Fabric for the Ladies: The Civilian Symposium 2016

The Civilian Symposium is full of highlights, but the most anticipated is the reveal of the "fabric" - each year all the female presenters receive a dress-length of fabric, with the instructions of "make a garment." Gentlemen receive a vest-length of a differing fabric.

This years fabric was an Italian cotton, in a fairly large scale, woven plaid. It had a very fine hand, much more like a wool challis than cotton.

The reveal looks a bit like this, except multiplied times 4 or 5!

 

Once in a while, the fabric immediately "speaks" and tells me exactly what it would like to become; other times (this time) it remains silent,leaving me to figure it out alone.

I started going through the many, many photos of original garments I've taken over the years and then through all the books and exhibit catalogs in my library.

Doing so caused my to notice something: plaids of this scale were nearly always wool or silk, not cotton. But I did come up with some possibilities:

1.) This one is in the Kent State University Museum collection. I've always liked the "bodice trimmed like a jacket" concept, but haven't yet constructed one. I also happen to have yards and yards of pale blue soutache that I could have used for the trim. But I decided against it; the fabric just seemed to casual for this dress.

2.) This a wool dress, the plaid being approximately the same scale as the provided cotton. The peplum, is actually a separate belt.It would have been a good choice, but it just didn't thrill me - I prefer something that will be a bit more of a challenge to figure out.

3.) This was my fall-back: if I didn't come up with any other ideas, I would make this one - at least it had an interesting sleeve! But I did find something else...

I had a chance to go off Island and took the opportunity to look for some coordinating fabric that might open up the possibilities:

Which lead to...

4.) But I came to the conclusion that the plaid was just too big, the sash would have been 20" wide!

Maybe a late 50's look?

5.) I drafted out this "tunic body" and even managed to make it fit with some tweaking, but it just would NOT work in the plaid - too many lines and angles coming together in strange ways. I do plan to make this in a solid silk or wool.

AND THEN I FOUND IT!!!!!

6.) Something interesting that would provide a slight challenge!

The fashion plate dates to November of 1859, I wasn't able to find a written description, but I'm fairly certain that either silk or wool was suggested.However, the cotton felt and behaves so much like a thin wool, I  decided to go for it.

Do to fabric constraints, I went with a small 90" hoop. I would have liked to suspend the bottom flounce from the top of the trim fabric, so it would look like a separate skirt, but there just wasn't enough fabric. I also plan on adding one more bow. I decided against going with a true pagoda, but did create a full bottom flounce for the sleeve and added a large open undersleeve.

And here are the other presenters:

Found Another One!

I have a somewhat odd obsession: attempting to match surviving mid-19th century stitched artifacts to period published patterns.

And I've found another one!!!

The ubiquitous "Mrs. Jane Weaver" has presented us with a "Head-Dress for Breakfast" in the October 1864 Peterson's Magazine, described as follows:

Take a simple square of white tarleton, trim with narrow black ribbon, and pin it quite forward on the front of the head; and you have the head-dress complete. 

And I've previously created my interpretation, based on the original artifact, several years ago.

This is a case of finding something completely off topic while researching a specific topic; it seems to happen nearly every time I leaf through my Godey's and Peterson's, one of the reasons I prefer to take the time to go page by page, as opposed to doing an online search.



Here's the original artifact, the resemblance to Mrs. Jane Weaver's depiction is striking, although not identical; the maker altered the materials and colors to suit her needs.



And here's my interpretation, again altered a bit to suit my needs. Complete details here.

2014 Conference Fabric - Fabric for the Ladies

One of the annual highlights of the Ladies & Gentlemen of the 1860's conference is the Saturday morning reveal of the "conference fabric" - each faculty member receives a piece, a dress length for the ladies and a different fabric for the men, typically enough to make a vest. It's always amazing to see how different the same fabric can look made up, depending on the choice of trims, placement, etc.

I always have both a sense of excitement and apprehension when I open up the package- like it or not, it must be made into a garment and worn. I'll admit u front, this is not a fabric I would have chosen for myself, but it has grown on me a bit as time has passed.

The fabric is a fine Italian cotton, with a lovely hand. I felt the colors would have been more typically used on wool or silk in the period, which was confirmed by Carolann when she described the fabric during the "Reveal".

With a fabric this bright and bold, there's only two options: attempt to tone it down or embrace and enhance the color. Most participants went with the tone it down option.

But when I went through my fabric stash and found this perfectly matching length of silk poplin, my choice was made: Embrace it or as a friend described it, "you bear- hugged it into submission".

I used a fashion plate (the lady on the left) and a sleeve detail from an original garment as inspiration.

