This is the first romantic period gown I have made.  I used Nancy Bradfield’s book a great deal in planning it, and adapted an existing pattern based on the patterns in Jean Hunnisett’s book Period Costume for Stage and Screen, 1800-1909.  Nancy Bradfield features a silk tartan dress with long sleeves from about 1828, and I decided to make an evening dress using my tartan fabric. 

I cut the bodice on the diagonal, made the wide neckline (although the sleeve opening is more vertical than in the 30’s), and decorated it with a narrow bertha of cream satin with a lace edging.  Underneath the bertha the neckline is decorated with two rows of piping, one bias tartan and one lilac contrast.  I like it better with the bertha covering this contrast piping, but it could be worn without the bertha.  The large sleeves were taken from Janet Arnolds patterns for dresses of this time period, and were lined with net to hold their shape.  They are bound with bias tartan with a second piping of contrast lilac, and there is piping at the sleeve head. The back closes with hook and thread eyes, although I wish I had made it front opening……as it turned out I needed to put in a front seam (as in the dress in Nancy Bradfield’s book) and I could have had a side front placket in the dress……hindsight is a wonderful thing! (and it would have been less period correct).  You can see how effective the diagonal cut is with a closer look at the back bodice in particular.  This was a common way to creat interest in design at this time.

 The skirt is pleated with the pleats facing forward to an inverted pleat centre front, and the back 6 inches are cartridge pleated on each side of the placket.  At the moment I have grosgrain ribbon to match tying the back waistband, but plan to put a self fabric bow with hooks and eyes as in Nancy Bradfield’s example.  The hem is padded, with two roleaux, one tartan bias, and one lilac contrast.  I wore it with my full Victorian petticoat, and it has a nice shape.

This is my favourite dress to wear at the moment!  The fabric was one of those finds, ‘unknown fibres’, but it felt like wool, and I am always on the watch for fabric that looks period.  It is actually a wool gauze, and when washed (I tested it on the fabric for the bodice) puckers up like a seersucker fabric……..I was quite alarmed, but with 2 hours of ironing I managed to flatten it out enough to work on it.  Needless to say, I won’t be washing the garment…..it will have to go to the cleaners!

I wear it with a red ribbon tie, fastened with an antique pin of my great grandmother’s.  The watch around my neck is a modern reproduction, and springs open just like the real thing!   The white frill is just tacked inside the collar, to relieve the rather dark effect of the dress.  I have to wear dark clothes, since I work often with printer’s ink.

A friend of mine has a black silk dress belonging to her family, which is dated to this same time.  I looked at the construction very carefully, and compared it to the information we have on the plaid wool dress Ontario, now in the Royal Ontario Museum.  The construction details were very similar.   The curved back seams and the sleeve head seams are piped.  The front is closed with hook and eye tape, and my friend’s dress had a ribbon decoration on the closing, with ornamental buttons at the inside edge.  I decided to make the buttons, as I had nothing which would be correct.  Singleton buttons seemed the best solution. 

They are made with a brass ring as the base and covered with fabric, with a sewn shank.  Here is a link to how-to instructions.  I found with heavier fabric that you do not need such a large circle as she describes (my ribbon was bonded to some interfacing, and it was just possible to stuff the edges into the body of the button). This method of construction dates from the 1600’s, and one reference said black ones were commonly used during mourning.  Mine looked a little plain, so I decided to embroider them, using the pulled threads from a remnant of the same fabric. 

The dress has a small stand-up collar (it’s cold in my heritage house!) with the classic shaped two piece sleeves of the era.  The sleeves are decorated with two bands of ribbon, and the edge is bound similar ribbon.  The buttons are smaller, and decorated with a rosebud.

