“It’s A Jolly Holiday with You…”

Of all the fairytale heroines, ladies of history, or those who are more realistic in their legend, there is perhaps no woman more universally intriguing and appealing than the one who is ‘practically perfect in every way’ – Mary Poppins.  Oh, how I desperately needed a bit o’ cheer this Halloween. 

Thus, even though we played it safe and had none of the ‘normal’ activities to enjoy, I felt there was all the more reason to finally delight in fulfilling a long-standing costume goal.  Since we love a good dual outfit for a couple, my husband dressed as Bert the cheerful, spry chimney sweep and I as the nanny with magical powers.  You know what?  We ended up having the best jolly holiday!  Dare I say it was Supercalifragilisticexpialidocious?!

Perhaps the best part to my outfit was the antique authenticity which went into it.  I used 2 yards of old turn-of-the-century eyelet fabric to make the skirt after the manner of the popular “lingerie dresses” of the early 1900s.  Then, I also altered and mended a true antique ruffled underslip for the matching (proper to the era) layer underneath.  Both items just recently happened to come my way at an incredible bargain.  I was more than thrilled to have an excellent reason to take care of and restore such precious items for a good reason.  It was for more than either just dressing up historically or just for a costume for a night.  It was to recreate a beloved character from the childhood of both hubby and myself and interpret that through a true-to-the-era means, using my sewing capabilities.  This was all very redeeming, and the best way to dress up as Mary Poppins that I could have ever imagined.  I’m glad I waited until now to attempt her famous, sumptuous, red and white “Jolly Holiday” outfit.

So the bottom half of my set is over a century old…the top half mostly is not, even though it may look like it.  The blouse is modern, bought from the GAP over this 2020 summer.  It is made in a very convincing 1900 appropriate way, with cotton lace inserted in rows across the chest, loads of whitework floral embroidery and pin tuck detailing, all in a sheer and lightweight cotton.  This blouse was incredibly popular on social media, so much so that the historical costumers started the #GapToThePast trend.  Yet, I was slow to join in on the fad and by the time I looked to order my own, all that was left was a size bigger than what I needed.  No big deal – I bought it anyways as it was on deep clearance!  To adjust the size for me, I merely added more pin tucks horizontally around the sleeve to slightly raise up the long length, and moved over the cuff buttons to fit my smaller wrists.  One little red satin ribbon bow was all that I added for a subtle Mary Poppins reference!

The belt I made myself, drafted it from scratch and used some red felt from on hand.  To make it more of a sturdy and structured piece, I added thick cotton canvas interfacing in between the felt layers.  My personal taste doesn’t really like the way the original movie belt almost appears more akin to a corset, yet I did realize my version needed some slight structure to keep the points sharp.  I remembered what I learned from constructing this boned 80’s era sun top, and used the same plastic zip ties into channels across the front and the side seam points.  I did choose white top stitching for a nod to the original movie design, but the contrast thread gets drowned out by the plushness of the lofty red felt.  A hook and eye closes the back.  This may be the least historical part of my attempt at a 1900s appropriate Mary Poppins – but at least I did scale down the belt size compared to the original.  How could I possibly leave this part of the ensemble out, though, after all? 

Vintage style remake boots by “Funtasma”, an original 1920s era silk umbrella, and the “Jolie” Short Cotton Steel Boned Corset from “Glamorous Corset” worn under it all completes my accessories.  Hidden underneath is an original antique corset cover, too, something I picked up years back now.  Finally it can be paired with a whole ensemble!  This blog post from “The Fashion Archaeologist” helped immensely towards clearly understanding all the layers and garment pieces which were needed to have this outfit be historical. My first attempt at turn-of-the-century fashion circa 1905 can be seen at this post.

Let’s go back to the amazing antique items that made this outfit idea work, for a moment though.  I could tell the two yards of eyelet fabric had been cut off of a dress.  The punctured holes of rows of stitching along the top and set pleat folds gave that information away.   I counted my blessings that were weren’t any stains, tears, holes, shredding or damage of any kind to be seen.  Yet, it is so lightweight and sheer.  How is this even possible on something which is this old…and pure white to boot?!?  The hand stitched eyelet holes (each opening is literally different from each other and uneven up close, thus hand crafted) and the wonderful thin yet sturdy and soft qualities of the material make me believe it is from circa 1900. 

