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Posts Tagged ‘19th Century fashion’

A cage crinoline, with metal and cane supports, held together with cotton tape, c. 1865, from LACMA.

One of the costumes that has been on my list for the past year has been a mid-19th century ball gown. I have an “Alice in Wonderland” Ball coming up, and – since Lewis Carroll published this novel in the year 1865 – it seemed a perfect event to make it for.

Throughout the 1840s and 1850s, the skirts had been gradually increasing in size with the use of multiple petticoats, often stiffened with horsehair or cording. When the crinoline was patented in 1856, it reduced the necessity for many layers of heavy petticoats, as the hoop did everything that petticoats could not! It also allowed the dress to increase in size much more easily, as all that was needed was a wider hoop.

By the mid-1860s the hoop began to change shape from the conical fashion of the 1850s to an elliptical shape, where the skirts began to stand out more at the back of the dress. Towards the end of the 1860s the skirts began to be draped to the back to accentuate the rump, in preparation for the first bustle period that came in the early 1870s.

Not all the powers of ridicule, nor the remonstrances of affection have been able to beat down that inflated absurdity, called Crinoline! It is a living institution, which nothing seemingly can crush or compress.

“The Despotism of Dress” (1862),

quoted in Corsets and Crinolines, by Norah Waugh

Whether the rebukes were in the name of “ridicule” or “affection”, I can see why women kept wearing crinolines! They are so much fun!

Pattern

I used a pattern from Truly Victorian, which was their 1865 Elliptical Cage Crinoline (TV 103). There was also a useful pattern in Jean Hunnisett’s book, Period Costumes for Stage and Screen, that provided extra information.

I really wanted to make a red crinoline, but in the end (in the name of saving costs) I dug into my stash and found some pink supplies that I could use. I used pink poly-cotton material, with polyester bias binding for the horizontal channels and pink polyester twill tape for the vertical supports and the waistband. I used white flat steel for the boning.

Construction

I have not detailed all the construction steps here, as the Truly Victorian pattern has great instructions. Instead I have given a brief overview.

Step 1: Sewing the bag together.

The bag is sewn up, ready to be folded lengthwise in half.

Step 2: The bag folded in half, with four horizontal boning channels sewn.

The boning channels are sewn in the bag, leaving a gap for the boning to be inserted.

Step 3: The half moon piece is sewn and then quilted.

The half moon shape is sewn and machine quilted for strength.

Then the vertical supports are attached with the waistband.

The vertical supports have been sewn to the crescent and the waistband attached as well.

Step 4: The two centre front vertical supports are sewn to the waistband so that they can slide along it.

The vertical supports at the front are attached to the waistband with a loop so it can move along.

The vertical supports should all be marked as to where the horizontal boning channels will intersect. Once all the vertical supports are attached to the waist and attached at the bag, then the boning can be cut and inserted into the channels. Once again, the boning channels need to be marked as to where they will intersect with the vertical supports. The TV pattern instructions go into great step-by-step detail as to measurements for this part.

Step 5: Inserting the boning and attaching the boning channels.

The boning channels are being attached with pins at the moment.

Step 6: In order to support the back of the bustle, I stuffed a crescent pillow with wadding and sat it underneath the quilted half moon piece on the crinoline. This was suggested in Jean Hunnisett’s pattern and it made a huge difference in the stability of the hoop.

This crescent shaped pillow is stuffed HARD with wadding and then sewn to the waistband very sturdily.

Step 7: Try it on, and – once you are happy with how it sits – the boning channels can be handsewn to the vertical supports.

I am really pleased with how it turned out!

All finished! The hoop is not as balanced on my dummy as it is on me, which reinforces the need for a fitting before the final fixing of the horizontal and vertical supports.

My next post will involve making the petticoat. – coming soon!

Related Posts

A Victorian Bustle

Making a Victorian Corset

Sources and Relevant Links

Image Source: A cage crinoline, c. 1865, from Los Angeles County Museum of Art (LACMA)

Corsets and Crinolines, by Norah Waugh – buy on Amazon

TV 103 – 1865 Elliptical Cage Crinoline, by Truly Victorian Sewing Patterns

Period Costumes for Stage and Screen: Patterns for Women’s Dress, 1800-1909, by Jean Hunnisett – buy on Amazon

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The poke bonnet was fashionable at the beginning of the 19th century, and consisted of a small crown and wide brim to shade the face. From 1830 through to the 1840s, the shape of the brim became more tubular in shape and increased in size until the wearers face was only visible from directly in front.

A French satire print on the poke bonnet in the 1810's; "Les Invisibles en Tete-a-Tete". The bonnets were called "invisibles" in France because the face of the wearer was virtually concealed except from the front.

The Gentleman’s Magazine proposed (tongue-in-cheek) the formation of a Female Convocation or Parliament in order “to regulate dress in all its changes and varieties” (1807). The author drew several comparisons between the all-male Parliament and its female counterpart, with particular mention of the poke-bonnet.

