Category Archives: sewing

Super Productivity! Kinda.

So first off, an apology. I’ve been searching WordPress and my own brain for ways to do this, but I can’t figure out how to put a .pdf on a blog post. You know, for patterns. I’m stuck. So for now, I must apologize. I want to share some of the patterns I’ve taken but until I can figure out a way to get them here, un-warped and un-wonky, I can’t. ūüė¶

Other than that disappointment, I’ve been sewing like mad. Mad, I tell you! I just haven’t had the time to blog about it. Or take any nice photos.

Since early January, I’ve made:

1 1910s-1920s velvet hat (HSF Challenge #2: Blue)

1 1918 wool skirt

1 1900s cotton & lace corset cover (HSF Challenge #1: Foundations)

1 1910s linen blouse

1 1910s cotton & lace slip

1 1915-1918 wool jacket

1 silk and (oops) polyester ‚ÄúVotes for Women‚ÄĚ yellow rose brooch

1 early/mid 1920s velvet evening gown (HSF Challenge #3: Stashbusting)

1 pair 1930s wool & leather spats

1 late 1920s tennis (style) dress

… and I’ve begun an 1880s-ish corset.

And as always:

1 huge mess

3 small trash bags of scraps

1 medium sized dent in my vintage button & cloth hoard

1 $15 dent in my wallet (you read that right, BOOYAH)

All the 1917-1920 clothes I meant to make for the April HSF challenge, War & Peace, but I was so excited about them I started and finished them way too early. That¬†worked out all right in the end, though, because I wore them for a women’s suffrage play I was in, with the last-minute addition of the Votes for Women brooch.

I made all these with my 1902 Singer, which felt nice, because I was using antique/accurate tools. Yep, I know, nerdy.

And because I’ve been awful at taking photos of my work, here are just the ones I’ve photographed.¬†I’ll get pictures of everything later.

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I am in LOVE with this hat. I usually can’t find something big enough to fit my hair under, so I made it extra big. It’s got that big/loose hat thing that was going on in the teens and twenties, and I can actually put my hair up under it! Yay!

I made the blouse in the photo above from one of my dad’s worn-out 18th century shirts. It was old and threadbare, so I don’t expect the¬†blouse to hold up well. I’ve already popped a few seams¬†– the fibers just fell apart. That being said, I’m surprised at how nicely the shape came out – the pattern was roughly based on one of my modern Gap button shirts. I’m excited to make another, hopefully in a nice batiste, or something that holds up better to drawn-thread work.

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The corset cover (left) was taken right from my original (right), which is just a tad too small for me – not that I’d wear it. I made it from a thrifted tablecloth, mimicking¬†the design of triangular lace¬†appliqu√©s at the neckline. I love it – it’s comfy and even though the materials and my workmanship are awfully crude compared to the original, it’s the best I’ve ever done with a sewing machine, and I’m happy.

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This is my ’20s evening gown. I wanted it to be kind of generic so I could wear it to events. The idea was to make a semi-fitted slip and to drape the velvet on that, but halfway through planning I realized I didn’t have any cloth for the slip. Being on a frenetic sewing high I made it anyway, substituting ribbon for lining. Now it looks like the dress has interior suspenders. It works nicely considering the velvet’s heavy and hot (it was a curtain! Thanks, Laura Ashley), and a lining would just make it more uncomfortable to wear. It drapes fairly well, too, so I don’t consider it a failure. And it’s super comfy!

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The beading came out okay; it looks better hanging than flat, as above. I made the mistake of putting the beads on too tightly, which messed with the straight Deco lines of the pattern I chose. Live and learn.

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This is my late twenties tennis dress. I made it, again, from a thrifted curtain and a few pieces of red bias tape. I like it; it’s very comfy. When I wore it to work with my re-worked¬†cloche and a blazer it became very early-1930s-sportswear-ish. The dress itself is very basic; sleeveless with a V-neck and the skirt has two huge box pleats at the sides.

Now I’m working on a new era: the mid-late Victorian. I’m starting with a basic corset based on an 1880s example, and I’m hoping that, for now, I can get away with the 1860s with it, too. After that comes all the rest of the underpinnings and gowns and hats and shoes and stuff, which will be … challenging. I have one long-term project, a 1900-1920s beaded purse which will take me a year, conservatively, to bead fully. It’s about 40% done right now, and I’m slowly working away at it. Good stuff!


