Making a lobster tail tournure (pt.1)

Hello!

Next step in my Victorian outfit is the bustle support that goes under all your skirts, to make the famous big victorian butt! Back in the day, these came in lots of different varieties and a lady probably had more than one, to suit her different dressing needs.

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From the V&A museum.

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I decided to make mine without a pattern. If you think about it, it is just a simple half-dome shape that needs to be collapsible (lengthwise) for when you sit down. And with all the excellent photos around of extant garments, it shouldn't be too hard to figure out.

I also did look for tutorials online, and remembered seeing one at the American Duchess blog. I used that as my starting point. To make the back panel that holds the boning channels and gives the whole thing it's shape, I started with a piece of fabric 30x32 inches, that were folded in half along the shorter side. I drew on the curve for center back, cut off the excess, and made a french seam along this now curved edge and all the way down.

Pardon the wrinkling, this is actually on the inside
of the thing. Mid construction.

Next was marking the boning channels. Now, I made my bustle using just a single layer of fabric, so making channels would require a way to encase the boning. I didn't want two layers of fabric for the whole thing, as the muslin I used would get very heavy if doubled. There is finished boning tape on the market, but since I now find myself on a budget, I had to think of something else.

In hindsight, I don't know how smart this was, but I decided to make ruffles! They certainly add volume, but I am not sure how they will behave under petticoats. I only hope they don't get all lumpy. If it all fails, I've learned a valuable lesson, and it is quick to make a new, unruffled one. Also, when thinking about it, the bustle is probably heavier now, with ruffles, compared with using  two layers in the back panel.... Doh!
Oh well, if anything, it looks cute...

So I marked the boning channels on my back panel first. By the way, I suspect the drawing on the AD page to have an error. If you look at how the channels are placed on the sideview drawing, the ends of the two top ones are further apart at the sides. In my head this does not make sense. They need to be closer together, to form a rounded dome shape. (Other than that small niggle, the tutorial is fantastic!) So at this point, I put aside the tutorial, and went with my instincts.

I sewed the gathered ruffles ontop of the marked lines, and then did a second seam (7mm) under it to form a boning channel. The ruffles are placed so that they cover the top of the next one. The sides of the top two are tapered towards the sides, because the channels are closer here. I found it looked better like this.

Top ruffles are tapered at the sides, so wider/longer at the centre.

 For boning I went to the hardware store and got a drain cleaner! These are better value for money than corset boning, and I didn't have to order it from the UK. It came in a 7.5m coil, which I then cut into the lengths I needed. I filed the edges round, and applied 5 coats of nailpolish to every end. I left them to completely dry for a couple of days. These steps are important, so the boning doesn't cut its way through your fabric.

If you ever decide to try drain cleaner spring steel, get a decent quality. I first bought a very cheap one, that I could bend with my fingers. Obviously, this would not hold up to wear and would quickly get dented and loose it's shape if I were to sit on it. Get steel that spring back to it's shape when bent and released. Most does this, but just be aware.

I decided to just bone the top half, so only four bones. I don't think it is necessary to bone it all the way down, but I might be wrong. I also wonder if it needs to be this long, but I'll leave it for now.
One of my bones ended up slightly too long, so this is how far I have come with my bustle. Just waiting for the nailpolish to dry on the new bone now :)  Next is attaching the tie strings on the inside, and then the side panels and waistband.

The Golden Jubilee Corset - LM#100 Silverado pattern

Finally!
King Winter arrived in the wee hours this morning, and sprinkled us with glorious white snow. And that usually means light enough to get half decent photos taken! (But rather typically; by the time I was all dolled up and laced in, daylight was fading...)

My victorian chemise and drawers have been waiting for this moment for several weeks already, but my corset got it's last stitches done on Sunday. I still haven't flossed it, due to a lack of a long enough hand sewing needle and silk thread. But other than that, I think it's done!

