroidered fabrics to extend their budget. Polyester is more forgiving for actual wear and your wallet (I would not want to see a dry-cleaning bill for this gown!), but the drawback is the choice of colors. The chemical dyes used can give vibrant colors than don’t fade, but the colors available are too garish to be HA. Affordable fabrics in natural colors are much harder to find, but make the difference between looking like you stepped out of a Watteau painting or got lost from the set of Amadeus. (GREAT movie, terrible costumes.)

Up Next: #3, The Red Dress!

 

Sources

Stills: Starz, Screencaps: Outlander-Online.com
The Silk Industry in Spitalfields
Britannica Online
Patterns of Fashion and other books on the Recommended Reading list

 

[Edited 8/30/17: Reading list missing link]

Costumes

Top 7 Looks from Outlander Season 2

Droughtlander home stretch people!

Outlander fans got a wee dram to hold them until the Season 3 premiere with a panel at San Diego ComicCon, plus plenty of adorableness from the cast and Diana all over Instagram and various interviews. Spoiler alert: Sam and Cait are still hot, and doing that whole “we’re-not-an-item-but-we’re-going-flirt-and-touch-each-other-for-the-fans” thing 😛 Also, Tobias got to talk sometimes lol. SDCC was followed by Costume College —why are all the fun things so far away? Would love to one day be able justify a flight to California for a weekend of sewing and costuming classes!

But until then, I’m going to keep sewing and share my top 7 gowns from S2 to get us through! Season 3 premieres September 10th, and then in October I’ll be at NYCC so this fall is going to be fun. I’m going to breakdown the look for you by looking at what type of gown it is, how historically accurate it is (and if not, how to make it accurate), and suggested patterns and fabric to make it for yourself! Plus, each look will have it’s own Pinterest board for source images, extant garments, and inspiration.

Continue reading “Top 7 Looks from Outlander Season 2”