The petticoat slip is on the left, the eyelet skirt is on the right. Look at how the eyelet openings were worked through the original tiny 1/8 inch french seam through the material!!!

The ruffled petticoat slip is also equally amazing in the amount of detailing – so much inserted lace, yards of ruffles, and over 20 rows of pintucks!  The slip is in a much coarser and stiffer cotton than the outer eyelet skirt.  The crisp cotton could either be highly starched or merely a heavier weight, yet it does a great job at poufing the skirt out with the help of all the details (pin tucks, ruffles).  Again, like the eyelet, this slip was in perfect, pristine condition but completely missing any closures.  

Unlike most turn-of-the-century antique pieces, these were the perfect opportunity to have something in a very modern waist size.  The eyelet fabric was customized to be pleated into a waistband I made to my own size using bleached all cotton muslin.  Modern cotton cannot compare to old cotton – the antique cotton is much superior in all qualities.  Basic, modern muslin is soft, sturdy, and the best I can do at the moment. 

After examining so many images of Lingerie Dress on Pinterest, Etsy, Ebay and such I decided on a very technical, and very tiny method of ¼ inch triple layered pleats to bring the two yards into the waistband.  For as full as those skirts are they seem to have very little pleating, so this method made the most sense to me.  Doing such tiny pleats took me a few hours of insane measuring and pinning but it was worth it.  That era was all about amazing skill, high-quality, and details not seen elsewhere.  The tiny ‘pleat on top of a pleat on top of a pleat’ method also keeps the skirt fullness controlled.  It’s a pity they are completely covered up by the belt.   Old antique hook and eyes were sewn into the back to close the skirt.

The slip originally had a 9 inch wide waistband – why, I don’t know, but this lent itself to an easy refashion.  Across, there was a very tiny 20 inch waistband circumference…let that sink in for a moment.  Just imagine the wearer.  The way the overall length of the slip was rather mid-length on me, who is someone only 5’3”, makes me wonder if this slip was for a tiny teen.  Whomever the owner was, a 20” waist is mind blowing.  This would not do for me, even with a corset.  I took off the existing waistband, cut the width in half lengthwise to end up with two 5 by 20” rectangles.  These two were sewn together into a waistband length to fit me and the slip skirt was re-gathered in a hand-stitched down together again.   

However, now that I had something wearable, the length of this slip (as I mentioned) was about 5 inches shorter than the length of the eyelet skirt, and this would not do.   I did have some 6 inch wide cotton pre-gathered eyelet lace on hand which I had been saving for an 1860s era hoop skirt slip.  I sacrificed it to add on to the bottom of the existing eyelet hem of this 1900s slip.  It may not be the perfect match, but it adds enough length to be equal to the hem of the eyelet skirt plus making my Mary Poppins look extra floofy! It’s so fun!

Mary’s outfit is really a cheesy Hollywood version of an earlier decade I believe, but this was my most natural way to interpret her.  The Dreamstress defines them as thus (posted here) “Lingerie dresses were lightweight dresses, usually in white or an off-white shade, featuring pintucks, inset lace, tone-on-tone embroidery, and other delicate detailing, usually worn as summer wear in the late 19th and first quarter of the 20th century.  They were usually made of cotton, and slightly less frequently in linen, with more expensive versions were made in silk. They are called ‘lingerie dresses’ or ‘lingerie frocks’ because the materials used (cotton and light laces) and embellishment techniques (inset lace, faggoting, pintucks) were originally used for petticoats, chemises, and other forms of lingerie.”  This garment would have made sense for Mary to wear on a summer holiday outing of fun and frolics.  (You can visit my Pinterest page “Historical Lingerie Dresses” for some eye candy!) I have always wanted one of these kind of outfits, and they are either not in my size or out of my price range.  Even though this set is still not my ideal (which is a full one-piece dress) having something is way better than nothing!  Again, I am so grateful to have had the opportunity to see and appreciate these old materials and restore them to a wearable state!

I want to revisit our outfits again and find a proper hat to match my dress, too.  After all, a lady like Mary was not seen outdoors without her hat if she could help it, even with all her umbrella flying and carousel horse racing.  Also, we want to go to a thrift store and find items which can be turned into the bold, striped suit set of Bert from the “Jolly Holiday” sequence.  According to my plan, an obnoxious Bert striped suit refashion will probably include some fun fabric painting to make it work.  Until then, my vintage silk scarf and items he hand on hand filled in for his chimney sweeper’s outfit.  It’s amazing how the love for Mary Poppins transcends people’s age and stays with them for years.  We just now introduced our son to the original 60s film to pass it onto the next generation.

