Teens Era Transitional Suit Set

As of this past April, my country of America began commemorating a century since we entered into World War I, when we added our hearts, efforts, and supplies to the rest of the nations who had already been fighting.  As someone who sews and likes to dive right into history, I guess it’s no wonder I took to making my own outfit from the era as my effort at remembering history.  Besides being commemorative, our local art museum hosted an exhibit linked to the era of my outfit, “Degas, Impressionism, and the Paris Millinery Trade”, and it gave me an actual destination to wear my historical garb.  Their “photo opportunity wall” was the setting for many of our pictures.  You see how I blend right in at a 1912 Millinery Parlor shop?  Also, the newly released “Wonder Woman” movie, which has a WWI setting, was the final odd but added impetus behind making my suit set.  My reasons are varied, but deeply rooted in the history that I love.

DSC_0158a,p-comp,w

1912 to 1914 was a true transitional period of history and my outfit, as I planned it, intends to pay homage to this.  1912 is roughly the end of the Titanic era, in which fashion still gave a clear visual definition of who was in and who was out of money.  1914 marks the beginning of World War I and the founding steps towards democracy of fashion and greater freedom in many realms of life.  I realize I am riding a fine line between pre-WWI and post WWI with my outfit but it has been two years in coming, and I couldn’t be happier with my first foray into both sewing and wearing teens era fashion!  During those two years, my outfit has been well-researched, long thought out, and lovingly worked on for a while now.  Most all of my details are tied to a historical fact.  Now I feel as if I have a historical statement piece with a story to tell about the history Great War.

Of course the best way to place myself in the shoes of a woman from circa 1914 was to go all out and do my outfit authentically from the inside out.  Yes this means the underwear, the corset and the whole bit!  You can see my past post about the under layers here, although I have yet to post about the teens era slip I have since made to complete the underpinning ensemble.  Without the right underpinnings my set did not have the right silhouette, nor did I have the correct posture, ahem.  Wearing a long line corset does make me realize just what a no-slouching posture really is, and it makes me appreciate the comfort of actually sitting in a chair to relax, not just the dainty ‘perching’ that I do in my teens corset.  Plus, it smoothes out all the ‘bumps’ that were undesired for the times, something which modern underwear only ‘supports’, if you know what I mean!

DSC_0149a-comp,w

I believe this combo of blouse, jacket, and skirt (not forgetting the hat) is technically called a “walking suit” even though a slim hobble skirt is not the best for walking.  Yet, I did not find this fashion as confining as many humorous cartoons (such as those by the satirist Benjamin Rabier) and other images make them out to be.

Circa 1914, the hobble skirt was widely worn, yet was being frequently and publically made fun of.  Then there was Paul Poiret, who backtracked on what he claimed he created and introduced the freedom and progressiveness of harem pantsJeanne Paquin, the first major female courtier, is supposed to have created a version of the hobble skirt which included pleats for ease of movement for the new, more active woman.  My own skirt is a combo of Paquin and Poiret – it has a trio of asymmetric pleats that are stitched down halfway up to free up my knees.  The world itself was fighting for the death of the skinny hobble skirt.  Active women who become a part of the workings of society were sorely needed and anything whatever fashion stood in way of that was destined to depart.  A suit such as mine was meant for a time in history when a woman of society was merely meant to be a figurehead and present an ideal image of her status.  By 1914, such a suit set was in its last, glorious, waning sundown.  Wearing this outfit was nothing too terribly uncomfortable, but it was a bit confining in its own right, which did take some getting used to.  It helped me realize why the fashions of the 1920s came about.

DSC_0185a-comp,w

When the newly enlisted soldiers left on the boats to go off to the Great War, many ladies wore their best “going away” clothes.  Not only was it dressing up to see their men off, but it was also one last big splurge, or indulgence, before buckling down into rationing and a full-hearted war effort.  I think this set certainly falls into the “going away” category!  I had ideas for even more finery I could have added, like a pocket watch, extra pockets, and more buttons.  I might get to that yet, but for now what I have is something finished and totally wearable.

DSC_0151-comp,wThe Great War had far-reaching implications on the previously active global import/export marketplace, thus there was an absence of much that had to do with the clothing, fashion, and textile industry.  Imported dyes, which had been coming out of Germany, became rare thus leading to a more frequent wearing of black and neutrals.  This is besides the fact that many people (especially mothers, wives, and sweethearts) were in mourning, anyway.  My own outfit greatly reflects this historical point, by using primarily black and grey tones together with two neutral cream colors to calmly brighten things up.

The war effort also caused heavy rationing/unavailability of leather, wool, and cotton (which, among other materials, were going towards supplies such as uniforms and tents).  Ladies had to wear more silks, with the occasional rayon blend (invented in 1910). Heavy rationing applied throughout many countries and America wasn’t excluded, but it did have situations a bit easier comparatively.  Straw, with some linen, were also somewhat rationed, so substitutes from paper were invented in counties like Russia and Germany, and “Jean cloth” (yes, denim) was resorted to as a leisure cloth.  At the beginning of the war, however, most walking suits still tended to be in “practical” and breathable pure linen.  As I am in the USA, I felt it would be fitting for me (if I was living back then) to have such a set as mine in linen, lined in a very basic cotton.  Non-war effort cottons like gingham and batiste were nonetheless used and still popular for housedresses, anyways.  Many women who weren’t involved in manual, farm, or food related work were enlisted into the textile industries or assigned to convalescence and hospital needs sewing, so I imagine access to rationed fabric was not entirely off-limits for all women.  Thus, my outfit is a mix of some fabrics and materials which would have been a luxury and some which would have been used for an authentic early war-time suit.  Restrained opulence was common with early and mid WWI clothes (see this for one example) since – after all – old habits die hard.  The Titanic era didn’t go down overnight like the famous ship did…

