CoBloWriMo Current Project: the Bastille Day Project

Last weekend saw B and I traipsing around Kansas City, hitting up craft stores and thift stores and a long overdue visit to Fabric Recycles in Overland Park.  The place is like a curated thrift store for sewers of all flavors.  We walked out way poorer, but with a lot of nifty finds.  One of which was the motivation for my latest impulse project.   I've been meaning to do something for Bastille Day for several years.  So many pictures of lovely late 18th century costumes showing up from dinners and picnics around the world, and I wanted to play, too. Nothing happened this year, but I figured it might work out better if I got on top of getting a costume ready.  At Fabric Recycles, I managed to find the perfect ribbon for making cockades.  Now, that wasn't my whirlwind project for the week, but it did motivate me to start working on a hat for the costume.

Thrift store find: generic straw hat with plastic flowers hot glued to the brim.

I picked up a straw hat for something like a buck.  While it's not a great quality of material, it worked just fine as a base for a late 18th century hat.  For inspiration, I just browsed the fashion plates I'd saved to Pinterest and a couple of modern tutorials on re-coverings straw hats.  The puffy crown idea came from Venifice, and the pleated brim from Koshka.  I ended up deciding that the tri-color ribbon was just a little too in-your-face for what I wanted.  I'll save that for making cockades and instead just focus on making myself a costume in the red, white, and blue palette.

Ta Da!

sans flash, the colors really come through.

The red silk is a nice low-slub dupioni that I salvaged from a blouse picked up at a thift store a few years back.  This project was an exercise in compounding trims.  I'm really pleased with how much texture and dimension I was able to get out the different combinations.  The sashes were made by attaching a strip of braid to one piece of blue ribbon, then sandwiching a single piece of the pleated white ribbon between two pieces of the blue, making them pretty from both top and bottom.

Blue ribbon and gold braid picked up in the LA Fashion District last CoCo.  White pleated ribbon re-homed from (I think) my mother's stash at some point.  It looks like it could be her handwriting on the label, at least.

He may be a bit too bourgeois for a Bastille Day outfit, but I gave this fella a tail and some gold detailing and he just pins on.  Now if I could just figure out his name.

Costume-Con 33 Roundup, Sunday

Still playing catch up from Costume-Con 33.  On Sunday, they had the "Miss Ellen's Portieres” competition, where entrants made costumes out of curtains.  I entered wearing my shower curtain short gown, paired with a teal cotton petticoat and my perpetual work in progress, the whitework apron.

Showing off my grandmother's sewers union pin from when she worked at a men's pants factory in the 70s. 

Sunday night was the Historical Masquerade, to which I wore Maria Carolina's court gown.  Kristen was kind enough to help me with my presentation, wearing her own jacket and petticoat combo to serve as a chamber maid.

Our presentation was a comical nonsense number that was basically me getting my maid to help me find my dog.

A portrait of Maria Carolina of Austria, Queen of Naples and Sicily, by Giuseppe Bonito, c. 1770s.

I still have a few yards of this red silk left, as well as some fur.  I'm thinking that one of these days I'm going to make myself a court train to hook onto the dress, even through one wasn't present in the source painting.

I'm particularly proud of my wig, which I carted onto the plane in a gift bag as my carry on.  Well, it made it!

Ridiculous staged costume portraits.  It's was friends are for.

Kristen and I with our roadies, Bethany and Lauren.
(the gals pulling the strings to make our dog move on stage).

No awards for this one, which just goes to show how hit or miss this kind of thing can be.  Ah well.  We had a hell of a lot of fun back stage and I'm proud of how the costume turned out.  Now I just need to figure out where on earth I'll ever wear the thing again.

HSF 8: UFOs (UnFinished Objects) - Cranberry Short Gown

I first started working on this back in November, thinking that I'd finish it in time for the last HSF challenge of 2013 - Celebrate.  I'd already completed every other item needed for a simple 18th century outfit, all I needed was the top.  Well, life being what it is, I got preoccupied making Christmas gifts and then investing everything that I had into the 1920s Batman villains group.  So, into the bottomless pit that is my WIP basket on the shelf.  Four months later, I finally found the few hours that I needed to finish the trim and stomacher.

So this gown is made from a single decorative shower curtain that I picked up at Goodwill for a whole $2.99.  I kid you not.  It may be polyester, but there's a small diamond pattern woven into the material and it's just worn enough that, from a few feet away it's kind of hard to tell.  I found that using stupid cheap materials helped me get over the freak out of trying something completely different.  Most of my historical sewing has been from the Victorian era onward, so the drastically different construction styles of the 1700s were a bit intimidating for me.  But with this, I found I could just let go of the stress over trying to get it 'right', since hey, it's an effing shower curtain.  It's already so far off of accurate that it's just not worth worrying about.

Pattern listed in this Duran Textiles newsletter, which I almost certainly came across on the HSF Facebook.

As you can see, I took some serious liberties with the pattern.  I had to sew two panels of the shower curtain together to get a piece of fabric wide enough, but then I cut the gown in one piece, just like the pattern said.  But when I tried it on I felt like I was wearing a sack.  While it's not intended to be a flattering piece, I kinda felt like it needed a little something more.  So I took in the side seams down to the waist, putting the rest of the skirt into an inverted box pleat.  There's a box pleat in the center back, which is top-stitched down to the waist, then left open in the skirt.  I also cut back the center fronts a couple of inches and had the gown close over a stomacher instead.

I took advantage of all of those pre-hemmed ruffles from the shower curtain to add ruching around the neckline and sleeve cuffs.  This was one of those things that sounded simple enough in my head, but ended up being awfully cumbersome in actuality.  While technically straightforward, hand gathering all of that trim felt like it took forever.  Seriously, 80% of the time spent on this had to be working on that trim.

The gown closes over a stomacher in the center front, but the front edges tuck under
the giant ruffle so that you can't see them.  It kinda makes it look like it's all one piece.

From the side, showing the box pleat that lets the skirt open up over the petticoats (that I'm not wearing).

It dips down low enough in the back that I shouldn't have any trouble tucking a fichu around the neck.

And the stomacher all on it's own.  There are six zip ties at 1 inch intervals sewn between
two layers of cotton canvas.  then the front and back were covered with cranberry fabric.  

What the items is: 18th Century Short Gown

The Challenge: #8 UFO

Fabric: one ruffly polyester shower curtain from the Goodwill

Pattern: modified from the one published in this Duran Textiles newsletter.

Year: mid- to late-18th century

Notions: polyester thread, zip ties.

How historically accurate is it?  Maybe 40% if I'm stretching it.  I took some liberties with the pattern and the materials are laughable for accuracy.

Hours to complete: 15+ (hand ruching only sounds simple in your head)

First worn: Figments and Filaments is coming up this weekend.  I'm thinking of breaking it out for that.

Total cost: $3 for the shower curtain, perhaps a $1 worth of interlining for the stomacher and a half dozen zip ties.


And to top it off, here are some of the extant garments that I used for inspiration:

18th c Cotton Caraco (Belgian), from the Met.

Caraco Jacketc 1760 (altered 1780), LACMA.

Silk Dress c 1778 (French), the Met

Plaid silk caraco jacket, c. 1770 listed by Whitaker Auctions.