I hope you had as safe and happy of a Halloween as we did!  I also hope you enjoyed this dive into something a little different – an era out of the ordinary here on my blog, while presenting sewing techniques more about repairing and finishing methods.  Sewing knowledge is good for more than just creating from scratch…it is also good for carrying on the loving attention to well-made garments of ages past.  This preservationist creativity is the only reason we are able to see historical garments in museums.  Granted, I fixed up these antique items to wear, but they will only go out on a holiday jaunt and be well cared for otherwise.  As I currently have old original items which date back almost every decade from now to the 1870s, I suppose I’m starting my own little museum at this point.  Would you like to see more of my original extant pieces here on the blog?  Also, where are my fellow Mary Poppins fans out there?

Turn of the Century Romantic

“It was November–the month of crimson sunsets, parting birds, deep, sad hymns of the sea, passionate wind-songs in the pines. Anne roamed through the pineland alleys in the park and, as she said, let that great sweeping wind blow the fogs out of her soul.” ― L.M. Montgomery, Anne of Green Gables

I do wish fall did not have to blow away to make room for winter!  However it may be that it is now December and I should be in the mood for Christmas, I would like to feature what perhaps is my favorite outfit from this fall, amplified by a colorful background of the parting season.  By sewing a simple skirt to match an old antique original blouse, I am finally able to completely experience my long love with another historical era in a very real, tactile manner.  “It’s delightful when your imaginations come true, isn’t it? Because when you are imagining you might as well imagine something worth while” ― L.M. Montgomery, Anne of Green Gables

I’m talking about the 1905 time slot…just in the cusp of the turn of the 20th century, when the dreamy Gibson Girl stood for an innovative form of female independence and empowerment.  This outfit exemplifies the dawn of the modern day “separates” to wear for an active and socially important place in society.

The Gibson Girl was seen as beautiful and feminine by being an active, talented, strong, athletic, understanding, and worthwhile individual – a “new” but welcomed concept for the times!  Her sudden availability to a form of menswear, that is, blouse and bottoms (albeit a feminized version atop a full swingy skirt), were part and parcel to that new found freedom society was opening up for the Gibson Girl.  Reading what I say is one thing, but now that I have had the opportunity to wear such an ensemble, I personally can attest it is truly wonderful to wear, surprisingly easy to move and do many things in, empowering in the feeling of classiness and being put together, and so very romantic and feminine at the same time!  Bring back the turn of the century!  “It is ever so much easier to be good if your clothes are fashionable.” ― L.M. Montgomery, Anne of Green Gables

Of course, I suppose you can tell that I couldn’t help but associate myself with a red-head from the same era, everyone’s favorite spunky kindred spirit, Anne spelled with an “e” of “Anne of Green Gables” or “Anne of Avonlea” from the author Lucy Maud Montgomery.  The 1980’s movies from Sullivan Entertainment were something I first watched as a young teen, and I have been smitten with a crush on the stories, the characters, and the era’s fashions ever since!  Besides, the way Anne has a way with words and is not afraid to use the full breadth of the English language has made her one of my ultimate heroines for my writing skills.  “But if you have big ideas you have to use big words to express them, haven’t you?” ― L.M. Montgomery, Anne of Green Gables

I might not have a set with Anne’s favorite “puff sleeves” just yet (a matching velvet winter jacket is coming down the pike of my future projects…just wait).  However, I’m tickled to be wearing this over 100 year old, perfect condition blouse!  It was a birthday present to myself, bought a few months back from the shop Jumblelaya on Etsy.  The details on the blouse are just amazing (handmade lace inserts, tiny pin tucks galore, and a plethora of shell buttons down the back) and the fit is so meant for me!  From what research I have done, I believe this ¾ sleeved, collarless style is circa 1905 to 1907, which fits perfectly into my idealized “Anne” characterization of myself – Montgomery’s first book came out in 1908.