DSC_0134,a,p-comp,w

Asymmetric designs were incredibly popular at this point in fashion, being used on blouses, skirts, suits, and dresses for both day and evening – no doubt from the Art Nouveau influence.  The asymmetric trend probably had to do with the ‘new’ draping of fabric on the body (Grecian idealism) for evening and tea gowns as well as an elegant and avant-garde desire to break away from the sweetness of the Edwardian period before.  I wanted my suit set to have some asymmetric loveliness…I do love how the trend continued into the 1920s, 30’s, 40’s, and 50’s so strongly.

Even during WWI, common luxuries could frequently be taken with neck line collars, since they needed such a small amount of material.  This is why my single asymmetric collar with matching sleeve cuffs are from an expensive, all-cotton, burnout velvet tapestry.  My top collar is from the same fabric as my skirt to add continuity to the outfit, plus I see it as a practical, “making-do” touch to use up every last scrap!

IMAG0287a-comp,w“Making-do” was greatly encouraged in many aspects of life, more so when it came to fashion, especially when it came to hats.  Headwear was a necessity that a lady would not do without and publications of the times stepped up to the need to show how homemade hats could be done easily, inexpensively, yet with a no less fashionable appearance.  My own hat started out as an inexpensive, basic floppy-brimmed hat blank bought from Wal-Mart…of all places.  (Pardon the pins in the picture at left – it was here a work-in-progress.)  It is made of a thick 100% wool felt so it is an accurate and proper hat making material, just something that might have been an expensive luxury for 1914 – all the more reason a woman of those times would have re-fashioned it herself!

Feeling united with the war effort extended into the modes of fashion with many hats and clothing mid or late in WWI possessing details which had a very obvious, albeit past, military influence.  Napoleonic Era hats were frequent, and I channeled the old-time tricorne hats with my own re-fashion (although I know it’s probably more 1917-ish to do this).  My favorite part is how my hat looks so different from every angle it’s seen.DSC_0172-crop-comp,w

The top heavy, floral, opulent picture hats of the early teens were shrinking in size by the time the decade was nearing it midpoint.  World War I nudged hats to become more compact, with many non-flower related decoration and interesting features to the brims.  They were often trying to create more of a straight-line silhouette to the rest of an outfit…pretty much like my own hat does (especially thanks to the feathers)!

The overly frequent and outlandish use of birds on millinery in the decades leading up to WWI led to many protective steps to ensure the survival of many kinds of flying creatures, the most well-known being the founding of the Audubon society.  At the turn of the century, the Audubon Society offered 5 public lectures on such topics as “Woman as a bird enemy”. In 1910, the Audubon Plumage Law reigned in extravagant millinery practices harmful to wildlife, which is why I’m using humane but no less elaborate pheasant feathers.

There are a few modern re-makes that I snuck in to help complete the overall outfit.  Firstly, what you see under my suit jacket is more like the sensible and fully wearable option to the little neck dickies in the Butterick pattern.  I am wearing a full blouse, something that is a modern re-make my mom bought for me maybe a decade ago.  I am sure as fashionable as a woman of circa 1914 might have been, no doubt she would have appreciated the practical option of taking off her jacket, versus the façade of the neck-only dickies.  My blouse has a hidden button placket up the front, which would have been in the back for a true-vintage piece, but this is undetectable enough to not detract from my overall authenticity.  At my neck, I am wearing a “Downton Abbey” brand brooch I had bought from a Department store years back.  I think it is the perfect touch!  My glass bead earrings are from my Grandmother’s jewelry collection.

DSC_0199a-comp,w,cropFinally, my boots are something that I found at Wal-mart (of all places) about 17 years back.  They are only vinyl, yet they do have working grommet and hook closures plus a semi-French heel, so close enough is again wonderful.  Not that I wouldn’t be willing to spend a bit of money to have my ideally perfect outfit…but when I have items ‘close enough’ on hand already, that’s even better because what I’ve been holding on to for years can get its long-awaited opportunity to be useful and shine.

THE FACTS:Butterick 6108

FABRIC:  Suit Jacket – 100% linen exterior and a cotton lining with a combo of cotton brocade and linen for the collars; Hobble Skirt – 100% linen; Hat – Wool felt hat blank

Past Patterns hobble skirt pattern-compPATTERNS:  Suit Jacket came from Butterick #6108, a 1912 pattern; the hobble skirt was made using a Past Pattern, a copy of a Pictorial Review #5462, circa 1911 to 1913; the hat was self-drafted from looking at era authentic fashion plates and photos

NOTIONS:  Surprisingly, much of what I needed came from on hand, as it needed not all that odd of supplies.  I went through lots and lots of thread (of course), and I covered most all the inner seams of the jacket in bias tape.  The skirt’s inner waistband has a ribbon from my stash, and hook-and-eye tape (which I always try to keep on hand) goes in the side closure.  Vintage fancy buttons for the skirt pleats look as if they could be authentic jet, but they’re only deceptive plastic.  They came from the stash of my dear departed Grandmother.  Cotton interfacing (another vintage notion I always try to keep on hand) went into the collars and sleeve cuffs.  The only notions I had to buy was the frog closures for the jacket, the pheasant feathers (from Hobby Lobby), and the hemp ribbon (found at the Dollar Store).

