Saturday, 20 December 2014

An 1840's Baby Dress

As little H have only just begun to taste solids, and is thus still dependant on me for food, he naturally had to come with me to the event at the Tegnér Museum I mentioned in my last post. Of course he needed to be properly dressed as well. I looked through my stash, and found some old cotton curtains I’d bought for the fabric a few years ago. It was all bleached on one side, but the other side was in good condition. The fabric is similar to what is used in this extant dress. The dress was hand sewn using linen and cotton thread.


The bodice is high necked – it is winter after all – and bound with a self fabric bias strip. It closes in the back with mother of pearl buttons from my stash. It’s lined in plain white cotton, and then eased into the waistband.
 


The skirt is tightly cartridge pleated to the waistband, and has numerous tucks – more than I had planned; the result from cutting the skirt too long. The tucks help a lot to prevent the skirts from clinging, they look pretty, and of course, can be let out if needed. 


When I came to the sleeves I was beginning to run out of fabric: I’d used some of it in my eldest boys patchwork quilt three years ago. I decided to make short sleeves cut on the bias – very 1840’s – and have longer ones under them.


The longer sleeves are pieced, with plain cotton sheeting where it won’t show under the shorter sleeves. They are only loosely sewn in, and can be removed in summer. They are pleated to cuffs, also closed with mother of pearl buttons. 

 
The dress was worn over the petticoat I’d made previously. A little shift should have been worn as well, but I didn’t have time to make one, and the medieval one I tried before turned out to be too bulky. It worked well anyway. He also wore tights, to keep warm and hide the very modern nappy. Little drawers would have looked nice, but lack of time…


I think H looked absolutely adorable in his little dress! Quite a few discussions on baby clothing in the past was the result of people assuming he was a girl. Several people recalled that they had pictures of their grandfathers in dresses when babies. And thus the boy in a dress issue was diffused.

The Challenge: #22 Menswear (Yes, I’m stretching this, as the dress could just as well have been worn by a girl.)

Fabric: Different cottons.

Pattern: Drafted my own from looking at pictures of extant baby and toddler dresses.

Year: Roughly 1840’s. 

Notions: Cotton and linen thread, mother of pearl buttons.

How historically accurate is it? As usual, as best as I could make it without looking at extant dresses in person. Period materials, constructions and stitching.

Hours to complete: Mmm… maybe 8-10?

First worn: For the pictures and a small event at the Tegnér Museum in Lund, Sweden, on the 29th November.

Total cost:  Nothing at this time, as fabrics and notions came from my stash.

Friday, 12 December 2014

1840's Maternity Dress

The first Saturday of Advent I had a little event to attend; my friend Maja and I was going to sit in the Tegnér Museum, as part of the larger event Thomanders Jul i Lund, a rather new Advent celebration in 19th century spirit. 

Picture (c) J. Wagner

Last year my friend and I were also involved, showing period sewing techniques, and we decided to go 1840’s, as Thomander (a professor at the university and later a bishop in the Church of Sweden) and his family were all alive and living in Lund at that time. Maja made a dress last year, but I had been asked to go as a farmer’s wife, so I wore my Insanely Pieced Dress for that. This year though, we were both going to be women of the bourgeois, so I needed a new dress. Poor me.  

Picture (c) J. Wagner.

As I knew I was going to loose baby weight during the time I made the dress, it felt like a waste of time and fabric to make one with a fashionably fitted bodice. Learned that the hard way... A maternity dress would be better, as those could be worn at home while breastfeeding. Luckily I have a pattern diagram taken from an 1853 maternity dress, so I used that as a guide. I only changed the sleeves to look more 1840’s, and put in drawstrings to make the dress more fitted when not pregnant. 

The drawstrings pulled tight. Picture (c) J. Wagner.

Having drawstrings to take up the width of the fan front bodice is something I saw in a picture of an 1860 original a friend - and museum curator - showed me. That isn’t a maternity dress, but I thought it plausible for my purpose, if nothing else.



The fabric was a duvet cover set from IKEA that I bought a year or so ago, as my first thought when I saw it was “mid 19th century dress!”. It was too expensive for me then, but a few months later I found it in the bargain corner for much less, as it had been used in the displays. Joy! I’ve seen it made up into both an 1830’s dress and an 1850’s one before. Both to not look too much like the others, and as I liked it better this way, I dyed it brown. It now looks somewhat similar to this dress:

Wool dress, 1845-50. V&A T.849-1974

The dress is cut like other dresses of the time in the back, but the front is cut in one from shoulder to hem. The bodice is flat lined in the back, but has a separate lining in front. This is tight fitting, and laces up – tolerably easily adjustable when pregnant. This bodice lining makes the back of the dress fit snugly, even when the fashion fabric may hang free and flowing in front. To make it fit nicer, the fashion fabric is attached to the lining halfway toward the front with a line of stitches, as in the original.