A new hat

I’ve been holding back my sewing appetite because I’ve had other things to do, but yesterday, I lost the fight and it resulted in a 1910s hat.

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Me doing my not-smiling thing, and my brand-new super suffragette velvet hat. I made it from a few bits of used cotton velvet, a couple pieces of canvas for stiffening/lining, and a length of narrow metal boning for the brims’ shape. I winged it; I didn’t have a pattern, and I had super luck making it, so I probably won’t be able to pull it off again. You know how those things work.

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The brim: just a loop of boning with a loop of velvet folded over.

 

 

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The sides; a wide strip of canvas folded in half lengthwise, and a somewhat wider strip of velvet pleated and sewn down to the canvas.

 

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Sides and brim, ready to be sewn together

 

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Pinning/sewing the sides to the brim.

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Inside out, sewing the top to the sides. This was later covered with a bit of that stripy material. I did completely hand-sew it, I could have used the machine on about half of it, but the rest was really better finished by hand. The visible basting stitches were an oversight that I might re-do later.

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And hat! Needs some feathers/flowers/stuff. It’s very comfy.

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It’s kind of like this purple number from The Los Angeles County Museum of Art. Click here for the item description.

And finally, yeah, I made it on a whim and I have nowhere to wear it. I’d love to make a whole suit/outfit to go with it. I have some more velvet and a lot more of the cool stripy lining material. Maybe.

 

 

 


My Late Reticule

I’ve recently joined The Historic Sew Fortnightly, which means I not only have deadlines for school and work, but also my hobby.

And I missed one!

I meant to submit this piece for the challenge that ended last night, but I missed it by half an hour. I would have been really lucky to get it done by then, considering that I hadn’t been a member of the group for long. Like, five days or something.

This project began when I decided to remake my little white reticule because it was a little too little. So I tried the big, pocket-shaped embroidered style popular in the late 1790s and early 1800s.

So here’s my adaptation; 100% hand sewn with linen thread and made with linen and cotton fabric, and a cotton cord for the drawstring. And probably about 2 cups of starch. Again, I used my huge embroidery vocabulary of two different stitches here. Completed, it’s about¬†14″ deep by 10″ wide, certainly big enough to hide¬†an iProduct in.

For reference, here are some originals from Two Nerdy History Girls here. And some variations on the theme, from the Met, here and here.

I rushed through mine and finished it to the point of being juuust useable … but now, hey, since I missed the¬†deadline, why not¬†keep working on it? I’m thinking I’ll embroider the front pieces¬†more. It could use more fancy.

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I cut two U-shaped pieces of linen, and two of cotton for the lining, and starched the bejeezus out of them because I didn’t have an embroidery hoop. I also tacked the edges together. The embroidery designs are adapted¬†from the originals linked to above.

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I gathered a strip of linen to the edges to make the sides, and used a scrap of cotton for the drawstring casing and ruffle at the top.

 

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Close-up of the embroidery, which I like, but is super basic. And that weird circle thing in the middle of the design could have been executed wayyy better. And what the heck am I going to put inside the circle? A peacock? Maybe a basket of flowers or a cornucopia? Phhh. 

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All gathered up.

 

 


Springy Underthingies

I have been sewing a lot, which means I have other things that I’m procrastinating on.

Like midterms. The surprise one that’s due in four days. And the two papers due five days after that. And registering for Spring classes in five days.

Aaaanyway.

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From my limited research, it appears that steel springs were used in clothing beginning sometime around 1760-1780. They don’t seem to have caught on for much other than garters, which they were used for through the 19th century. The Kyoto Costume Institute has a pair of 1790s transitional stays with springs in them, but they’re the only pair I’ve ever seen.

So late 18th century springy garters are cool. I’ve wanted to make a pair for a long time, and just last weekend was given two lengths of spring suitable for them. Of course they had to happen.

IMG_2136With wire cutters, I cut 6 pieces of 3″ long springs, and made little loops on the ends with pliers.