TIME TO COMPLETE:  The skirt was made first, and was finished on March 28, 2017, after only 8 hours.  The jacket was done on April 20, 2017, after only 20 hours.  The hat was made on April 21, after only an hour or two.

DSC_0184,a,p-comp,wTHE INSIDES:  I finished everything so nicely in bias tape.

TOTAL COST:  The linen for the jacket exterior was made from a combo of one vintage tablecloth (found at rummage sale for $1) and a one yard cut of linen bought at Wal-Mart about 17 years back (old enough to be counted as free).  The cotton jacket lining was on sale at Jo Ann’s Fabrics for $2 a yard at 4 ½ yards (about $9).  The damask collar was $10 for half of a yard (coming from the expensive home furnishings section) and the grey toned linen for the skirt and single jacket collar was also only $2 a yard, bought when Hancock Fabrics was closing its business ($4 for only 2 yards).  The frog closures actually came from the button section, and so were a bit more expensive.  The supplies for the hats cost me a total of only $20.  So…added up, this outfit is a total of about $50.  Not a bad price for not cutting any corners with what I wanted!

DSC_0187-comp,wAs to the actual sewing, each piece really easily came together.  Making each was no harder than regular sewing and, when I think about it, actually more fun and informative!  The biggest challenge to making this set was the fact that I had to put on all the appropriate matching under layers (meaning the underwear combo, corset, slip, and blouse) each time I wanted to try on my suit jacket and skirt, see if they fit, and tailor them appropriately.  If I was going to do what a woman of those time would have done, fitting the suit to any other shape would have been pointless – a modern shape has too many buldges.  This caveat was not all that bad as it sounds.  Sure it was a bit of a bother, I was dedicated.  You know, the best part is it got me used to dressing into and wearing the Titanic era garments, so much so that it was not all that odd when I actually got around to wearing the full outfit out and about in public.

DSC_0193a-comp,wI found the fit of both patterns to be at generous.  The skirt pattern ran a few inches big and I had to make a giant pleat/tuck kind of adaptation down the center back as a fix, while the jacket was just a tad generous so I went down in size to find my perfect fit.  Other than this tip, my two garments needed no other change and were made as-is.  The skirt needed a giant 8 inch hem, but the wide hem helped properly which down and round out the bottom like interfacing.  Keep in mind that the teens era skirts have longer backs than fronts as the corsets were designed to smooth out the bum and back curve so they naturally sat higher from behind.  As I am quite skinny in my corset, I had to even out the hem, anyway.  The jacket sleeves were slightly brought closer into the armpit for more reach room – and yes, I do have full and comfortable movement!  I suppose I could have shortened the sleeves for my lightly petite frame, but they’re ok.  I did add a ribbon closure inside the jacket to help keep the wide open neckline closed better, with a small hidden hook-and-eye at the point where the asymmetric collar ends.

My biggest shortcut to sewing the jacket was to line each ivory linen jacket piece with the black lining.  I didn’t want any seam allowances showing through the light colored linen. Backing the pieces in the back knocked out ‘two birds with one stone’ by providing opacity and lining.  I just then finished off the seam edges with bias tape and top-stitched them down in their proper directions.  Not the best way, I know, but it gets the job done almost just as nicely yet quicker.  I do not like to take more time than is reasonable on an outfit that will not see all that much wearing.

(I’d like to title this next picture, “Hello ladies, may we chat?”)

DSC_0150,b&w-comp,w

I originally planned on a fully hand-made, from scratch millinery creation for the hat to match my outfit, but I was running short on time before the event I was to attend.  This is why I re-fashioned a hat.  The wonderful Tanith Rowan (blog here) was of assistance to be at this step, and even provided a few helpful links to free newspaper archives for some awesome yet relatively easy patterns from 1912 and 1913.  I have plans for those hats yet on another future teens era project, but for now I think this hat is just what my outfit needed.  No kidding – my set was “meh” or even “good” but still missing something until I put the hat on and it turned into amazing!  The power of hats is truly underrated.  They add so much to an outfit and a person…and with a hat like this, it can even add height when you have dramatic feathers!

If you’ve made it this far reading, thank you for joining me on my tirade about my efforts to make the perfect World War I commemorative outfit.  I have a special Pinterest board dedicated to my inspiration for this project – please visit it here.

So much of what has happened in the past is linked to why things are how they are in the present and clothing can be used as a tool to help tell such a story.  I like to share how my sewing skills help me accomplish that.  Look for more (and perhaps less involved) WWI era and older historical clothes to come here on my blog!