Men may act very perversely in questions of peace or war, but there would be little room for animosity in discussing the height of a turban, or the colour of a shawl; men may be warm on extending the militia, or increasing the army, but there would be more liberality in puckering a handkerchief, or gathering up a petticoat; in enacting a poke-bonnet, or proposing an amendment in the straw-hat bill; I have no doubt, indeed, that all the members would be so duly impressed with a sense of the importance of their office, as to discuss with most becoming temper, the dimensions of the square bust, the curvature of ringlets, the necessity of indispensibles, the side over which the veil is to fall, and the manner in which the dress should be broached on the shoulder, with every other circumstance of equal importance to captivate and conquer.

The Gentleman’s Magazine, Volume 100, January, 1807.

My Poke Bonnet

The materials you will need are: 

  • A straw hat (from a craft shop or second-hand shop)
  • Material for the crown
  • Material for the lining (chiffon, fine netting, silk or lace)
  • Ribbon or bias binding, to bind the edges of the hat
  • A small amount of cheap, thin craft ribbon
  • Ribbon, lace, or feathers, to trim or decorate bonnet
  • Thread, scissors, needle, pins, safety pin, sewing machine.

Step One

Begin by bending the straw hat in half to decide on the shape you want for your bonnet, and then cut the hat in half. My straw hat was quite small, only 25 cms in diameter.

Step Two

Bind the edges of the hat with bias binding or ribbon, using a needle and thread.

Step Three

Gather the lining material about 1cm from the selvedge edge. I used a thin voile, similar to chiffon, with a selvedge edge that was 1 metre long. Measure the width of the brim, from the brim edge to the base of the crown, and do a second line of gathering stitch that same distance from your first line of gathering stitch. You can see from the photo below that my two lines of gathering are approximately the width of the brim.

Step Four

Hand stitch the first line of gathering stitch to the binding on the inner edge of the brim, using a simple running stitch.

The second line of gathering stitching should rest along the base of the crown of the hat. Pull the gathering threads tighter to fit. You can attach this line of gathering to the base of the crown with a hot glue gun or some hand stitches, but I left it loose.

Step Five

The lining will now have a lot of fullness inside the hat. Trim it level with the bottom edge of the straw hat, and then bind the raw edge by hand sewing another piece of bias binding or ribbon along it to prevent fraying.

Step Six

For the crown of the hat, fold your piece of material (mine measured 45 cms x 60cms) lengthwise to form a rectangle. If you would like a more gathered crown, make your rectangle longer; alternatively, make it shorter if you would like an ungathered crown. In order to have a decently gathered crown, the length of your folded rectangle would need to be at least 2 times the circumference of the base of the crown of the hat.

Sew the short ends of the rectangle together to form a tube, leaving a small section (0.5 cms) unstitched closest to the folded edge. This will enable it to be gathered with ribbon in the next step.

Step Seven

Using a safety pin, thread a thin piece of craft ribbon inside the folded edges of the seam, so it comes out the other side. (It’s kind of like threading elastic in a waistband, except there is no casing for the ribbon. Not having a casing enables you to tightly close the crown.)

Then you can pull it tight and knot it so it forms the top of the bonnet.

Step Eight

If your crown is very loose on the straw hat, it will need to be gathered to fit. In order to hide the raw edge, you can either turn it under and sew it (as I did), or bind the edges with bias binding, ribbon or a long strip of fabric.

Step Nine

Sew two lines of gathering stitches and adjust the gathers to fit the base of the crown.

Pull it down over the base of the brim (where the nape of the neck would be) so it holds the hat in a bonnet shape. (Try it on at this stage, just to make sure it will fit your head!) Then, using a basic running stitch to attach the crown, hand sew through all layers.

Step Ten

Decorate the bonnet with ribbon, lace, feathers or other trims as you wish.

I used a craft straw hat that was 25 cms in diameter (designed for a doll, I imagine), so it was not large enough for me! The Intended Recipient, my youngest daughter, was duly impressed!

A poke bonnet, with pleated green taffeta

Tips:

  • Buy a thimble!! I bled all over my bonnet several times!
  • Use a foam head, as it will help you decide how best to shape your bonnet.
  • Melt the ends of any ribbon with a match or cigarette lighter, which will stop them fraying everywhere. (Don’t set your bonnet alight though!)
  • The more “invisible” your hand stitching, the better the result.
  • Have fun creating!

    Bonnet detail, with a ribbon flower

I made these bonnets by following a tutorial given by The Oregon Regency Society. The author also gives alternative ways to construct a bonnet for those who are not sewers, and has another tutorial on making a Regency stovepipe bonnet.

I love historical fashions! They are my cup of tea!

Related Posts

How to use Ribbon to make Decorative Trim

An 18th Century Reproduction of a Sacque-back dress

Dress-ups for a Baby

Sources and Relevant Links

How to make a Regency Poke Bonnet, by The Oregon Regency Society

From the Neck Up: An Illustrated Guide to Hatmaking, By Denise Dreher – This is a great book on the different techniques required for successful millinery, and also includes a basic pattern guide to the various fashions in hats through history.

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