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I sewed two pieces of cream silk taffeta in little channels, leaving about 1/4″ edges for ruffles.

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I sewed the springs to pieces of cotton tape.

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Put the silk over them,

IMG_2144and sewed smaller pieces of tape to the other ends of the springs.

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Then I cut larger pieces of the same silk and pinned them to the tape at one end, sewing the other end together.

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I flipped these over and embroidered the silk in place on the tape. I used my extensive embroidery repertoire of a backstitch and a satin stitch.

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And here’s where I left them last night: Mostly embroidered up, except for whatever I want to put in the cartouches. Maybe my initials, I don’t know. I’m pretty proud of how the embroidery came out. It’s the best I’ve ever been able to do! I’m excited to get these finished, but¬†midterms are calling.

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An 18th Century Workman’s Apron

Last night my order from Burnley & Trowbridge came in (yayyy!!) so I was able to finish my dad’s new work apron.

My dad and I often wear aprons when we do shows. We sell metalware, which is oiled before it’s packed for a show – and then needs to be wiped down when we set up.¬†So we don’t need heavy work aprons, really, just something to protect our clothes as we’re setting up the table.

Dad had an apron made from heavy canvas in an eye-poppingly wide navy and white stripe. It didn’t fit very well and was so heavy it pulled his waistcoat down. It was also old and pretty dirty – oil doesn’t wash off so well.

His new apron is made from a lighter cotton-linen blend in a white and coffee-brown woven stripe, with thin cotton ties. I hand sewed it with linen thread. It’s a simple design; the top is a triangle and the bottom just extends into a square (but it’s cut in one piece). I hemmed the edges, added a buttonhole and a loop at the top corner, and two ties¬†at the hips.

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There’s no way to make this thing look decent if it’s not on a person.

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A buttonhole that behaved and went together well! I’m always thankful for that. I added a waxed linen loop at the top, for hanging and just in case the buttonhole didn’t let the apron fall correctly. It’s probably superfluous but whatever.¬†


Jumps 2.0

I had nothing going on this past weekend, so I cranked out my new jumps.

I machine-sewed them, which went against my new habit of hand sewing everything … but I wanted to spend more time fitting and experimenting with a new pattern then putzing with hand sewing. I’m reacting against my last stays experience: I spent a looong time hand sewing those and¬†they¬†came out very well made, but don’t fit so well.

I saved the pattern for these, so I’ll make a second, hand-sewn pair later. I want to make the second pair in white cotton and embroider them, like the original. Mine are made from about 1.5 yards of bulky cotton/linen canvas in a drab tan/olive color. I used steel¬†boning and some nice waxed cotton cord for the stay lace.

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The plan, based on a pair of 1780s-90s jumps at Colonial Williamsburg, probably worn by¬†Ann Van Rensselaer in New York. These jumps aren’t on the CW website anymore (!?!?!) but they’re in What Clothes Reveal, by Linda Baumgarten, page 211.¬†

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“cut here”

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The front part boned, and the back part chalked out.

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Ironing the ends over to sew the back pieces in.

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Handmade eyelets in between ugly machine-sewn channels. 

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On my desk, almost finished!

So right now they’re pretty much finished. They went together very quickly, and the design¬†is flattering and doesn’t use up¬†a huge amount of materials. I’ll see if I can get some nicer pictures of them soon.

 


Tomorrow = 20 days

I didn’t expect to be so busy with school this month, so writing a blog post had to be delayed. But I’ve been sewing for short amounts of time every so often, and I’ve gotten a lot¬†more done!

1) The bodiced/un-bodiced petticoat hasn’t been altered yet; I guess I got bored,

2) My printed blue cotton dress is now¬†finished; I added hooks & eyes to the back (not my original plan, and not how the original closed, but now it’s wearable),

3) I made a nice white linen chemisette with cotton lace trim,

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I eyeballed this from the earliest, simplest, documented chemisette I could find. It’s probably most accurate for 1800-1815. The collar doesn’t really fall the way the original did. I really wanted a dorset button for the closure under the collar, but I couldn’t find my button¬†stash at the time. If I find it I’ll upgrade from this mismatched hook & eye.