Advertisements

A 1910 Era Brassiere and Open-Drawers

Yesterday in the States here we celebrated “Armistice Day”, better known now as Veterans’ Day.  The agreement that was signed between the Allies on the “eleventh hour of the eleventh day of the eleventh month” of 1918 marked the ceasing of the horrible hostilities on the Western Front.  World War I also proved a good point for the capabilities of women, and the efforts for the passing of 19th Amendment would be productive in the next few years, giving women the right to vote by 1920.  In honor of these two past events (so good to learn from with what’s going on lately), I am posting something that I’ve made from the 1910 decade.

dsc_0943a-a-compw

In an effort to branch out and explore more historical eras and their fashion, history, and way of life, I’ve taken the first steps towards an authentic 1912 outfit by starting from the inside out…the proper way to get the correct figure when re-creating the past.  I’m going with the more advanced, “fashion-forward” two-piece undergarment combinations to go as my first layer against the body under a corset. I am very proud of and happy with both pieces and together with my corset, they make for a wonderfully good way to start.

As far as I know what makes this a brassiere and not a corset cover is the closeness and slimming fit as well as simple decoration.  A corset cover has more fullness to it, as well as a set waistband with a sort of ‘skirt’ or ruffle below it.  This brassiere is lacking the conventional boning of the time, but this give me options to make my undies work for more than one time period.  A full corset and/or a supported dress bodice would more than make up for no boning.  The drawers for my set are from a slightly earlier time period, the turn of the century or late Edwardian era as far as I can tell, but still short, poufy, frilly, and open-crouched as they should be for 1910.  Nevertheless, most all the under layers historically seem to be light layers in sheer weight linens of cottons, which I adhered to in my versions.  lily-elsie-a-popular-english-actress-and-singer-during-edwardian-era

I was even trying to re-create a hairstyle of the popular actress Lily Elsie, at right, one of the most popular beauties of the time.

THE FACTS

FABRIC:  The main body’s fabric of both pieces is a soft and lightweight handkerchief weight cotton in an antique ivory color. 

NOTIONS:  All notions are 100% cotton, too (except for a small percent of the modern thread’s content).  Most of the trim was bought specifically for this project from Ebay and Etsy sellers because I wanted this to be as authentically close to the original as possible and my town fabric stores don’t carry this kind of neat stuff.  However, the cotton eyelet lace for the drawers’ hem came from my Grandmother’s stash of supplies, while the shell buttons for the side closings came from Hubby’ Grandmother’s stash of notions.  The cording is half cotton and polyester bought from Jo Ann’s Fabric store.  The ribbon shell lace for the brasserie neck and arm holes was bought Jill Salen book coverfrom a Hancock Fabric store.

PATTERN:  The pattern I used for the brassiere was free from here at the blog “historicallydressed.com”.   My drawers came from author Jill Salen’s book, “Vintage Lingerie”.

TIME TO COMPLETE:  My brassiere was finished on February 16, 2016 after about 4 or 5 hours.  The drawers were completed on February 27, 2016, after maybe 8 to 10 hours.

THE INSIDES:  Not perfect but cleanly finished and quite nice.  Most all seams are covered by the entredeux tape/trim or ribbon.   For those that aren’t, the side seams and shoulder seams are a flat-felled finished in my brasserie while the drawers have French seams.

TOTAL COST:  The cotton base for the camisole and drawers came from on hand as did the twill tape and thread, so I’m counting this part as free.  I bought extra of most notions, but dividing out what amount I used for the brasserie, it comes to a total of $16.00.  I used about one yard of entredeux ribbon ($2.00), about one foot of hook and eye tape ($2.00), one yard of embroidered entredeux trim ($7.00), and just over 2 yards of ribbon lace ($4.50), ½ yard of twill tape, and ¾ yard of cotton.  The drawers were as good as free (using what was on hand) unless you count $2.00 for the back draw cording.

After looking through all the sources for Edwardian, Titanic, and WWI era patterns I could possibly find, as well as several historical-knowledge sites and blogs, I found myself easily enlightened but yet still confused by all the different ways these three eras are somewhat 1917-corset-covers-and-bras-a-compmulti-layered into one another when it comes to what goes under ladies’ clothes.  (My favorite internet sources are here at Wearing History and “Lady Carolyn”.)  Some Edwardian styles are in the Titanic era, as are some early 1920’s styles found in the end of the Titanic era/WWI times.  Now there were some features to undergarments which are crucial to the silhouette of the year or decade, and some little touches to the lingerie reflect that, such as ruffles to fill out a skirt or a bodice at a certain place or princess seams for a long and lean silhouette.  However, through those 20 years, I did understand that the mixture of drawers and chemise could be slightly mixed up a bit – one-piece combo ‘chemise/drawers’ under a corset with the corset cover and a slip, or the two separate pieces could be worn under the corset with a slip chemise over that, or even (lastly) a short chemise under the corset with drawers and short cover over corset.   All these individual underwear pieces can be seen in this 1917 Sears ad (at right) in the “Everyday Fashions, 1910 to 1920” book by Dover.

Thus, I’m hoping that my readers will take into account my efforts to be accurate, if anyone who knows more than I do sees anything amiss.  I want to make something which would work for a good part of the 1910 decade.  (I’ve seen an alike set of brassiere and short open-crouch drawers in a 1917 catalog page.)  I also want to also stay true to my own personality in my historical sewing, and I can certainly see myself (if I lived back then) drawn to the newest fashion-forward fad of two piece undergarments.  It’s funny nowadays to consider this brassiere “new” and possibly “progressive” for its times by being very pretty and two-piece undergarment.  (I think camisole tops looking similar were worn out in public in the 1970’s and 80’s, with jeans or hippie bottoms in the “flower child” ideal.)  Nevertheless, by wearing the open-crouch drawers, I’d be a not too dsc_0948-compwadventurous woman by adhering to what was considered “proper” bottom first-layer covering since the 1850’s.  Open bottom panties were considered indecent when they started being worn about the 1850’s, and then when closed crouch intimates came in during the 1920’s, it was hard for the general society to adopt them until the next decade.  All of this is weird, isn’t it, when you think of how underwear is today.