All other accessories are from my Grandmother (earrings, cameo, and hanging waist watch pendant) and assimilate well by matching with era appropriate jewelry.  My shoes are a lucky resale store find, also imitating (decently well, especially with the pointy toes) the less formal, ankle-freeing “walking” footwear that was seen as more practical, less formal, and a new trend circa 1905.  Having more than one kind of shoe style further revolutionized women’s lives at the turn of the century.  No longer were women restricted to boots as their only option for footwear!  The century itself was only one of the many things that had changed…


FABRIC:  a linen and rayon blend fabric in a very blue navy for the skirt

PATTERN:  Folkwear #209 “Walking Skirt”; my pattern is something I picked up from a second-hand seller with a copyright of 1980

NOTIONS:  Nothing but thread, a waistband hook-and-eye, and some interfacing was needed to make this skirt –easy-peasy!

TIME TO COMPLETE:  It was made in one afternoon’s time of about 5 hours, finished on November 10, 2017.

TOTAL COST:  For just under 3 yards of the fabric, bought just recently at my local JoAnn’s store, cost me just under $20.

Making this skirt was so much easier than expected!  Granted, I took the fast, modern, and easy way to make this using my sewing machine to sew the skirt in its entirety.  Yes, perhaps a hand stitched hem and everything would have been better for a proper historical garment.  But as the navy color makes the matching thread pretty much invisible, and as I will not be wearing this nearly as much as I would like, I opted for machine stitching.  They had sewing machines available for the home seamstress back then, so although my machine is not something from the turn of the century, it is not entirely unlikely that a skirt like this might have been sewn mechanically.

Now I realize that a basic, beautiful design like this is a wide open blank canvas for waiting for personalization.  I was indeed sorely tempted to add at least some rouleax trim, horizontal pleats, or decorative cording of some sort along the bottom above the hem.  However, my lace blouse is so intricately complex and such a priceless historical piece that is deserves to take the center stage of the outfit by having all the details.  My matching velvet jacket yet to make will have lots of details, as well.  Sometimes simple is the most beautiful anyway.

As ‘simple’ as the skirt seams, is has a smart and lovely design.  First of all, there is a slight train to the skirt, where the back dips and sweeps the floor.  There are five gores to the skirt with no side seams.  The side panels on both right and left of the center front wrap around to the behind where they join the two center back panels.  The center back panels are not that obvious because they get pleated in their entire width on either side of the placket closure.  The placket closure only has the one waistline hook.  That’s all it really needs as the back is so full with all the pleats and the interfacing keeps the placket stiff so it doesn’t really open up anyway.  Besides the challenge of working with such long seams and such a large amount of fabric, I am amazed at how something so far back in history can be so easy today and so perennially elegant.

There is such a wide flare to each of the skirt’s panels that they were giant sized pattern pieces.  I did have to open up my wide width fabric and fold the entire 3 yards in half the ‘unconventional’ way, making for a giant 60 by 108 inch square on the floor!  Even still, I did have to take out five inches out of the length to accommodate fitting in the pattern pieces.  According to the size chart, however, five inches was just what I needed for my height to end up with an ankle length skirt, so things fell into place perfectly here.

The size chart was spot on, I must say I’m impressed!  I was not sure what to expect, as this is my first time using a Folkwear pattern.  I was in between sizes so I went up in size and merely made slightly wider seam allowances.  This worked out great, so the sizing is pretty precise.  The instructions were good too.  My only ‘problem’ (which wasn’t really a problem, anyway) was the lack of markings for the pleated back.  Actually, I should clarify that the instructions call for gathering of the back panels, but from what I have seen of extant turn of the century skirts, and with my own taste voting for the organized symmetry of pleats, the gathers were replaced.  Thus, I was left to my own designs to make-do some organized pleats with some measuring to have them match equally on both sides.

If only the back wasn’t behind me where I can’t see it, I’d be ogling it to no end because I think the fullness with the pleating is stunning!  It does totally compliment by contrast the conventional, full, pigeon-breast, uni-bosom of the era and the full head of hair which forms the classic curved Gibson Girl silhouette.  Who would think that emphasizing the back side could look so good?!  The back fullness gives something so basic as my walking such a wonderful sash-shay to it!  And yet, I do not feel confined by it at all.  This is truly the most romantic of eras I’ve dressed in to date.

Some words must be said as well about how I made-do with what I had to even achieve the proper silhouette in the first place.  I luckily did not have to really make the undergarments to match…I already had them.  This is what comes from years and years of re-enacting and buying stuff over those years, some of which were deals and opportunities found that were too good to miss even though the use of them was something obviously for the future.  A modern, turn of the century-style corset cover and pantaloons set was finally put to good use, as was a full, long uber-ruffled hemmed petticoat that my mom had made for a semi-historical costume I wore about 15 years back.  Keeping stuff like this on hand for so long had a redeeming feel to finally find the perfect use and reason to wear them.