The corset is made from three (!) layers of coutil. The fancy outer coutil seemed a bit stretchy and unstable, so I basted it together with a layer of strong white cotton coutil. I also used this as my lining. In hindsight I could have used something lighter for lining, but I didn't have anything suitable in Le Stash. I used some lighter cotton fabric for my second muslin lining, and that ended up showing the inside seam allowances which wasn't a good look. At least, this corset is very sturdy, you could probably hoist a horse with it :)

This particular corset pattern has bust gores, which means there are six layers of fabric at the seams, meeting up in the gore points. Bulk festival.
I tried to grade down the seams as much as possible, so there wouldn't be any pressure points over my ribs. I can just feel a small lump at the gore nearest the front when I wear it. I just hope it doesn't end up being painful. I wore it for a couple of hours, and it felt fine. Fingers crossed.

All the inside seam allowances are cast over by hand. It took a whole day, but it was strangely satisfying.

Mid-construction. Hand cast seams, and in the process of putting in the waist stay.

When I decided on my project, which dates from 1887, I did some research on what was big in the news this particular year. As it turns out, Queen Victoria herself had her Golden Jubilee this very year, so I decided to honour the dear gal with a small token inside my corset :)

The little embroidery was done on the lining fabric before assembly. I just made a quick rough sketch with a marking pen, and free-handed it. It is the same style as the monogram on the chemise. I was afraid the crown would look like a chimp doodle, but I am happy to see it actually resembles a little crown.

I just love it when the stars align like that, my corset coutil and the golden busk and grommets were all chosen before I learned about the Royal Jubilee. It would seem like some costume sewing fairy godmother is watching over this project! Oh, may it last!

Making a corset isn't difficult, but it is a lengthy process with many steps. The pattern adjusting and the fittings are the most important ones, and I think one needs to make quite a few corsets to get it right. I am pleased with my first proper corset, but I learned loads of things I will do differently on the next one. Plus, I need to get more practice with things like grommet setting and working with densly woven fabrics in multiple layers.

If I am to say anything about the Laughing Moon pattern, I highly recommend it for first time corsetiers. It has patterns for everything you see me wearing in these photos (not the silk robe), so good value for money. The instructions are very good, too. If you are looking for a big waist reduction, I find this pattern to be not very curvy. I added a lot of hip spring to the pattern pieces, and still wish I had some more. But those are fitting steps everyone need to do for themselves in the muslin stage, so totally normal.

The chemise and drawers pattern is also nice, but I don't like the rounded shapes on the chemise front yoke, just over the bust. It looks odd to me, because it doesn't mirror the shape of the corset top. Personal preference, I guess, my next one will be shaped differently. And have lots more lace!! Other than that, it has a nice close fit at the top that will not add any unnecessary bulk under bodices.

I also got a lesson today about lacing oneself into a corset when your chamber maiden has her day off. It is hard. I broke a sweat, and my arms nearly fell off. And a mirror just makes it worse! I guess it gets better with practice, but I wish I could have gotten it tighter, and a bit more even for the photos. Oh well.

If you managed to read your way down here, you are a champ!
Next up, wire bustle and heaps of petticoats!!!

Victorian inspiration - or how I chose my project.

Since I decided to just jump in, and make a historical outfit, my biggest conondrum has been choosing what to make. I mean, with all the breathtakingly gorgeous day dresses, walking suits, evening gowns, ball gowns, petticoats, corsets, chemises, hats, gloves, capes etc. etc. from all different eras - HOW DO YOU CHOOSE???

Clichè, I know, but I decided to follow my heart. I took note of what made my mouth dry with admiration, the things that made me go "Oooo!" out loud, and spill my coffee. Mostly, I found, this happened to be stuff from the late Victorian era. I like big butts, apparenly, so the bigger the bustle, the more sweaty my hands.

Portrait of Baroness von Derwies, 1871.
Example of a first bustle era dress style.

Bustles first came into fashion in 1870. The wide hooped skirts of the 1860s started to change, as the fullness migrated towards the back. The skirts were gathered up with tabs and buttons to form a pouf, and the wire bustle was introduced to support the skirt.

An example of a 1870s wire bustle.
The Metropolitan museum of Art.

In this first bustle period, there were still quite a lot of fullness at the front as well as the back. In 1875, a more slender silhouette appeared. The wire bustle was put aside, and sleek lines with tight fitted bodices and narrower  trained skirts became fashion.

Slender, Natural form silhouette.