Besides the efforts to research and source all my materials (which was well worth it), making this Titanic era undergarment was easy, quick, and stress-free…and fun!  The entredeux trim and ribbon were super easy to work with.  I did the seams first which had the entredeux insert, which was the center back and the bust fronts.  Then the side seams and shoulders came next as well as the fitting.  Too much fitting wasn’t really needed as making the pattern as-is came out a little too big – an easier fix than something which turns out too small!  I simply took the seams without the entredeux in a bit more.  Finishing the center front seemed best if I folded in the edges back inside to meet at the entredeux trim.  This made the entredeux bust line seam come in towards the off center more than the original garment intended, but it works better for my personal fit.

dsc_0950-compwNext, the hemming trim, the laces, and the hook-and-eye tape were added but first, the bottom trim was slightly adapted to stabilize the garment better.  As I received it, the entredeux embroidered ribbon had wide raw edges.  The original garment had some sort of twill tape simply sewn to the back.  Instead, I merely cut a strip of cotton (used for the main body) to sew to the entredeux ribbon at the long edges so I could turn it inside out like a strap/tube.  Now it was sturdy with nicely finished edges ready to go on the bottom of the brassiere around my ribcage.  The twill tape down the opening was added to keep the hooks off of my skin as well as provide a strap extension to join to the drawers.  Everything put on my 1910’s brasserie is very, very close as could be to the old original garment as shown at “historically dressed”.

dsc_0953a-compw

As for the bottom drawers, the patterns from Jill Salen’s book don’t give much to go on as far as instructions, so I had to do my own research to see some original garments to get the right idea of the construction.  Others know more than me, but I believe the books’ dating of these drawers as “1850, pantaloons“ is wrong.  Everything I saw and found in my research confirms the pattern and its styling is more of a late Edwardian Era to Titanic era, possibly WWI era, too, for a stretch.  This pair of drawers at the Egerland Museum is a carbon copy of my own (from Jill Salen’s book) and they are dated to circa year 1900.

dsc_0960-compwThe drawers were relatively easy and fun to make, as well as ridiculously comfy to wear even if a bit silly looking.  Yes they do have a completely open crouch, connected only at the waist, but it is undetectable because these are so baggy.  I did not change a thing to the pattern – no resizing, hem shortening or anything – and they turned out great.  The hardest part was the lack of any instructions or clarification, but with a bit of research, overview of extant pairs, and attention to details in the picture I figured it out.

dsc_0974a-compOn each side, there is about a 6 inch by 1 inch (finished size) placket in the ‘bound and faced’ method used on vintage underwear.  The placket tops end at the waistband and close with a single button on each side (I used an old carved shell button).  The waist is plain in the front, merely faced with three rows of knife pleats on each leg.  The back wide waistband has a cord running through it, coming out of a tiny button hole so there is the possibility of adjusting the back tighter.  The bottom hem is gathered into more entredeux trim, which then has eyelet lace gathered into that for a frilly finish.  Though short, I can totally see the “bloomer” look in these old-fashioned undies.

Now, after all this gab comes the corset.  I did not sew this but I did have “Fiorentina Costuming” on Etsy custom make it for me.  As I am on the smaller side I do not have dsc_0976-compwmetal or spiral boning – only strong plastic canes.  It is all cotton (even the lace) and unlined so as to not be too warm to wear or too bulky.  I cannot say enough wonderful words about my finished garment, the quickness of her replies to my many questions, and the options she offered me so I could have it just the way I hoped.  I am very happy with it.

For being my first corset, it is confining but comfy in its own sort of way.  There is something like a one hour span before the corset or my body (don’t know which) acclimates itself to the shaping.  This slim, full torso corset certainly does make one walk, sit, and hold posture in an entirely different way!  I could be wrong, but I believe this is a pre-World War I style (1913-ish according to here) by the way it comes full up to the bust.  This doesn’t quite match with some post World War I garments I’m intending to sew but I do not have enough places to wear clothes from the teens, nor enough free time for extra sewing, to warrant more than one corset for an era.  However, I do plan on making an elegant “woman-with-money” 1912 beaded lace evening gown at some point so this will come in handy.  Not having a ladies maid (duh), my method (seen here) of dividing the back laces into two parts helps me dress myself and have extra room to use the toilet without unlacing the whole thing.

dsc_0975-compw

I did add on my own garter straps to the corset (this blog page helped me out).  I know thick, colored elastic is not authentic, but hey – I do what I can.  We had an extra pair of child’s suspenders on hand, meant for our son, but they gave me just enough elastic to cut four straps with clips attached to make things ultra-easy.  I cut two 6 inch straps for the back sides and two 8 inch straps from the adjustable clips for the center front.  Then I simply turned the ends under and stitched down between the boning for total lengths 1 inch shorter than what was cut.  Grey is neutral enough that it does not standout too much with my corset and the elastic is super thick so it doesn’t look so much what it really is.

dsc_0966a-compwI have the tendency to totally laugh at myself with this outfit – I’m kind of rather embarrassed in it, actually.  There is also something between disbelief that I am wearing this and satisfaction in the enjoyment of doing a decent job on sewing such different items from a new-to-me era.  Oh well.  At least this 1910 under-clothes have prompted a new “dive” into the history of the WWI era – before, during, and after – and learn as much as I can in the most rounded out way possible.  I just don’t want to dress the era…I want to understand it.