My approach with the fashion plate was not to create a duplicate, but instead to interpret the details into my garment; I believe this is more the way fashion plates were used at the time, as opposed to being literally copied.

I did not have fabric to create the double skirt, but did have enough to place trim with the same dagged shape - I did not have this done for conference but added it later.

The bodice has a slightly pointed front and is trimmed with fancy buttons. I'll be posting more about the buttons in a subsequent post.

The sleeves are bishop style, with a twist - ending in points and brought back together at the cuff. The require a full undersleeve to hang properly, in this case, made of black spotted netting. Yes,I combined plaid and polka dots.

It wasn't clear in the fashion plate if the jacket was a true jacket or trim applied to look like a jacket. I decided to go with a true jacket, to give a little more versatility.

So there it is, the "diamond dress" - I'll be wearing it at Greenfield Village this weekend, see you there!

2014 Conference Fabric - The Gentlemen's Fabric

One of the annual highlights of the Ladies & Gentlemen of the 1860's conference is the Saturday morning reveal of the "conference fabric" - each faculty member receives a piece, a dress length for the ladies and a different fabric for the men, typically enough to make a vest. It's always amazing to see how different the same fabric can look made up, depending on the choice of trims, placement, etc.

This year, the men received the above fabric - I don't remember the exact textile makeup, wool and silk? Wool and linen? 

Regardless, it had a lovely hand and was enjoyable to work with. But the big question was how to use it? Robin has several vests now, in a variety of fabrics and a vest just doesn't have as many options as does a dress.

This pattern has been floating around in my brain for several years now:

It's from Peterson's, circa 1857. No instructions are given, just the diagram. Looking at the design, it seemed to be intended for braidwork - the pattern is continuous for the most part, with few stops or starts. But I have not yet encountered an original trimmed in such a manner - so time to do some research!

First I reviewed all my photos of originals: embroidery but no braidwork. Then I started on the reference books and in Nineteenth-Century Costume Treasures published by Shippensburg University, I found my first clue - the same pattern as above, with the note that it had been previously published in the Ladies' Cabinet of Fashion (an English publication) in 1852.  

A bit of online searching, and success!

This time instructions were included:

GENTLEMAN'S WAISTCOAT, IN APPLICATION.

Materials :—Black Cloth sufficient for a Waistcoat; black Velvet, Albert Braid, and Gold Thread.

The design given is equally adapted for braiding and application. The latter term is applied (as most ladies are aware) to any sort of work in which the pattern is formed in one fabric, and laid on another, which is the ground. The edges are finished in various ways. When muslin and net are used, the edges are sewed or button-holed over; for velvet, cloth, and satin a braid of some sort is usually laid over the edge, and sewed over. The Albert braid, recently made in this country, is especially adapted for such a purpose; it looks much richer than the flat silk braidings; and when edged on each side with gold thread, it has a very rich effect.

To prepare the work, draw the pattern the full size, on bank-post paper, and mark all the outlines by pricking them, at equal distances, with a coarse needle. Place the pattern over the velvet, keeping it in its place by means of weights, and apply fine pounce all over the surface with a large flat stump. When the paper is removed, the design will be seen clearly marked on the velvet. By laying the paper on the other side, the other half of the waistcoat can be marked. As these outlines are, however, easily effaced, it will be necessary to mark them over again with a solution of flake-white and gum-water, applied with a fine sable brush.

As in all else, there is a great improvement in the mode of marking patterns of late years. These prepared patterns, with a powder which u very adhesive, and a large stump, made for the purpose, can be readily obtained. The composition of the powder is a secret; but where 'he work is to be either cut out (as in applique) or braided immediately afterwards, this powder is sufficiently adhesive to enable the worker to dispense with the second marking.

The velvet should be cut out very accurately, and with sharp fine scissors. Then fine size, made of the best glue, being slightly applied to the hack, the velvet is laid on the cloth, in its proper place. When dry, the edges are to be finished first with Albert braid, then with a gold thread laid on at each side of it.

The scrolls are worked with the braid and thread only, and the veining of the leaves are done in the same way. The ends are to be drawn through the cloth, and fastened in the back.

If the waistcoat is to be braided only, without the application, a colour different from that of the material itself may be chosen for the braid. Narrow flat silk braid, commonly known as Russian or French braid, may also be substituted for the Albert; and the gold thread may be dispensed with. The design I have given is the newest style; and the shape of the enlarges pattern very good.

As I happened to have a large spool of pale blue soutache or "Russian" braid, my decision for this particular vest was made!

I typically use the Martha McCain Simplicity vest pattern - it fits Robin well and is accurate. But a couple problems quickly became obvious - the braiding pattern did not leave space for the pockets and did not fit on the lapels.