 Around 1880, the bustle was reintroduced in France, but it wasn't until 1883 that it took off as the new silhouette. This time, the bustle was even bigger, and formed almost a straight angle to the back. In the late 80s, the bustle again diminished as the skirts widened, and fullness migrated down the back. By the mid 1890s the bustle was mostly gone, and fashion evolved towards what would become the Edwardian silhouette.
This is of course a very simplified summary of the bustle period, as there were many details to womens clothing and fashion during this short space of time.


Right, now. Where was I? Oh yes, the outfit!
I tried to pinpoint what I would like to do in my outfit. Would I attend a ball? Or a park picnic? Would there be walking involved? Dancing, perhaps? Indoors/outdoors? Summer/winter?
Another consideration other costumers focus on, is what kind of person you portray. Working class women dressed very differently than an upper middle class lady. If I was doing reenactment, this could be a concern, but my focus is just to try recreate something that I love the look of, and that is within my budget material wise. And of course, there is the skill range.

See more photos, and read the story of this dress
 and it's wearer here.

I have now landed on something that isn't too dressy (if you could ever say that about victorian clothing) or complicated, but no less lovely! I want to do a walking suit/ travelling ensemble as my first make.
And it will be heavily inspired by this 1887 outfit, designed by Herman Rossberg.

I love the muted colors, that show off the design elements. I find it very elegant and mature, but not frumpy. I like that it can be dressed up with a set of more fancy sleeve cuffs, collar and front insert. And I really love the simple, yet intricate soutache trim. Here you can clearly see an example of a grand bustle of the mid 1880s. That butt is huge!!

The original design has two different bodices, and despite how much I love both styles, I think I'll be making just the short one, with the small back pleat detail.

I am probably in way over my head here, but I want to see if  it can be done! I am not in any hurry, so if you are expecting to see a finished outfit by the end of next month, don't hold your breath. There is lots of research to be done, petticoats and wire bustles to be made! If anyone has pattern suggestions, for any part of the ensemble, I would really appreciate it. For the bodice, I have set my sights on Truly Victorian #466 or #463. They both seem to fit the bill, with some alterations.

The skirt is giving me a headache, there seems to be concealed pleats at center front and sides, and some straight panels. And then there's that fabulously draped overskirt with the assymetric bustle.

So what do you think? (Other than how insane I clearly must be!)
I already got most of the fabric for it, but I fear I'll have to use two tones for the skirts. Calculating yardage for this thing is not my strong suit, and suggestions online range an aweful lot. I fear the skirt is a major fabric hog. The muslin will answer that question, no doubt! I have nearly 8 meters, but it's most likely not enough. I found a gorgeous wool gabardine on sale, and bought what was left. So we'll see :)

Fun times ahead!

Practicing new skills

Hello everyone :)

My Victorian sewing is progressing nicely. This last week I have been working on my first chemise.
I am using Laughing Moon #100 as a pattern, and it has been a nice experience. The fabric I got wasn't batiste, but ok for my first try. Totally usable:)

I am also doing the split crotch drawers, to make a full set of unmentionables. I haven't started on those yet, though.

The chemise pattern is kind of a blank canvas, so any embellishments of any sort is up to the maker. I didn't add any lace trim to the neck or armholes, simply because I didn't know if the chemise would have a good fit on me right out of the envelope. I drafted a size 12, and it was pretty much perfect. I did however add some tiny pin tucks to the front and back. They are quick to do and really make a big difference. I pin tucked the fabric before cutting out the pieces, so it was really easy, and no need to calculate extra fabric on the pieces to be tucked.

I also wanted to have my monogram on the chemise, so some embroidery was in order. This was done after the chemise was sewn, but before fastening the facings on the insides, as I didn't want any stitches to show on the inside. Surely, it would have been easier to do before cutting the fabric piece, but again, I didn't know the fit. It was no problem. I used an embroidery ring/hoop, and slid a post-it note between the two layers of fabric to prevent the needle catching the facing.

I haven't done much hand embroidery in the past, but I think it came out ok. The monogram template is from on of my 1919 fashion magazines, and the leafy ring around it was me expressing some artistic freedom.

