I am also finding it hard to trust all staged images, as there is a tendency to pouff out draped fabrics when they should fold inwards. I wonder how many people remember the infamous natural form pattern?


The Simplicity 4244 pattern with the paniers turned out and padded?



The original has the area padded out in display, though not turned inside out:



http://www.victorianbridalmuseum.com/about/index5.phtml


I would love to see this updated, polonaise style princesse dresses are a staple in the pattern books of the era that it’s nice to see real examples whenever possible. Seriously, every book has at least one princess and at least one is really a polonaise.


 



And if the Met can have a garment padded in inverse to what would be expected, then yes it’s very easy to to!




Centraal Museum too! (but this is another good example of the mid-late 1880s shape to the skirt, the pouffing over the hips and of the little puff over the bustle.. not really feeling it. But yeah, that’s another Sunburst reference!)



This is simply more a case of feeling too full at the front hip. But I have seen more extreme forms of firm support in contemporary photos.


But I was looking at a gown I adore but feels later than the date as well, and I am trying to tease out whether it is staged or original to the gown.


 


So what is it that makes this feel later than 1875?


Simply put the shoulders. They are very square. Very square indeed and that is not because the mannequin has square shoulders. The sleeve shape also is very angular, another feature of mid to late 1880s patterning.


Compare the shoulders to this very definitely mid 1870s garment:



See the slope of the shoulder, more obvious from the back. The front arm seams are further under the arm than above too. But this is a very well made example of the time so the structure is a bit firmer and so holds a firm line compared to other examples of this decade.


The split and pointed tails of the scaled gown can also be seen right through to early 1890s in Worth garments (see the silvery blue gown also from the met on this page.)


But this is why I am devouring everything I can find about what is absolutely known as far as dates of garments. There are a few garments dated to mid 1880s that have a very gored skirt shape that is, as above, original shaping. Even the above has a mix of gored and flat panels. So it may be that the house was experimenting in shifting fullness around very early. That though is proving difficult.


 


Anyway if anyone would like to sponso a trip to see the Worth Archives- maybe a month stay to be able to actually go through all documents then maybe my mind would be rested!


 


I already know the pattern books and periodicals do not show the flared gored skirt shape earlier than the early 1890s. I have gone through every single issue of Der Bazar that has plates and patterns, I have random patterns from other periodical, and of course the cutting books. In fact skirts go extremely boxy before they get pulled to the back and then the hem flares out again. But again Maison Worth was known to anticipate fashion as well as push it in a direction most especially in cut.


So yes. Grubby mitts on the archive. Well very well cleaned and gloved mitts.



Tags: sunburst, worth


Tags:


Philadelphia Museum of Art


Left & right: Woman’s Evening Dress: Bodice and Skirt (1978-2-1a,b and 1978-2-2a,b)


Left vs right: Worth vs Artist/maker unknown, American.


Left & vs right: Worn by Mrs. Ernest Fenollosa


These are much too closely matched to be coincidence and were worn by the same woman.


Nearly identical in cut, the brocade gown doesn’t appear to have the same fit in the bodice. And that is what really marks a Worth garment. The curve at the side of the waist and generaly sweep feels very Worth. As well as the colours and fabrics.


This is part of my research as I try and identify when Worth started using very flared panels in skirts. These do feel mid to late 1880s. The gores are not heavily angled and there is a bit of bulk of fabric right around the front of the hips as well as sides, and obviously the bustle. But it is the slightly boxy shape of the front that makes these match perfectly to fashion plates.


I do know this flat boxy front was still in use in paterns by 1894! And that is the year we see three distinct skirt patterns.


 



Tags: sunburst, worth


Tags:

So my books are already winging their way from Central Basement (where all the cool books live.) and I did fond at least one maybe two online references from the Worth bibliography.


Still no sign of The cloud patten nor The ray pattern. There are stars though (yuss!!) but the clouds prove eluxive.


And then I saw an ad on facebook.




How To DIY a Balloon Garland



And this is lovely, I’ve seen them before and like the idea of one like this with pastels and…..oh dear.


I can no longer unsee.

 


No but seriously the cloud patterns used on other garments use tapering scrolling ahapes. So the hunt for the orgiginal design continues!



Tags: cannot unsee, sunburst


In order to figure out history of the gown I wound up with dozens of reference notes about the production of garments and how there are multiple copies and why.