4) I’ve gotten about¬†halfway done with that 1760s waistcoat I began a little while back,

waistcoat 2014

It’s wrinkly and saggy on my tiny hanger, but look at that wool. It’s black with a white diaper pattern woven in, and it’s gorgeous. The rest of the waistcoat is made from some of the nicest linen I’ve ever found. I’m really excited for how it’s turning out!

5) because I wanted a cool hat, I made a small, green linen calash,

Calash 2014

I dyed linen green, and I chucked a¬†spool of linen thread in the dye too – but of course it didn’t take color¬†so well, so I had to Sharpie the thread darker later. And I didn’t take enough photos of the process, but the body of the calash is basically a rectangle with a number of metal bones running through it, and the ends of that are gathered to a binding. The back is a teardrop shape, boned, and the calash body is gathered to that.

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Finished! It’s not perfect but it’s cool. It turned out a little too small; the ridges touch the top of my head. I also made it too long, so I had to add thread stops inside to keep it from extending fully. Right now it has icky polyester ribbons, but I want to get some nice silk ones for it soon.

6) and because I don’t know when to stop, I decided that I need a nice comfy pair of half-boned 1780s stays. They’d be better for the events I do, which involve setting up displays and then sitting for hours¬†on end – something my fully boned 1740s/60s stays aren’t so nice for. I haven’t taken scissors to cloth yet, though, I’m still thinking about how to do those. Later.

 

And finally, a¬†tiny life hack. I needed to shape and pad out this mannequin a lot to photograph¬†my¬†1880s bodice, and my epiphany was to use old shoulder pads. I pinned them to the mannequin making sure the pin heads were flush. They really helped puff out the tails. I’m thinking of making some ‘for real’, with nice cotton and fiberfill.

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How-To: Oiling a Singer Model 27

¬† ¬†This November, my Singer Model 27 turns 113 years old. Here’s how I’ve been keeping it running smoothly.

¬† ¬†After any restoration work, all a¬†Model 27 really needs is continual oiling.¬†It’s simple enough to¬†oil yourself, and it’s all iron and¬†steel, so you don’t have to worry about the oil reacting with plastic or electronic components. Hypothetically, if you dropped it in a huge vat of oil it would just smile.

¬† ¬†I use gun oil for my machines.¬†I think it’s¬†a good choice, because it’s meant for small machines that get dirty and work up heat. I’ve had no trouble with it.¬†

¬† ¬†Before you start, take out the needle, the shuttle and bobbin, and the felt disc on the spool pin. I’ve also taken my¬†machine off the table, and removed the belt, one of the plates on the floor of the machine, and the bobbin winder: but you don’t need to do all that.¬†

When does my Model 27 need oiling?

    It needed oiling yesterday. And today, and tomorrow. And the day before yesterday and the day before that.

¬† ¬† No really. It will take¬†a few drops a day if you’re using it, and more every so often. This machine will work ok without all this attention, but it’ll really work well if it’s been oiled.¬†

How-to:

¬†¬† The Model 27 has three oiling holes,¬†all located in the top of the machine. Three or four¬†drops in each hole are all that’s needed on a daily basis, for daily use. Spin the wheel as you’re adding oil. If the oil forms a bubble, poke it with a pin until it drains.

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The first hole is located very close to the join between the machine body and the belt cover.

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The second hole is right next to the spool pin, and should usually be covered by a little disc of felt or wool, to keep the spool from scratching the enamel.

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The third hole is on the arm proper, right up by the head/face.

Other points to oil:

The spot at the top of the head where the foot post and needle post come out (visible in the photo directly above): oil these liberally and flip the foot lever/spin the wheel a few times so the oil gets down into the workings. 

Any adjustment screw or nut: a drop is more than enough, then wipe off the excess. If you can take the screw out without the machine popping apart, do that; oil the threads and put the screw back in. 

For the thread tension contraption, don’t go crazy on the oil. It needs oiling, but it’s difficult to wipe down, and any oil left will get on your sewing thread.¬†

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The head of the machine with the faceplate removed.