Now, hopefully the next steps to my teens era outfit will look more decent, and be just as enjoyable for me.  This was a wild ride, taking these preliminary steps, but quite interesting.  Thank you for making it through this long post so I can share it with all of you.

‘Lady in Lace’ – an Early 1920’s Tea Dress

Flapper lace 20s dress at designerwallace     Amongst all the products in the world of fabric and textiles, there is nothing quite like lace which has stood through every century as an icon for everything about being feminine.  Lace especially meant more in the 20’s, as a sort of compliment by contrast, when the silhouette of the era was straight and boyish but the fabric and trim used was supremely beautiful.  This combination of the female “garconne” is most appealing to me in the flowing all lace “afternoon tea” dresses which were popular in the early 1920’s, such as the old original pictured at left.  Such early 20’s dresses hint at so much, they are irresistible – hinting at color by the under-dress while still staying muted, hinting at skin by being all lace but not really showing much, and hinting at freedom by wearing an unconfined and free form but still looking womanly.

Every year I make a special dress as a birthday “present” to myself, and year 2013 birthday dress was my special version of those early 1920’s all lace “afternoon tea” dress combinations.  My lace 20’s dress with contrast under dress was ridiculously easy to make and is incredible to wear.  Worn with my large summer woven linen hat, my dress sets the tone for the few years in the early 20’s when the fashions from the previous decade (Titanic-era) were clinging on before giving way to the full-fledged flapper of Prohibition times (circa 1922).  This has been my go-to dress for fancy summertime occasions – garden parties and tea rooms…here I come!

100_1780THE FACTS:

FABRIC:  The lace is a stretch polyester fabric, so inauthentic, I know, but it was on sale on top of being on clearance.  I bought what was left on the bolt, which was just enough to make into a tablecloth, with 2 yards to spare to make my lace 20’s dress.  As for my under dress, I used a 100% polyester interlock in a mint green color.  The interlock knit was a small 1 1/2 yard cut that had been floating around in my stash for what seems like forever.

NOTIONS:  I had everything I needed for this project, basically only thread.  I had a small 7 inch piece of cotton lace leftover from this Thanksgiving project, and that lace went across the front of my under dress so I could be able to tell it from the back 🙂  See picture below.
100_1295B5522

PATTERNS:  The dress was made using a modern pattern Butterick #5522, year 2010.  The under dress is more authentic, as I used a Past Pattern No. 501, “Ladies and Misses 1920’s Combination Undergarment”.  I used this Past Pattern No. 501 once before to make these tap pants.

TIME TO COMPLETE:  For both the lace dress and the dress underneath, it took me about 5 hours or less to complete.  Both were finished by August 13, 2013.

THE INSIDES:  The side seams of the lace dress are in French seams, and the neckline is bound in a bias faced lace band.  The under dress is also entirely in French seams (excepting hems, of course).

TOTAL COST:  My interlock knit for the under dress was in my stash for so long, let’s consider it free – and a relief at that to find a use for it, finally!  The lace was bought from Hancock Fabrics for about 80 cents a yard. (Yes, you read that price right…cheap, huh?)  So my total was $4.00.

At first, I had a very hard time deciding what color and length the under dress shouldFrench-chiffon&lace-dress-c_1923-from-the-Vintage-Textile-archives become to make the certain ‘look’ I wanted.  Originally, I was inspired to make this lace 20’s project because of ‘The Historical Fortnightly 2013’ challenge sponsored by Leimomi “The Dreamstress”.  She had a “White” challenge (#15) in the summer, and then she was having a “Green” challenge (#21) later on in October.  I did try out a long white under dress, which I made using the same pattern as for the lace dress, but it made me seem like I was in a bridal outfit.  For some reason, Leimomi’s two challenges appealed to me together, especially when she posted an inspiration “Green” garment like this one at right, dating to 1923.  The final inspiration which helped me decide on going with my mint green color was, ironically, an outfit from a Rose's lace and green day dress combodecade older – a costume dress worn by the character Rose in the 1997 movie “Titanic”.  Thus, my dress is long and skinny, sort of like the “hobble skirt” fashion of the 1910 era, while still having the straight, no-waist, sleeveless style of the early 20’s.  I get the best of both decades with my short 1920’s combination under dress and my coral colored accessories (vintage scarf as a belt and my over-sized hat), just like Rose from “Titanic”.

Just to clarify my use of the term tea gown, I would like to reference to two blog posts from Leimomi “The Dreamstress”.  According to her terminology post (link here) my gown should technically not be called a tea gown.  However, reading the characteristics of tea gowns makes it more of a perfect sense thing to apply that title to this lace creation of mine.  Except for the “wrapper-style” category, my dress outfit certainly has ‘gorgeous materials’, a ‘dress that gets worn over an under-dress’, and an ‘ease of entry’ dressing method.  The ‘slip-on’ feature, to be worn without a constricting corset, of a tea gown is what designates it for the afternoons.  Leimomi’s “Rate the Dress” post from here also mentions the extra fact of the pastel colors of many tea gowns.  If I can check off most all the boxes in the tea gown category, when it comes to my lace dress ensemble, I am confident in using it in my title.  I’ve made another new type of historical garment!