The separate front bodice lining, laced up. It's fitted and boned, as it was in the original 
1853 maternity dress. The drawstrings of the fashion fabric can also be seen, 
as can the petticoat, sitting low on the hips in a brave attempt to achieve the long waisted look of the 1840's.

The sleeves are also lined, and all but the side seams in the bodice are piped, as are the sleeves at the wrists. The skirt is cartridge pleated to the bodice. To give the pleats a bit more character, I inserted a strip of cotton sheeting in the fold before I pleated the skirt. This simple thing makes a lot of difference, as the pleats get a fuller look, instead of being flat.


The hem has a wide facing. I’ll have to shorten the skirt a bit; it’s a tad too long, and brushes the floor in a couple of places. It’s tricky balancing a skirt by yourself.

Picture (c) J. Wagner.

The collar is the one I crocheted a while back. I wore a bow pinned at the front of the neckline for the promo pics before the event (before the dress was finished), but as little H would just tear at it, I left it off for the event itself.  The collar was basted in, so even if he pulled that, it stayed put. The cap is also one I made earlier this year. 
Maja and I - I added another drawstring just below the bust later.
Picture by Lena Birgersson of Thomander's Jul i Lund.

The whole dress is hand sewn, using linen and cotton thread. I wore it over my 1840’s shift, my regency stays (they are not curvy enough over the hips, but otherwise acceptable for the Romantic era), my bum pad, quilted petticoat, a tucked petticoat, and a plain one. I had white wool blend knee stockings, and black ballet flats. All in all I think I looked rather sweet, in a motherly way, though I had a bad hair day.

Picture (c) J. Wagner.

The event was really nice. Maja was tatting, and I was taking care of little H, but as children in period clothing are usually quite the attraction I didn't really need to do anything else. The guide showed visitors around and talked about the house, and the poet and man of the church Tegnér who lived there between 1813 and 1826 - we wore fashions decidedly later than the furnishings of the house. We talked to the visitors about period clothing (stays being the most interesting), sewing, women's roles, children's lives and such. 

Picture by Torbjörn Engström, one of the visitors, who kindly sent it to me.

The Challenge: #21 Re-Do (#14 Paisley and Plaid)

Fabric: Different cottons.

Pattern: Drafted and draped my own, based on a diagram of a maternity dress from 1853.

Year: Second half of the 1840’s. 

Notions: Cotton and linen thread, cotton tape, cotton cords (made from cotton yarn), cotton string for the piping, velvet ribbon and zip ties.

How historically accurate is it? Tolerably. The only thing construction wise I’m not sure about are the drawstrings in front, but I think they are plausible. The fabric is… all right, but not a reproduction print. It hides spit up well – a good thing when you have a baby :)

Hours to complete: No idea; I could only work on it every now and then for a few months. Quite a lot though – if I used a solid fabric it would go a lot quicker, as the print is not as symmetrical as it looks…

First worn: For a small event at the Tegnér Museum on the 29th November.

Total cost:  The duvet cover set was 144 SEK ($19,17; £12,20; €15,38), and the velvet ribbon was about 30 SEK ($3,99; £2,54; € 3,20). I had the dye already, and I got it on sale a while back. Don’t remember how much it was though. The rest of the fabrics came from my stash, and would not cost much if bought in a charity shop.

Saturday, 8 November 2014

A Witches Bonnet

I finally got some pictures of my witches bonnet for the Historical Sew Fortnightly. Tobias comes home from school so late every weekday that it’s already dusk, so I haven’t had the opportunity until today. The whole family went for a little walk, and then we stopped for pictures in a nice place. I got the odd look from passers by, wearing a bonnet like this in a perfectly normal neighbourhood :)



The bonnet was originally an ordinary woman’s felt hat from the charity shop, nothing special at all. I got it years ago, and had already cut away a piece at the back, stitched the brim back up, with millinery wire inside the fold, and steamed and slightly reshaped the crown to give it a slightly quirky look. 


Now, the only thing I had to do was line the brim and trim the thing. Simple enough. I didn’t want the lining to differ too much in colour from the bonnet, and I was lucky enough to have an old, worn out blouse in my stash. It was brown, with a woven in pattern. I just cut a straight piece from it and stitched it to the inside of the brim, with the width taken up in pleats where brim and crown met. 


For the trim, I cut a curved piece of organza, left over from a previous project, twisted it slightly, wound it round the crown, and tied a bow. I twisted and interlaced an old necklace made from organza ribbon and glass beads round the fabric and pinned some feathers under it. Done! Simple but effective. Now I only need some proper witches robes…


What the item is: A witches bonnet.