I still haven’t found the specific references I want (all secondary atm) but enough to feel confident in several statements made.


But there are some conflicting descriptions of materials, I have my suspicions about why so will also have to discuss those.


So yeah. I can now start the day and do things.


 


But I also will have my abs juice ready to go today and the latex work of yesterday will hopefully pay off today. Unless it didn’t adhere in what case I get to strip the base back and redo it. IsoPro does work but it is a PITA to time correctly. The latex needs to be clean and dry for the next layer of latex. But with a very damp climate there is a fine layer of moisture on anything outdoors- or in a room without insulation.


 


What else… Oh yes. I need to bleach my sateen panels for my 1870s gored stays. I worked out what I need vs the original pattern styles so will also see if I can make one in red sateen finally. I have tried to do this in the past and somehow wound up with stays too short.


What I need from stays is less about squish as it is about reducing stress on ribs. My current pain is a very good reminder! My ribs are very long, there is barely two fingerwidths distance at the side of my waist between ribs and pelvis. So this means if I want a wasp waist I either deal with ribs being heavily squished or I make it nip in only at that narrow point. Or I can avoid too much restriction and taper the stays to the waist then flare out over the hip.


This last one is what I find gives a shape that is both acceptable to a modern eye as well as historic. If I nip in only at the waisy it tends to make everything else seem disproportionate rather than drawing the line in.


So today will be spent cutting fabric and bleaching to have a summer and winter variation. There may even be enough silk satin left over, though that feels a bit extravagant!


 

sewing day

Apr. 14th, 2017 08:56 am
glittersweet: (Default)

I wound up breaking out the overlocker all day instead of working on horns. Which was probably wise. The rain is still leaving everything damp so curing would be risky.


So I zipped around the edges of my Worth sunburst skirt (the satin is so perfectly buttery that it was just nice to do!) and used the drafted bodice pattern from the 1876 tool to trace a new pattern for my new Phantom wedding dress bodice. I did use the vintage organza after all so that leaves some of the crepe for a potential Moulin Rouge dress. If I ever find a trim that works!


So that was tracing and transferring the pattern to a layer of twill, a layer of calico, and a layer of organza then overlocking all the edges tidy.


And then finally I cut the trim for my Cleves sleeves having removed the colour from the silk. And that leaves some softer trim for the undersleeves.


 


And finally, my last cast from my Ahsoka molds finally worked!

I keep coming back to a very small handful I really want to work on, and realised I have a major love for very stark gowns.


I mean Sunburst or not on that skirt that gown would be on my Must Make list anyway.


 


Virginie Gautreux by JS Sargent and Rose Caron by Toulmouche.


I have actually made part of each, but I really want a nice silk satin for Mme X. I need about 8m and in a nice heavy weight that’s just not really been on the cards. But, sales are sales so fingers crossed one coincides with a bit of luck 🙂


My day ensembles have tended to also be a bit stark like my grey dress and this is in keeping with that with a touch of Worth:



Worth’s Cleopatra yellow wool dress.


I also have to admit the fabric I just cut for my new duvet cover (one of a set of curtains) has such a huge pattern it’s super tempting to make a Worth-a-like based on those oversized patterned velvets. The front is a crinkle silver with chenille waves, but the reverse.. now the reverse looks like black velvet with flat silver waves and that is just too much to resist. Well I hope I can because I *might” just be able to get a frock out of it. But I want a high necked version. That might be a bit much. The curtains had huge eyelets at the top which est into the amount that is free. That said I do have a strip.. but also my new duvet cover is so pretty that it really needs a bit of matchy matchy in terms of pillow covers.



It might be possible for a more 1890 vs 1895 look.

While I was at the library the Ultimaker was also there XD It felt brilliant being able to talk historic costume nerding while also talking about the printer and the software to use it. Just fun 🙂 Also it’s a nice size machine so seeing it in person means potentially being able to plan to get my Maleficent horns printed piece by piece.