100_1789     I really loved making the under dress.  The first time I made this pattern #501 from Past 100_1794Patterns (when I made tap pants from it), I had the feeling I was going to love this pattern in general, and, boy was I right.  The sizing is perfect – what size seems to be your size will be your right size when it is made.  All the pieces that I have made from the pattern sew together quickly and easily.  It is much appreciated how my under dress turned out so decent, covering up my lingerie straps.  The only tiny alteration to the slip dress was to make two small tucks under the armpits at the top of the bodice.  Those tucks bring in the bodice to fit the bust just a bit better, only remember this would not be possible in a woven material.

Using up my small remnant of lace to mark the front really made my day, as well.  I love to be able to find a way to find a useful purpose for every small bit of what I have on hand!  The little bit of lace also seems to connect the under dress with the over dress, in a ‘themed’ sort-of-way.

For my lace over dress, I was actually experimenting with the fit of Butterick 5522.  Finding the perfect basic shift dress is a little challenging to find, and I wanted B5522 to be one of those “basics”.  Reading the finished garment measurements tipped me off to a perfect fit – this pattern runs very small.  I had to go up a size for everything.  I’ve only had to do this once before, for this dress, and then that was only because I was converting a stretch pattern to be made into a woven fabric.  Generally, I tend to make pattern sizes 8/10, but for B5522 I had to use a 12/14, otherwise it would have been a snug fit which is not the way the dress looks like on the envelope cover’s model.  Now that I know how the dress fits, I can’t wait to make the cover dress with those amazing sleeves.

100_1784     To make the most of my fabric, I folded the lace selvedges into the center of my 60″ lace fabric, so I could cut out the front and back out of only two yards.  The sleeve edges of the B5522 pattern were extended just a few inches so my dress would extend over my shoulders while still being sleeveless.  B5522 doesn’t call for a bias faced neckline – I added this feature because it is always such a clean and professional method of edge finishing.  Two long strips were cut out of my lace, so I could double up the neckline facing.  Lace is so thin and I needed a stable neckline to support the rest of my dress and create a shapely frame for my face.  However, I really didn’t like the open, oval neckline that I ended up with – it is a nice neckline but it did not look at all good on my lace dress.  I was tempted to create a square neckline, but, in the end, I stitched two rows of loose stitches down the center so as to pull the neck into a gathered V-neck (see picture).

In the close-up picture above, you can see in detail how my lace is a really interesting mix of shapes and designs, all put together in a sort of geometric crazy quilt method.  I know my lace isn’t authentic, but all those geometric shapes (mostly hexagons and parallelograms) are the base ideas behind the Art Deco movement of the 20’s and 30’s.  As if I didn’t have enough lace, I also wore my vintage crocheted lace gloves with my outfit…they have geometric shapes on them, too!

100_1785100_1788     I could see having my dress a long, ankle length, being a bit too much, so I wanted to find some way of adding interest and shortening the hem, if only temporarily.  My Hubby came up with the idea of a kind of tie that could pull up/gather the bottom of the dress hem.  I took his great idea just a bit further by making the hem ties out of small 12 inch cuts of random leftover lace trim pieces from my stash.  There are two hem ties: one at 15 inches above the hem, and another at 29 inches above the hem.  Both ties are on the left side.  In the pictures at left and above, you can see my dress gathered up from the lowest level lace tie.  You can almost see the center back seam in the left picture.  My preference would have been to eliminate that center back seam, but it is needed because the two back pieces are shaped nicely and cannot be put on the fold.

I truly feel very cool and comfy buy oh-so-pretty in this early 1920’s inspired ensemble.  It has a different style that is a slight departure from the classic “flapper” ideal, but still apparently vintage, while also being fresh and modern.  That’s a lot for a dress!  Whenever I wear this outfit, it always seems to garner compliments, then astonishment, when I briefly explain how it was easy, simple, and cheap.  More women need to make a dress like this for themselves…it is perfect for all skill levels and is absolutely wonderful to wear.  What could be more fail proof than that?!

100_1775     The luxurious public garden where we took these pictures couldn’t help but remind me of the backdrop of a work of art.  I felt like I was in a perfect dream world, or maybe just coming to life out of a painting by James Tissot, where there are plenty of details and interesting settings.  Please visit my Flickr page, at Seam Racer, for more close-ups and great pictures loaded soon of my lace 20’s outfit at the garden.

Save

Assembling a 1920’s Tux Ensemble: Part 1 – Buttoned Spats

Having more 20s themed parties and events to attend, together with a great vintage find of an old tuxedo jacket and pants, has entailed my working towards putting together everything necessary to historically suit up my hubby like a “white tie” gentleman from the Jazz Age.

This post is “part 1” of what will more than likely be a total of three, maybe four, total increments to reach a complete 1920’s Tuxedo ensemble.  The other parts will be the shirt (and collar), vest, and a cummerbund or even a bow tie.  For now, I’m starting from the bottom up, with turn-of-the-century gentleman’s shoe spats.  The spats I made for him turned out wonderful, look great, a fit very well.  They were also fun and unusual to make.  I love trying new things!