The Challenge: #20 Alternative Universe.

The Alternative Universe: The wizarding world that creates the backdrop for the Harry Potter books.

Fabric: Wool felt hat, cotton, synthetic fibre organza. 

Pattern: None.

Year: Somewhere between 1830-2014: the wizarding world doesn’t really follow Muggle fashions. 

Notions: Organza ribbon, glass beads, feathers, cotton thread, pins.

How historically accurate is it? Not a jot. It’s loosely inspired by 1830’s bonnets though.  

Hours to complete: Remaking the hat and lining the brim took a few, but adding the trim only took minutes.

First worn: For our Halloween party last week.

Total cost:  Nothing at this time, everything was in my stash.

Monday, 3 November 2014

A Harry Potter Halloween Party

Celebrating Halloween with parties and scary costumes is not tradition here in Sweden. We have a much more quiet remembering of our departed loved ones on (after several changes through history) the Saturday falling between 31 October and 6 November. We light candles on the graves, and that’s it, really. However, through popular media the awareness of how Halloween is celebrated in other countries has risen and a desire awoken, and now you can actually find the odd trick or treaters on your doorstep. I, who always loved dressing up, think this is great fun. Of course I would host a Halloween party!


My first idea of generic, not too scary Halloween decorations (we’d invited five families with kids between ages 3 months and three years) soon evolved into a Harry Potter wizarding world theme. It would have to be a low budget affair, but being the nerds we are, we have enough odd things to make a decent show of it, with some craftiness. Here are some pictures of my decorations and food. Once the guests arrived I pretty much forgot about my camera, so I never got pictures of their costumes or of the nice things they brought - everyone brought a dish or something to drink, and thus food was sorted.

We have a soft toy badger from IKEA: with yellow and black ribbons added I had a Hufflepuff mascot, as a memory of former school days – I was sorted into Hufflepuff House on Pottermore.


Potions ingredients, in bottles and jars. I especially liked the “salamander blood” (water with red and green food colouring and cooking oil) which moved in a decidedly icky, half clotted, bloodlike way. 


There were also some quills, spellbooks (or was it really The Collected Works of Jane Austen, The Pilgrim’s Progress, a Bible from the 1870’s, and a book of male etiquette and skills from 1946?), and other odds and ends.


To keep our big marble mortar company we added a few small brass ones: clearly the material used in your mortar might affect your potions ingredients, and thus the potions. 


Our post owl (a stuffed toy hubby got when he graduated High School), is patiently waiting to deliver a letter (a real one I received from a friend some time ago), perched on top of a kitchen cupboard. In the foreground some plants, meant for potions, drying. 


The staircase was full of bats, made from egg cartons, and
I cut out silhouettes of a cat and several mice, to give the children something fun to look at. 

 
I’d made some bread, and some Cauldron Cakes. Both were yummy, but as little H was really loosing his patience with me preparing for the party, I was stressed and messed up a bit, and the Cauldron Cakes didn't turn out as pretty as I'd have hoped.  Better luck next time

 
The Cauldron Cakes were inspired by these two (1, 2), but I filled mine with mashed raspberries gently folded down in whipped cream. They were even more delicious a day or two after I made them. 


All in all it turned out really well, considering the limitations I had as to time and economy. I hope in time to be able to turn our whole home into a wizarding house at Halloween, hiding from view everything that is decidedly Muggle. If I add to my stock of odd things and decorations a little at a time, I may get there in the end.

Unfortunately I didn’t get any good pictures of us. We were dressed as a wizarding family, of course. I’ll have a photo shoot when time and the weather allow, because I really love my witches’ bonnet, and it was a HSF challenge.

Friday, 17 October 2014

American Duchess Giveaway

This is not a period I currently do, but it's only a matter of time - I've been thinking of it for a while, admiring the work of others. Having the right shoes would certainly be a good start - or I might just go for the gift card and order a pair of Gettysburgs for the 1840's impression I'm currently working on.... tough choice.


Oh yeah, I would have to win first.... :)

Sunday, 5 October 2014

Baby’s Mid 19th Century Petticoat

For the HSF challenge # 18 “Poetry in Motion” I didn’t have a poem suitable for the project I needed to work on. So I cheated.

When I thought of the baby dress (and the petticoat that will go under it) my littlest one need for the 1840’s event in November I couldn’t help thinking of Anne Shirley Blythe in Anne’s House of Dreams: the horrid day when her wee daughter died, and the happy one when her son was born. They both always make my cry. I also thought of her reaction to her sons shortening, thinking that he grows up too quickly. I imagine that, though the story is set 50 years later than what I’m aiming at, those feelings might have been shared by many a mother in the 19th century – I feel the same when my children have outgrown a size and all the clothes are put away. One would think the sentimental Victorians would have written one teensy poem about the shortening of baby’s dresses, or mentioning baby dresses at all, but I came up with nothing….