In other news, my corset is on the back burner for the time being. I needed some notions for it that had to be ordered fro the UK, and the darn shipment is sitting at customs due to "lack of documentation". I guess the seller marked the shipment gift, and now they're  harassing me to spill the beans on the value so they can charge me the taxes. Well, I am sure I'll get my goods eventually.

Have a lovely weekend, and happy sewing ;)

LM#100 - Silverado corset muslin #2

Hello friends!

I tell you, this corset sewing business has been just awesome! I am really enjoying myself and learning lots along the way.

After making some small adjustments to my first muslin, I cut out all (32!) new pieces for the second one. I used some poly-blend upholstery fabric for the outside, and plain cotton muslin for the lining. I tried it on midway, and didn't feel it was the perfect fit. However, a corset without boning is a different animal to a finished one, so despite seeing some points for improvement, I decided to finish it just to get some practice with the grommets/eyelets, the waist tape, lining and spiral steel.

Adding the waist stay.

I used continous spiral steel boning, cut and tipped them myself. It was not hard at all, and I recommend getting this opposed to the pre-cut lenghts. Cheaper, too! For this corset I used three meters of spiral steel.
I didn't think of ordering flat steel boning for the back, so I had to improvise. I used hacksaw blades with the teeth sanded off, and it worked fine for the outer edge, but the one inside of the eyelets (if that makes sense) needs to go. If you look closely at the side view, you can see that my back looks very straight where there should be a hollow. The blade is flexible, but still too straight and broad for that placement. There's actually room behind it, and I can press it in with a finger...

Uhm...is that a baseball bat up your back?

I am quite pleased with the fit. When I tried it without the boning, it seemed too long because it doubled over itself at the waist, and it was also very loose at the bust. I switched from the A-cup bust gores to the B-cup on this muslin, and debated whether I should switch back again. I ended up keeping the Bs.

After inserting all the boning, I see that the length is perfect and the extra room in the bust allows for tightening at the waist. Some reviews of this pattern claims that the bust gores are "all wrong" but I got my own opinion on this matter. I think, the gores are not meant for the boobage but rather for the ribs. They start just at the edge of my ribcage, and give me room to take a full breath (high in my lungs) and there is no excessive compression or hot spots over my ribs at all. My bust is nicely cradled within the corset, and there is no "spillage".
If I am to be very critical, the outer gore could use just a teeny tiny adjustment to make it a tad more close fitting and give it a more correct curve.


I am also a bit bothered by the way the bottom front edge sticks out, although this is probably invisible when wearing a gown (or even just the undergarments). When ordering my supplies, I was tempted to get a spoon busk, but some say they are notoriously uncomfortable. I opted for the regular straight steel busk for this first corset, but I *need* to try the spoon busk some time. Love the shape it gives!

I can rather easily-ish lace this corset all shut, and it gives me a 27" waist, so a 3-4" reduction.
I have at least an inch more of squish, but I am ok with the reduction that this corset gives me.

Now that I know I can tackle this pattern, I am itching to get swinging with my Belle Coutil fabric, the lace and the nice stuff. It's so gorgeous!!!! (and I am terrified of ruining it!!!!!!!!!!!!!!)
I think I'll do one more muslin, though...

By the way, does anyone know if you should pretreat your corset coutil? I pretreat all my fabric, but seeing that a corset is not to be washed, do you still need the pretreating bit? (Not being lazy, just being utterly insane, thinking my washing machine will mince it. I think I need wine.)

Victorian corset muslin #1

Hello again!

As I mentioned in the last post, I've dived into making my first Victorian corset!
To be fair, I really should make the chemise and drawers first (the things that goes under the corset), but it turns out getting cotton batiste in my country is near impossible. I've found some cotton stuff that's fairly light weight without being a voile, but I'm still not sure it is light enough. But it will do as muslin for the chemise, I'm sure.
I am also not finding the trim I want, so for now, I am tackling the corset.

A thing of extreme beauty.
Victorian silk corset, 1876
Met

I ordered my corset supplies from Vena Cava Designs in the UK, and it was like Christmas eve in Casa Pinhouse the day it arrived. I chose to use the Laughing Moon #100 pattern, as it comes with patterns for two different corsets and also drawers and chemise, so all in one. I've heard good things about this pattern, so hopefully it will serve me good :)

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I opted for the Silverado corset (B), with bust gores. I immediately noticed how straight it looked, and after reading a few reviews I decided to add some width in the hips. I drafted the size 12 and added about 2" overall at the bottom.