100_3681a     It is a bit unfortunate that vintage menswear is so scarce.  Thus, I’ve been turning to old and reproduction patterns as of late to clothe my hubby in something to match my own eras of vintage and historic clothing.  However, even vintage and reproduction men’s patterns are not as plentiful as the choices for women, so I was extremely happy to find such a wide selection of historically authentic patterns for men through the company Reconstructing History.  This company is a great resource, not just for patterns, but also for ideas and through historical information.

THE FACTS:

FABRIC:  white cotton mid-weight twill (one yard was more than enough)RC 1900s gentleman's spats

NOTIONS:  two packs of big ball “La Mode” buttons were the only notion bought; the elastics and thread and bias tape were already on hand.

PATTERN:  Reconstructing History 1007, the downloadable version

TIME TO COMPLETE:  The spats were very easy and quick coming together, they just took me a bit longer to sew because of the machine I was working on.  I wanted to enjoy myself, get to know the sewing machine…more about this later.  The spats were made by me in a total of 5 or 6 hours ( a few evenings worth of a little time), and finished on August 7, 2014.

THE INSIDES:  All seams are clean, mostly hidden, and oh-so-professional looking!

TOTAL COST:  around $5.00

I picked out the Reconstructing History downloadable 1900s gentleman’s spats pattern to make for my hubby.  The downloadable option is great because not only do you save money, but most of all, you get your pattern almost immediately…no wait!  The downloadable option was perfect because I needed the spats done for a party in less than two weeks.  You simply print out the pages, then connect and tape the pages together for the full pattern, similar to Burda Style patterns (see my post here).  Their pattern pieces included the seam allowance, and thus can either be traced out onto something else, or cut straight out of the paper.  Being a relatively small pattern I just used the paper version.  Any changes will just go on a paper note with the spats pattern so I can remember what I did for the next time these are made for hubby. This way if I need to make the spats for anyone else I haven’t changed the pattern itself.

100_3673     The spats pattern is only three simple pieces, with each getting cut out a total of four times if you are lining the spats, and twice each if your spats are not lined.  Personally I would completely recommend lining the spats for a very nicely finished item that is sturdy and not droopy.  A heavier duty fabric also seems to work well for spats as well.

All three of the fabric pieces get sewn together in one, two-seamed, continuous semi-rectangle.  Thus, if you are lining the spats, you end up having four fabric pieces.  As my hubby’s ankles are a bit skinny, I had to do a small adjustment on all four fabric pieces before connecting the front and lining together.  I sewed in a tapering seam of about 1/4 to 1/2 inch from the center front corner seam over the calf to the top of the spats.  Then, with wrong sides out, two of the spats semi-rectangles get sewn together at a time.  I stitched all along three of the spats sides (right side, left side, and the top) and next turned right sides out.  The raw edged bottom got white single fold bias tape sewn on and turned under.  The entire sides and the two seams where the three pieces connected were top-stitched down through all layers.

100_3656     Everything up until now, had been sewn on my “new” birthday present – a late 1930’s Sears Kenmore Rotary sewing machine in impeccable condition, and in a beautiful table/cabinet as well!  It was really fun to get a closer feel for how they did things back in the past, even though there is a decade of difference between the spats and the Kenmore.  I can’t wait to sew more on this gem.  My parents sure know in a good way what will make my special day…I was very surprised and tickled (especially with the giant bag of attachments and thread, some of them silk)!

I went back to my heavy-duty, early 80s standby Singer sewing machine to make my own elastic loop closure strips for the edges of hubby’s spats.  I didn’t want to do that many tiny button holes on the spats and make it hard for hubby to get them on himself.   The pattern itself suggests elastic, and, besides, elastic was starting to become more prevalent in the 20s.  Cutting small sections of cord elastic of about 1 1/2 inches, and marking equalized spaces out on a strip on double fold bias tape, I hand sewed my own “loop tape” to go along the sides of the spats.  Hand sewing the “loop tape” was hard on my hands, but, with a thimble and some good music on for help, it actually went faster than I expected and the finished result was well worth the effort.  I used my heavy duty Singer machine to sew on the “loop tape” along the very edge of the two spats’ left sides.  Then I matched up the spots where the loops are on the spats’ right sides and sewed on buttons in their corresponding places.

100_3449     Last but not least came the strap that goes under the foot in front of the heel.  The Reconstructing History pattern called for elastic and I used some small 1/4 in non-roll white elastic from my stash for the underfoot strap.  After paging through my old reprints catalogs from the 1920’s and 1910’s, I suppose a true historical feature for these spats would have been to have the underfoot strap be more like a belt, with a tiny buckle to loosen and tighten the fit.  However, I knew the strap would more than likely get quite dirty and take much more time that I didn’t have (not to mention where to find such a tiny buckle), so I opted for the easy “elastic” way.  Hubby put the spats on so I could mark (while they were on him) where to sew the elastic underfoot straps on and how long to make them for a perfect fit.

I am excited to see how the rest of the accessories for hubby’s tux look with these spats.  The cotton twill of the spats are a wonderful match with the mid-weight grooved gabardine he picked out for the main body of his vest.  Think of the actor Jean Dujardin in the movie “The Artist”; that will be my idea of hubby in his finished tux ensemble.  He’ll be a “Dapper Dan” man!