There is a placket on the right side of the front skirt (because the dress fastens right over left.  Some dresses at this time fastened like men’s clothes today, left over right), so there is a filler piece of waistband on the skirt from the opening to the bodice closing, which lies under the right bodice front and is hooked to it.  Some front closings are straight down into the centre front of the skirt, but the side opening seems more frequent.  The unlined skirt is pleated with all facing forward from the back, an inverted pleat at centre front, and a box pleat at the back.  I have a belt cut out, but not made yet.  It will have ribbon binding and a large embroidered button at the closing.

Full length:  you can see glimpses of the white cotton that lines the bodice and sleeves.

I couldn’t find the wool braid that was normally used to finish the hem, so used braided tape which worked well and gave the hem some body.  I wear this over a full Victorian petticoat and red flannel petticoat, along with the proper corset (which is wonderful support when you are standing all your shift!).  As I work in a small shop, hoops are not practical. 

I had been looking at the Fig Leaf front opening dress as a model of a North American pattern.  It is taken from an extant dress in Massachusetts.  I thought the Sensibility pattern could be adapted for this, and so made the bodice with a front opening and two drawstrings, neckline and underbust.  I had a small frill below the underbust drawstring, but it is not quite long enough to prevent the apron front skirt from slipping down, and I added some hooks and thread eyes to support it.  Inside the dress I added a small bum roll to hold out the gathers on the skirt.

Bodice with underlining pinned across bosom, apron front down.

Bodice closed with two drawstrings and apron front up.

Inside dress with bum roll sewn in just below underbust line.

Spencer and reticule added.

Here is the bonnet I wear with it

I had found some silk twill, another online bargain, and had been thinking about this design for some time.  An occasion arose (a talk to the JASNA chapter in London, ON) which gave me a deadline, and so I got busy.  The silk was a very pale creamy yellow, not very interesting, so I decided to dye it with tea.  I used many teabags in the largest pot I had, and simmered it for 20 min or so.  It came out fairly even, and there were only a few spots I had to avoid during cutting.

I started with Sense & Sensibility’s crossover bodice, but made the opening in the centre front, and used the normal skirt pattern, attaching a band and ties to the skirt front.  I had been experimenting with fine cotton lace crochet, and had some pieces that I thought would do.  I decided not to insert the lace, but apply it to the surface, easier to manage, and also did not do all the insertions that Cunnington shows.  I experimented with dorset thread buttons, often found on dresses of this time, and found I could make 1/2 inch ones on some small jewellery rings I found.   For the sleeves, I made only one tie, and edged the sleeve end with a crochet trim.  The dress has a slight train, as I had just enough fabric for this.

  Front drawstring behind buttons.  It was not clear from the illustration in Cunnington how the bodice was shaped and this was my solution, as seen on other front opening dresses of this time.

Sleeve detail and bodice front.

The apron front ties over the bodice at the gathering line, and would be better with some hooks and eyes to keep it from slipping down.  The ties have carrier just under the arm, and could have two more at centre back, but it is not completely necessary.

Closeup of buttons and lace.

Side view of full dress

Back view.

I wore this hat and the dark green spencer with this dress.

I chose a fitted jacket and skirt design, suitable for late 50’s-early 60’s, without too many complicated pieces to make the tartan matching difficult.  As it was, it wasn’t possible to match exactly, because of the curved seams, but the mis-matches are balanced.  If I had included piping (traditional at this time) in all seams, it would have helped to hide this.

The black fringe is classic for this time period, and would have been around the bottom of the jacket too, but I had two points in front and three at the back, and it was a waste of the design to fringe it also.  I felt the ribbon line emphasized it nicely.

I wear an appropriate corset, the the traditional red flannel petticoat for warmth (it was freezing the three days at Christmas we were open!), also a cotton petticoat very full, but don’t wear hoops as people who worked in small shops could not navigate in the fashionable hoops.  And to tell the truth, a shop girl would not have worn such a dress, but the shop owner might, if she thought herself a bit above the rest!

  Chemisette/habit-shirt from Verona lawn, with pleats and embroidery on the stand-up collar.  Modern tatting-like lace edging.