So back to the photos of originals, and as I suspected, original embellished vests always left room for the pocket welts. So I chose to split and separate the motifs. I considered designing some type of "bridge" embroidery to connect them again, but after completing the two separate motifs, I decided it would be too busy.

As for the lapels, turning the motif upside down fixed that problem. Changing fashion, over the decade between 1852 and the mid-1860's  probably accounts for the change in lapel shape.

I put in the darts and the pockets (I loath doing welt pockets!) before starting the embroidery and stitched through the paper pattern, pulling it away later. I found a beading needle worked very well, as it's important to stay in the center ditch of the soutache braid.

I had a set of buttons in my stash that I had intended to use, but didn't like them once the embroidery was finished. So I made a set of perfectly matched to the fabric grindle buttons, tutorial available here.

And here's the final result:

The above two photos were taken during the "grand reveal". Unfortunately, we failed to take any "posed" shots - must remember to do so this summer.

I'm quite pleased with the results, although I so see all the flaws, and Robin has been sternly cautioned to avoid any spillage - those results would not be pleasant!

Hidden Details - A Mid-19th Century Survivor

The years have not been kind to this flounced dress, circa late 1850's - early 1860's, but it has survived both time and extensive "remuddling" and has many hidden details to share.

It was constructed of a white cotton, with a thin blue stripe. The dress is quite petite in size, I suspect made for a teenager, perhaps by the girl herself, as the construction is somewhat crude. It was primarily sewn by machine. There are some atypical construction techniques used, that will be discussed later.

The dress has a gathered bodice, typical for cotton dresses and a a three quarter length funnel sleeve.

Again, as is typical, the shoulder and side seams are shifted towards the back.

The bodice and sleeves are lined with a light weight white cotton - you can see that the lining has been darted.

There is a pocket on the right interior, elongated at the top to form a "stay", which is attached at the waist and helps to support the pocket and the weight of any objects it might contain.

The sleeves are lined, with a simple turned up finish, which has been stitched with a herringbone stitch - not a stitch usually used for hemming. I was not initially sure if this was the original sleeve finish, but there is markedly less fading on the turned up portion, so it probably is original.

Currently, the skirt is machine stitched to the bodice, however, close examination does show the presence of hand stitched gauging.

An anomaly of this dress is the lack of piping. The waistline of this dress has been very crudely enlarged, but there is no evidence that piping was ever present at the waist, neckline or armscye - all places it would be expected in a dress of this era.

The dress closes in the front with hooks and eyes, a mixture of modern and vintage.

There is a band of cotton organdy at the rear waistline, this gave a bit more "poof" in the rear, to help prevent the dreaded "flat back."

The skirt was constructed using fabric panels the full width of the yardage, measuring 29" wide. The selvages are not whip stitched.

The flounces are cut on the bias, as is usual, however, they are both gathered and attached by machine - not typical. They are only modestly gathered, again a typical treatment.

The neckline was just turned and hemmed, not piped.

Some of the exceedingly crude repairs, as well, as what appears to have been some type of label - perhaps this dress was used in a theatre production?

Most assuredly rough, but still lovely - it would display quite nicely with the addition of a collar and perhaps a belt. Most collectors prefer items in more pristine condition, but rough survivors like this have their own story to tell and the modern "remuddling" is part of the story.

Available for purchase here.

High Flying Eagle

My head is in the clouds about this new find - a patriotic eagle!

I have a bit of an unusual hobby: attempting to pair up extant mid-19th century artifacts with the period publications that supplied the pattern. It's even better when I can manage to purchase the item, like the nightgown I recently received.

The yoke of the nightgown is adorned with extravagant  braidwork in an eagle design - a very popular motif during wartime, the Civil War specifically.

Here's the pattern, as published by  W. F. Sherwood & Co. of Chicago Illinois, circa 1865, in a mmanufacturer's sample book of embroidery and beading patterns - Sherwood's Impression Powder and Perforated Patterns, For Printing all Kinds of Designs for Braiding, Embroidery and Beading.

The entire pamphlet is available at the Antique Pattern Library, a fabulous site with hundreds of publications from a large variety of eras - all for FREE - although donations are accepted and encouraged.

I found it interesting that the nightgown was in Canada; the seller was not able to provide any provenance for the garment having purchased it at a "jumble sale". It would be lovely to know if the nighty was created in the States and migrated to Canada or did the pamphlet itself do the traveling?

The maker did not use the suggested cuff pattern and used a different motif (not in the pamphlet) of what appears to be a dove taking a nosedive on the back yoke - possibly some type of political comment?

I've been  in progress on my own nightgown for quite some time now, using a Sherwood design, although not the eagle pattern - maybe some year I'll be able to share that with you!