The petticoat is worn over a medieval shift – the difference isn’t that great,
and as I don’t have time to make a baby shirt just for this one event….

This is not poetry, but the writing of L. M. Montgomery is often very poetic prose – she, hardly surprising, did write proper poetry as well – this one is appropriate for the theme.

So here are the passages I was thinking about in the book:

One morning, when a windy golden sunrise was billowing over the gulf in waves of light, a certain weary stork flew over the bar of Four Winds Harbor on his way from the Land of Evening Stars. Under his wing was tucked a sleepy, starry-eyed, little creature. The stork was tired, and he looked wistfully about him. He knew he was somewhere near his destination, but he could not yet see it. The big, white light-house on the red sandstone cliff had its good points; but no stork possessed of any gumption would leave a new, velvet baby there. An old gray house, surrounded by willows, in a blossomy brook valley, looked more promising, but did not seem quite the thing either. The staring green abode further on was manifestly out of the question. Then the stork brightened up. He had caught sight of the very place—a little white house nestled against a big, whispering firwood, with a spiral of blue smoke winding up from its kitchen chimney—a house which just looked as if it were meant for babies. The stork gave a sigh of satisfaction, and softly alighted on the ridge-pole.

………

“…wondering whether she should hemstitch or feather-stitch little Jem's "short" dresses. He was to be shortened the next week, and Anne felt ready to cry at the thought of it.”

……….

Anne and Leslie had another cry the next week when they shortened Little Jem. Anne felt the tragedy of it until evening when in his long nightie she found her own dear baby again.

"But it will be rompers next—and then trousers—and in no time he will be grown-up," she sighed.
"Well, you would not want him to stay a baby always, Mrs. Doctor, dear, would you?" said Susan. "Bless his innocent heart, he looks too sweet for anything in his little short dresses, with his dear feet sticking out. And think of the save in the ironing, Mrs. Doctor, dear." 

When planning this petticoat I tried to find pictures of extant baby petticoats. I found two that would work well; one dated 1800-20, and the other dated 1860. They were very similar in construction, so I felt ok using the same design for the one I was making. 


The petticoat has a simple bodice, with drawstrings at neck and waist. They tie in the back, where a thread button helps in keeping the bodice closed. The skirt is gauged to the bodice, with tiny pleats.


 The bottom of the skirt has a deep hem and two tucks. 



What the item is: Baby petticoat.

The Challenge: #18 Poetry in Motion

The poem: Passages from Anne’s house of dreams.

Fabric: Cut down from an old shift and petticoat of mine, originally made from sturdy old cotton sheets.

Pattern: None; I improvised from picures of period petticoats.

Year: Aiming for the 1840’s, but could pass for several more decades.

Notions: Cotton thread, cotton tape, thread button made by me.

How historically accurate is it?
As good as I could make it without looking at an extant example in person. The materials are ok, as is the hand stitching.

Hours to complete:
Difficult to say, as I’ve only had a few minutes here and there… 8-10?

First worn: For the picture.

Total cost: None at this time as everything came from the stash. The materials might have cost 50 SEK ($6,94; £4,31; €5,49) if bought at the charity shop today, and would have plenty left for other projects.

Wednesday, 1 October 2014

Poetry - When Stretch'd on Ones Bed

I promise - there will be a sewing post soon! I just run into all these poems when trying to find one that may suit the mid 19th century baby petticoat I'm working on.... (Btw, if any of you have just the thing, please share!) This one struck a note, as I've had head aches on a regular basis since I was a young teenager, and knows how tough it can be. 

 

When Stretch'd on One's Bed 

By Jane Austen

 When stretch'd on one's bed
With a fierce-throbbing head,
Which preculdes alike thought or repose,
How little one cares
For the grandest affairs
That may busy the world as it goes!

How little one feels
For the waltzes and reels
Of our Dance-loving friends at a Ball!
How slight one's concern
To conjecture or learn
What their flounces or hearts may befall.

How little one minds
If a company dines
On the best that the Season affords!
How short is one's muse
O'er the Sauces and Stews,
Or the Guests, be they Beggars or Lords.

How little the Bells,
Ring they Peels, toll they Knells,
Can attract our attention or Ears!
The Bride may be married,
The Corse may be carried
And touch nor our hopes nor our fears.

Our own bodily pains
Ev'ry faculty chains;
We can feel on no subject besides.
Tis in health and in ease
We the power must seize
For our friends and our souls to provide.