¬† ¬†Inside the head of the machine is a good place to oil, especially if the machine will be sitting for a while. Take out the two screws and pop off the faceplate. All you need for this is a 1/4″¬†flat-blade screwdriver. This size works for most of the screws on a Model 27, so it’s nice to keep one handy. A 1/2″ flat-blade screwdriver fits the rest of the screws on the Model 27.¬†

   With the head open, drop the foot and spin the wheel. Whatever moves, oil the joint liberally and spin the wheel some more. Oil the upper part of a joint, then spin the wheel and let the oil work its way down.

¬† ¬†While you have the face plate off, you can¬†take a small, stiff-bristled paintbrush and clean any¬†lint out of the machine. The workings of the Model 27 are pretty enclosed and shouldn’t accumulate too much lint, but it’s nice to check anyway.¬†

¬† ¬†Notice that the body of the machine isn’t enameled where the faceplate joins the body; this area is bare metal which rusts easily and should be oiled a little before you put the plate back on. Wipe it down, and oil the screw threads too. You’ll be glad you did, next time you take the plate off.

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Inside the body

    Above: the oil holes at the top should direct oil right to most of the hinges inside the body of the machine. To get oil into the rest of the hinge here, you ned to turn the machine on its side, or to use a dropper with a long nose. Again, spin the wheel for a while to get the oil worked in. 

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Inside the head

    Above: this little door opens to show the end of the rotating inner arm, and the shoulder of the small arm that holds the thread. The hole in the top of the machine should direct oil to this spot, so all you really need to do is add a drop or two to the top of the shoulder of the little arm. 

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The undercarriage

¬† ¬† Above: every so often, you’ll need to¬†drop oil on every joint underneath¬†and spin the wheel for a few minutes.¬†

Storage:

¬† ¬† Now that you’ve oiled it, it’s probably going to seep oil for a little while. You have been warned.

    I wad paper towels up and pack the machine with the pads, and I set the whole thing on a rag or a few paper towels to catch any oil.

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¬† ¬† When you’re ready to sew again, take care to wipe all the oil from the outside of the machine and wherever the thread winds. It’s a nice idea to sew a few lines on a scrap of cloth before starting your actual project, then wipe the machine down again, just in case there’s more oil working its way out.

How much is too much?

¬† ¬† ¬†There’s really no such thing as over-oiling. It’s just a little wasteful, and it means that you’ll have more work to do wiping off the extra oil when you want to use the machine again.¬†

¬† ¬† ¬†If I’m not using the machine daily, I give it a good oiling once a month or so, and spin the wheel every few days to keep it from rusting in place. If I’m using it daily it gets a few drops every day, then a thorough¬†oiling when I’m done.¬†

¬† ¬† ¬†And that’s how to keep the Model 27 spinning! Happy sewing! : D

More:

     A facsimile of the original Singer Model 27 manual, with instructions on how to oil the machine. 

     Another link to The Singer Sewing Machine Co. Manual for the Model 27 & 28. This version is newer and shows added motors on the machines. 

     The Wikipedia page on early Singer models.

     More info on Singer vibrating shuttle models.


Jazz Age Costuming!

For the Jazz Age Lawn Party in August! Yay!!

It’s a huge 1920s-themed lawn party on Governor’s Island, NYC! It’s going to be awesome! Before it happens, though,¬†I have costuming to do: possibly up to five dresses and¬†maybe some hats.

I have two 1920s dresses I’ll be drawing construction details & patterns from, and one early 1930s ensemble that I may use as well.

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My 1920s feed sack dress, with two types of lace trim – it’s made from¬†a fairly simple pattern and has a very 1920s look.

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My early 1920s cotton dress. It’s difficult to see the form and drape without a mannequin, but it’s got some great pleating details.

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My early 1930s sailor dress set Рa little more form-fitting, and so summery. Again, pretty icky without a mannequin. 

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This hat is from the 1970s and doesn’t bear much resemblance to many 1920s hats – but it does look a lot like the hats worn in the 1970s version of The Great Gatsby.¬†

So I have some pale green cloth I may use for either a whole dress or just some trim, and I have a handful of assorted old lace I might use too. I’m going to get some cloth for more dresses soon. There are a lot of straw hats out there right now that look very 1920s, so I think I’m covered for hats. I also have a great old paper parasol with a hand-painted, vaguely Asian pattern that may suit well. I’ll see how far I get before mid-August!


