English Country Dance Costumes

This dress is made from the drawstring dress pattern in Sense and Sensibility’s Elegant Ladies Closet pattern, as a test piece which I will alter again ( it is a D cup at the moment) and wear myself.   I used inexpensive fabric which is probably polyester, but drapes nicely.  I changed the pattern slightly as I wanted to have a smooth skirt front with only some gathers at the side, and it could be difficult to pull it over your head if the front was too snug (the drawstring at this level does not go across the back).  So I aimed for a final underbust measurement of approximately the bust measurement of my customer.  This meant gathering the bodice front to reduce the overall measurement to the right size.  This left some extra material on the skirt front, so I cut it off, sloping down to the full width at the hem.  I sewed the underbust seam and encased it as instructed, sewing up the front section to form the casing for the drawstring.  Then I inserted the drawstring and tacked it down at each side of the bodice front gathers, so that portion would not draw up, but only the side sections.  Here is the bodice

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.

I have been having fun adapting my first gown to change the bodice to the wrap bodice in Sense and Sensibility’s new empire gown pattern, from Sense and Sensibility’s Elegant Ladies Closet pattern.  I removed the bodice, and altered the skirt so that there was a placket in the petticoat under the divided skirt.  The top was sewn on so that the edges of the wrap came to the edges of the divided skirt, it went together very nicely.

Here is the new bodice

You will notice that I put a small row of gathers at each side of the neckline, to widen it a bit.  Plus my opening is closer to the front than on Jennie’s pattern, to fit the skirt pieces, I just had to add one more pleat (about 3/4 inch).  I also added lace to the sleeves as the new sleeves are shorter than the old and I wanted more length.  The bodice is lined with linen and I have inserted a small stays, like those in the pale blue brocade dress, into the front bodice lining piece (two layers of the linen).

Here is the full length image

This all began because someone wanted me to make a front-opening gown for them, and so I did some more research into different patterns.  The Elegant Ladies Closet to the rescue!  Both gown patterns there can be put on by someone without assistance, so I wanted to try them before making one for a customer.  My next post shows the second sample, the drawstring dress.

Finally, the fifth and most recent dress I have made!  This one is also based on the Folkwear Regency Gown pattern, but with a lot of help from Janet Arnold’s Patterns of Fashion I, specifically the dress from Salisbury Museum, circa 1798-1805.  {Edit: I was delighted to find an historic dress with the same type of built-in stays on the wonderful web-site of the Nationalmuseet, Denmark.  Here is their time line section.}

The fabric is rayon brocade with a small diamond pattern.  Seed pearls are sewn at the neckline and ‘waist’ to the grosgrain ribbon used.  The little rosette on the hanger is a hair ornament.  I used the Folkwear bodice and skirt with the following modifications:

1.  Back and side neckline: added 3/4 inch to neckline of back and side fronts.

2. Back bodice: remove enough at the back fold to make the bodice form-fitting, and shape with a dart which is larger at the bottom seam and finishes about 2 inches from the neckline.

3. Stays: added front under bodice (estimated depth measurement from 1″ below underbust line to just above nipple, and then corrected with fitting adding darts) to the sides of front bodice side pieces, so as to make a small stays attached to the dress.  Linen lines the bodice and forms a double layer for the stays.  There are 5 bones in each side.  It would be good to line the whole thing with interfacing, depending on the firmness of the outer fabric.  I expect this would suit A to B cups only, and the Mantua Maker’s Regency stays would be more appropriate for larger busts.  In that case the dress could be made with plain underbust flaps as in Janet Arnold’s pattern.

attached stays before eyelets added.

4. Skirt: added plackets to both sides of front skirt piece.  They foldback to meet the front edge of the side skirt pieces where the same amount of fabric was added.  There was some extra fabric which I gathered  just infront of the placket.  The ribbon underbust is sewn to the skirt front from the placket edge across the front so that the long ends reach around and tie in the front below the bust and under the drop front.  For my size (large), the (folded) front edge of the front skirt piece is 1 1/2 inches beyond the edge of the drop front.

5. Drop front: the regular Folkwear front bodice is gathered on the top with two ribbons in a casing sewn so that there is a small ruffle once the ribbon is pulled up and tied inside (easier fit over the bust); and at the bottom, by gathering to the measurement on the pattern, and sewing to the ribbon that binds the skirt.  The second ribbon is added to the back to face the under bust band.  Button loops were made from folded ribbon and attached with a ribbon facing to the sides of the drop front, to be buttoned with pearl buttons on the side fronts.