I know ladies of the turn of the century would be wearing the famous S-bend corset, which I do not have.  Making one was out of the question and affording one made by someone else for me was not happening as well.  I have seen some ladies who have dressed in the early 1900’s fashion use their Titanic-era longline corset and add a ruffled bust improver on the chest and a padded bum roll to sort of cheat and get by in between eras.  I did consider the latter option as I do have a teens era-corset, but I didn’t feel like making anything for underneath (go ahead, call me lazy!) and hubby says I’m skinny enough to get by using other ways.  So – I am wearing a modern brassire as my first layer with a very basic, three layered ruffled “bust improver” pinned very simply on me to get the same effect.  Then, as the corset cover had the right pigeon-breast shape in front, it completes the “proper” look for me.  To get an idea of what I wore, it rather looks like what “Atelier Nostalgia” made (see it here) except my bust ruffles are on the inside of the corset cover, and there is more embroidery.  In lieu of butt padding, the gathered waist of my mom’s petticoat was adapted so the gathered waist was smooth in the front and had all of its fullness in back to fill out the pleats of the skirt.  It looks like this vintage original petticoat except mine is blue polka dotted cotton with extra wide ruffles added along the hem.  Yes, I’m sorry, I’m cheating, but at the same time…not really.  The turn of the century era was the beginning of the “modern” female, and women began to realize their value and potential was so much greater than the limitations society placed on them.  We women are experts at ingenious making-do, so I do not feel bad at all in the spirit of the Gibson Girl!  Pretend you didn’t read this and you’d be none the wiser as to what’s underneath what you see.

My books are actually not just something to hold and look good.  They are old books from our collection that were published circa 1900, both of which are on my “to read” list.  The green and gold covered book is “A Man of Mark” by Anthony Hope, the author of the little known classic “Prisoner of Zenda” and its sequel “Rupert of Hentzau”.  Having enjoyed reading those last two and totally addicted to Hope’s stories, I had started to read the “A Man of Mark” but have not yet finished it. “It’s so much more romantic to end a story up with a funeral than a wedding.” ― L.M. Montgomery, Anne of Green Gables .  Anthony Hope stays true to Anne’s ideal on at least one occasion in his stories, so I’ll have to see if “A Man of Mark” continues that.

The little red and gold book is the factual yet romanticized “Chronicle of the Conquest of Granada” by the famous Washington Irving.  I love books that show a different side of an author, and this one shows the studious and serious side to an author more often known for writing the short fiction stories “Rip Van Winkle” and “The Legend of Sleepy Hollow“.  Again, this book has been another one started but not yet finished by me.  Sort of like my sewing, it’s so hard to keep up in reality with everything that’s in my head which I want to do, so some things unintentionally get pushed to the side for a “later”.  “Isn’t it splendid to think of all the things there are to find out about? It just makes me feel glad to be alive – it’s such an interesting world. It wouldn’t be half so interesting if we knew all about everything, would it? There’d be no scope for imagination then, would there?” ― L.M. Montgomery, Anne of Green Gables.  I will finish these two books yet.

“The things you wanted so much when you were a child don’t seem half so wonderful to you when you get them.” ― L.M. Montgomery, Anne of Green Gables  Well, Anne was wrong, because this outfit is much more wonderful than I imagined it years back.  The funny thing is I had very little qualms about wearing this out and about the Botanical Garden where we took these pictures.  In fact I enjoyed it so much I didn’t want to take it off.  The air was slightly chilly and all the skirt layers kept me rather warm.  Also, 7 to 12 year old girls were really giving me good looks and smiles, as if they were seeing something they might like to wear as well.  I’m supposing I was a good fashion-history influence, but maybe I was just blending in with and complimenting the Victorian surroundings.

When you feel good deep down in what you wear, it has to manifest itself and I believe that spark of enjoying what you wear – whatever that is – and especially feeling pride because you made it can be a very catching emotion for others.  “We ought always to try to influence others for good…and it is ever so much easier to be good if your clothes are fashionable.” ― L.M. Montgomery, Anne of Green Gables  Thanks to Anne’s wit, advice, and fashion inspiration, I’m sure many others like me have found themselves fascinated by the turn of the century, and I just finally translated that through my sewing skills.  Why did this take so long – where and when can I wear this more?!