When in Rome …

I’ve seen a lot recently about Regency and Empire clothing, and so here’s my addition: this past weekend, I decided that I was going to finally finish my late 1790s-1800 outfit. Here’s what I got done in a three-day weekend:

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Shoes! A dress! And a real live corset! Yay! But no stockings yet.

Shoes:

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I came across these awesomely ridiculous pointy-toe 1980s shoes a few months ago, and have wanted to remake them into 1790s¬†shoes since then. My inspiration were mainly the blue and black shoes second from the¬†the top of American Duchess’s blog post,¬†here, which suited the toe and heel shape as well as giving me a bold design to disguise all the faded marks on the toe.

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In progress. I had to move the mid-foot seam back to the heel a little, since I couldn’t get my needle through the layers at the ball of the foot.

They were so much easier to remake than other shoes because I didn’t have to cover the toe, and because of the the sling-back design. I sewed leather to the heel, then folded it up and sewed it to the slingback. Pretty simple. I painted the toe and heel with nail polish (which looks like patent leather when it’s dried) and tacked a silk ruffle and bow to the front of each, and voila!

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They’re not perfect, but I’m pretty pleased. The paint job is a bit crude. They’re certainly garish enough.

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They really need binding around the top edge and down the seam at the back of the heel, but right now my fingers hurt from trying to sew these things, so binding will¬†come later. Another thing I’d like to do is paint the front of the heel brown, to look a little more like a sole.

Corset:

I started this corset¬†almost two years ago! I didn’t have a pattern for it;¬†I drafted it by wrapping the cotton around me and marking where I thought darts would be nice. Then I ran out of thread, wound up busy with work and school, lost interest and/or forgot about it.

So, this weekend, I picked it up again and finished it in a few hours. Booyah. It’s not super accurate, but it’s 100% hand sewn and gives the correct shape though it doesn’t have a busk yet. It’s corded a little, and it’s got four¬†pieces of boning – that’s it. It’s a bit too long to sit comfortably in. I think I can take the front up a little, but I’m just so pleased that it’s finally wearable that I don’t want to sew it anymore.

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I had an awful, awful experience when I was sewing this corset. I was holding a mug of hot coffee when I sat on the couch, and accidentally sat on the corset, and accidentally sat on a HUGE steel pin I had holding the busk channel together. It was traumatizing, and I know I’ve watched that scene in an old cartoon somewhere. I wound up with coffee scalds on my legs and a welt that made sitting a little uncomfortable for a day. I will never sit on a couch without checking first again …

Dress:

My¬†goal was to make an unlined, very light dress. I’ve seen a few Regency and Empire gowns, and am always struck at how deconstructed they are compared to 1770s and 80s clothing. So I avoided my 1812 dress pattern with puffy lined sleeves, and started from scratch: no pattern, no lining, and 100% hand sewing. I draped it on myself, which went better than I expected.

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The air conditioning dial and me.

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It needs a little more Grecian Bend for the late 1790s. I’m getting there.

My design inspiration was mainly this dress, with the sleeves de-poofed¬†a little because I wanted to go for a slightly earlier look.¬†I’ve seen a lot of neoclassical gowns that close with two tiny ties or drawstrings in the back, but that doesn’t work well if you line the bodice and have bulky machine seams. I had to line the back of my¬†bodice to help hold the weight of the skirt. Then the back didn’t quite close. Nothing uglier than corset laces sticking out of the bodice.

I came up with a kind-of solution that I’ve seen on one original: an inner flap to cover the crack where the bodice sides didn’t meet. Since this new solution doesn’t completely work (every time I move my arms it pops open again) I’ll add a third tie in the center and that should fix things. I hope.

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Ew! Still ugly!

Reticule:

Still in progress, but so far I’m super happy with the effect of the hand-sewn linen embroidery on linen. I’m going to make it a flat-bottomed bag shape, gathered with a drawstring at the top, and lined in cream silk.

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Beginnings.

And now, since I can’t seem to find a living history group in the NYC metro area, the first¬†time I may get to wear these will be in January or February. Boo.

But, on a better note, I have two awesome costumey events coming up in the summer & fall, so I’ll be sewing for those¬†soon. Yay!