It sewed up like a dream, and it was fun setting the busk and seeing it take shape. I didn't add any boning besides the busk and one straight steel bone on each back edge. I didn't set any metal eyelets either, because I knew this corset would be taken apart again. I made buttonholes instead, and it worked ok for the initial fitting. I used some polyester cord from the hardware store for lacing.
The fabric is some aweful beaver nylon I had in my stash, but it was non-stretch and heavy duty, and served the purpose like a champ :)

So this is how the first muslin came out.

It is buckling at the bust and twisting at the back, because it lacks boning, but also because it is a bit tight in the ribs, and rides down. The waist size is what I want it to be (I compared it with an underbust corset I have that has a great fit) but there's still too little room in the hips. When tightening a corset, the waist will squish, but the hips won't to that degree because of your skeletal structure, so the tighter the corset, the bigger the hips get in relation to the waist. This also applies to the ribs, so the smaller the waist, the more flare you need top and bottom in the corset itself.

The length is good, I think, and I like the shape of the edges of the corset. It is comfortable when sitting, so no need to make any changes there. I've drafted new pattern pieces now, with even more room in the hips, and some in the top too. I have been careful to add width all around, and not just in the sides on the hips, or just in the bust front, as this would throw off the front-to-back balance of the corset, and it would skew and twist when tightened. So we'll see if my reasoning on this matter is correct :)

I don't want it to lace all shut, but it may seem that it now has too big of a gap. All that will change once there is more room in top and bottom, so I am excited to try on the second mock up.

Stay tuned for more corset shenanigans, OH AND A DRESS!!! Yes :)

I'm taking the plunge!!

I've never been the typical girly girl. I don't wear dresses most days, and I probably spend less time in the bathroom than my better half. I rarely pour over fashion magazines, to get the latest look (obviously). Nor does my closet look like a party.

Phantom of the Opera costume, 2004.
Louisiana Art Museum.

But when I see historical clothing (17th, 18th and 19th century), the frilly, romantically clad, corseted, drowned in bows and lace-monster in me awakens. I just can't help myself. In high school I had art history classes, and they were some of my favorites.

French silk gown 1778-80, MET

So naturally, I've been following along on some excellent costuming blogs the last few years. American Duchess was probably my first, and has been a well of inspiration since. And when you find one, you are sure to bump into more, like The Laced Angel, The Dreamstress, Historical Sewing, Before the Automobile, Wearing History and many more. These are some incredible talented ladies, and I think you will appreciate their skills even if you aren't into historical fashion.

Robe a la Francaise 1760-70, MET.

The most obvious hurdle for even starting making such garments, is "where the h*ll do you wear them?" This has been what has kept me from falling down this historical rabbit hole long time ago. And I am sure others have had this very thought, too. There just isn't any occasion to wear a full Victorian outfit around where I live. So how do you justify making something that will mostly hang in the back of your closet? Not to mention the cost and the time consumed on such large projects.

Lovely Lauren of American Duchess
(I am very partial to this style of dress btw)

Well, I haven't been able to answer these questions until now. I've come to the conclusion that I don't need a reason to do it. other than I really want to! And if there aren't any events to wear costumes, well maybe I need to make one happen? There might just be more lone seamstresses sitting around, looking for a reason to "jump in". Also, if you disregard the wearing-bit, there is also the inevitable learning process. it is a unique opportunity to up your sewing- and fitting skills. Just by reading costuming blogs, I've already learnt a lot about construction techniques and also the evolution of clothing and fashion through the ages. And it is very interesting.

Gorgeous Merja of  Before the Automobile
I love fluffy butts, apparently:)

So now, that I have decided to take the plunge, the quest for choosing an era starts :)
I've had the hardest time with this one, as I find I kind of love everything!
But I think I have managed to narrow it down to the late Victorian era (1870-90ish). And I tell myself, this is just where to start. Who knows what other eras I'll eventually end up making?

Making a historical outfit, one has to start at the very foundation, the underpinnings. So be prepared to see some of those on this channel shortly :)