I made the undersleeves from fine cotton Verona lawn, embroidered with trapunto and French knots and hand-made buttonholes, and after this photo I added the same lace edging as the chemisette.

Here I am standing outside our Printshop in the gown and ‘elderly ladies cap’!

Rosette on the sleeve

I added the rosettes, one on each sleeve, and created a corsage of rosettes made on a tiny base which could be pinned anywhere on the dress.   She wore them at the neckline, and it looked quite lovely!

My heart sank when I saw the gauze, never having used it before, but there was no time to agonize over it.  I washed it and the lovely lawn lining fabric.  And then when I ironed them, realized the difficulty with the crinkled gauze, that I would have to iron it flat before cutting it out.  I warned them that it would be somewhat flattened, but that was OK.  Then I had to re-draught the pattern as mine (basic Folkwear gown)  didn’t have a small enough size, that was a good learning experience, especially since I had never seen my customer!

I plunged ahead with some trepidation, deciding to insert a narrow waistband in order to manage the gathered gauze.  I lined the bodice (simplifying the front into one pattern piece),  removed the gathering in the back bodice, and left some gathers in the front skirt as I felt the thin gauze would look too skimpy and it would not flare well if cut as in the original pattern.

Bodice side front

I left the sleeves unlined, and inserted the drawstring in neckline and sleeve cuff centre so that they could be sewn down once the dress was fitted.  Then I added a separate skirt petticoat that could be removed (only basted in due to time constraints)  so that they could make a bodiced petticoat if they wished.

At 4:45 on the Friday afternoon the messenger arrived at my door and I had just finished the hem!  Off it went, to some success, as it fit, and it was “just as I imagined it”!  I was also very pleased and relieved!

Bodice back

I had a lot of fun making up some beautiful fabric, one of those finds you just have to buy even if you don’t know just what you are going to do with it at the time.  This fabric is a dotted swiss with a lacy stripe and thick and thin warp threads.  It had to be something light and airy!

I decided to go to my newest (at that time) reference book, Nancy Bradfield’s Costume in Detail.  She has several early 1800’s muslin dresses which are very finely sewn, and I itched to do something similar.  I chose one with multiple casings around the neck, and decided to do only two, using ribbon for the drawstring.  All the casings at neck and sleeve were sewn by hand, as was all  other exterior work.

I also wanted a dress which was easy to get into if you dress by yourself, so decided on a version of a bib front dress, but with the ‘bib’ attached at front to make it easier to manage.  So the back has no opening, except for the drawstrings at the neck, and the openings are on both sides at the front side seams.

The other requirement was to have a dress that could adjust to several sizes, so as make it more available to a larger number of people.

This is what resulted, with some adjustments as I worked.

Closeups:

Bodice front

sleeve detail

Side opening

The new owner was very happy with her dress!  And I learned a lot, and loved working with this delicate fabric.  It was not lined, as drawstring dresses often were not, but you would need to wear a white slip under.

Bodice front:

Bodice back:

Shoulder pleats (sewn down)

Front Placket:

Side view:

Full Length:

The arrows point to the spot where I tacked the drawstring down on the inside.  All the casings were sewn by hand so that there is no machine stitching on the outside.  In this pattern the drawstring at the neck exits at the front, and the back has the small back cut of the early ‘vertical epoch’.  Here is a view of the inside of the dress, showing the casing

You can see the points at which I tacked the drawstring.  You can also see the two flaps of the front lining folded over the top, out of the way.  I did not insert a small stays in this dress as it is a size sample at this point, I may add them later, but since the fabric is not the best, I may just keep it as a sample dress.  Here is a view of the side of the dress, showing the three sections, the front bodice gathers, the side skirt gathers, and the drawstring going around to tie at the back.

I even sewed the drawstring by hand, as I found that doing it on the machine made it very stiff and I thought it would not tie very gracefully, at least in this fabric…..something to keep my hands busy while I watched TV!  You are right, Jennie, it doesn’t take very long to do it by hand once you get going.