6. Sleeves:  I added one inch to the length and as much to the width as the 45″ wide fabric would allow.  They were made with the larger Folkwear sleeve pattern.

The dress is put on by first fastening up the stays, then wrapping the under bust ribbons around the body (through the belt loops on the back) and tieing at the front under the bust.  Then the drop front is buttoned up to the side front pieces.

My third dress was a new adventure!  We have a Playford ball once a year in our area, and I wanted something different, that would be appropriate for earlier time periods.  This was the result of my research into the earlier days of costume, using largely Janet Arnold’s book of early patterns for confirmation.   Both the dress and the stays were made from patterns by J.P. Ryan, and I found them easy to work with.  I settled on somewhere in the 1770-80’s, the versitile open gown (Robe a la Anglaise) with petticoat.  But of course I had to start with the proper underpinnings, so the next step was the full stays.  I made mine open down both front and back, for added size adjustment and ease of getting into them.  Here are the stays, all the finishing was by hand, but I did sew the boning in by machine.

These show the eyelets that I made by hand, using a metal ring to reinforce it on the inside, which is apparently period correct.

Next came the dress, which I could now fit over the stays.

Here it is, made from green Dupioni silk, with a polyester satin embroidered petticoat.  I aim to get some embroidered silk for the petticoat, but need to save my pennies!  The fabric at the sleeves is not correct, is modern poly chiffon, but I have the silk to replace it, and to add a fichu at the neck.  There are green silk rosettes on the braid, at neckline, and at the end of the skirt decoration.  There are ribbon ties which are attached to the side seams at the back of the skirt with rings in two places on the seam, so that the back of the skirt can be drawn up a la polonaise for dancing (see the last image).

I am in the process of altering it a bit, as you can see it is a bit loose in the bodice, just by taking a long tuck beside the boning that supports the front opening.  At some point I will make some pocket hoops which would have been worn with this sort of dress, but it is easier to dance without them.  In that case I will have to recut the petticoat, and have left extra hem to allow for widening the skirt to fit the hoops.

Here is another gown made from the Folkways Empire Gown pattern, my fourth ball gown altogether.  This time I added a simple frill at the front neck, which was made by extending the turn fabric for the casing so that the casing is lowered from the fabric fold, and when the drawstring is pulled up, a frill results.  The drawstrings exit in two places in this dress: one at the front inside, so that I can adjust the closing over the bust, and one at the back to close the back opening snugly.  The trim is also around the hem.

The sleeves were enlarged (1″ to length, 2″ to width)  and a ‘waist band’ (really an under bust line band) inserted to lower it a bit to the slightly later time period that goes with the flared skirt.  I added some stiffer linen to the gathered sleeve cap in an attempt to make the sleeves stand out more, but really you need interfacing in the whole sleeve if you want the “big sleeve” look.  Again, this pattern is very adaptable.

Here is the whole dress, with the back shown below (out of focus slightly, sorry!)

Here is the gown on my trusty form Lucy.  This second gown I made from the Folkwear Empire dress pattern, and I was very pleased.  Since it is adjustable (drawstrings around the neck, tied at the back), fitting was no problem.  However, I did need the proper undergarment for bust support as the bustline is historically correct and higher than current fashion.  I substituted a made-over (read compressed!) long-line strapless bra that I had, and for the occasional ball, this works fine.  However, in the long term, it is better to have the correct garment.  Sense and Sensibility has an undergarments pattern which should be quite satisfactory, although I have not used it yet.

The pictures above show the detail on the sleeve (the pattern has three on each sleeve) and the lace and ribbon detailing.

I see this pattern as sort of transitional….the bodice is short and constructed as the garments of the late 1790’s and early 1800’s, with the small back and extended sleeve hole, but the skirt is slightly flared and has a reduced amount of fabric gathered into the back, more like garments after 1810.  This makes it versatile for adaptation.

The first one I tried was from the Sense and Sensibility pattern. I had planned it for weeks, pouring through Ackerman’s Costume Plates, and decided on a combination of the two images below, using the draped overdress, and the draped sleeves.

Here I am wearing the dress.

Rosette on the sleeve

Rosette on the overskirt, above the petticoat

Hello, you have reached the blog of Lynn Macintyre. This is where you can find my stories about creating costumes for English Country Dance. Please comment, especially if you have an interest in historic construction, or contact me if you would like a gown made for you. More to come……!