Anyway, I know the Opulent era well but it’s still really nice to have the luxury of having it at home. Also this is still a gown that keeps leaping up for attention:


http://www.metmuseum.org/art/collection/search/155944


Date:1900

Culture:French

Medium:silk, rhinestones

Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of the estate of Mrs. Arthur F. Schermerhorn, 1957


My scanner has fallen over but The Opulent Era has a strip photo of the beading and it is just clear enough to make out the bead types 🙂 Looks like delica style pearelscent bead which is fabulous! One of the desriptions in the Worth Bio mentions “iridescent” beads which I always take to mean opalescent- rainbow refracted colours very pearlescent but either is of interest to me in terms of materials. I adore AB finish so figuring out an appropriate start date to use it is always of interest.


As a start:


http://blogs.houseofgems.com/index.php/2014/09/sparkle-shine-a-brief-history-of-how-glimmering-gems-and-beads-came-to-be/


Metallic sparkle and shine has long been a favorite among bead connoisseurs. The bead makers of Gablonz first painted metallic finishes on glass beads, including iridescent coatings. Next, they came up with iridized and electroplated glass beads. Iridized glass was glass sprayed with an almost hair-thin vapor deposit of metal oxides. The craze for iridized glass and beads reached its height during the late 1800s and again in the 1950s and 1960s after the introduction of aurora borealis coating.


http://www.karipearls.com/how-pearls-are-made.html


Wax Pearl with Essence Coating and Fragile Glass

Photos thanks to Diane Volkmann


Which I had only heard about, so it’s nice to see (click through.) For an example of the description of this kind of fake pearl:


MAN and SHELLS Molluscs in the History

By Riccardo Cattaneo-Vietti, Mauro Doneddu, Egidio



Though I think this has the closest explanation:


https://www.thespruce.com/stones-in-vintage-costume-jewelry-4026020


Saphiret is type of glass stone with a blue-brown hue used in Victorian jewelry.


This page also distinguishes carnival glass from AB (specially Swarovski method) so I think this one is the lead 🙂


 


Anyway. My desire for iridescence is generally tempered by being sure it’s slightly out of date for my most loved eras! But

http://www.trademarkia.com/solidot-72191450.html


PIECE GOODS MADE OF NATURAL OR SYNTHETIC TEXTILE MATERIALS, AND PIECE GOODS MADE OF PLASTICS OF THE KIND USED FOR MAKING UP INTO ARTICLES COMMONLY MADE OF FIBROUS TEXTILES, ALL COATED WHOLLY OR PARTLY WITH THERMOPLASTIC RESINS, THE PIECE GOODS PREDOMINATING, AND BEING GOODS FOR USE BY LAMINATION FOR STIFFENING OR REINFORCING


So yes, it seems to have become a generic term as the tradmark and patents relating to the invention have expired/dissolved.


 


So working outward. Turns out a grandchild of the inventor of the specific solidot I think I am thinking of has a copy of his PhD.!


http://kimthew.com/2005/03/visit-to-the-peed-ii/#footnote1


1“Instead, a series of experiments were set up to devise a form of chemical finish which would partially block the interstices of the base cloth without stiffening it, and, at the same time, would reduce the wicking effect of the yarn fibrils, which otherwise removed the water from the resin emulsion preferentially.” (Page 28.) (Back)


3If anyone’s on the edge of their seat wondering what happens in the history of fusible interlinings, or has questions about the difference between producing resin granules by wet methods and by hot compounding methods, or the importance of the Solidot process (Very Important) or the fate of Staflex (A Sad Story), you’ll have to wait until IÌve finished the book. (Back)


https://www.pressreader.com/uk/the-jewish-chronicle/20091009/283021165730067



(actually yes, thinking about it the fabric I am thinking of has a slightly fishy smell, as do a lot of PVC coatings.)


And:



www.google.com/patents/US3067162


Method of forming uniform-sized plasticized resin granules and resulting product

US 3067162 A


Anyway. The fabric I am looking for appears to no longer be made. Unless perhaps if I order a 3000yard roll.


 


And it is the regular spacing of the granules that is important. The dots are also quite raised. So fantastic for a heavy satin as you can really melt the dots into the ground and not have it strike through!

solidot

Apr. 2nd, 2017 06:33 am
glittersweet: (Default)

It is real!


http://sewingchest.co.uk/pdf/p19-Interfacing.pdf


Cotton woven with PVC dot resin

is what is commonly called Solidot and

is probably one of the oldest interfacings

still used today.


Woo!!! I am very lucky to have just enough for my Sunburst as what I have I cannot find any more. What I have is a very well woven cotton fabric of a complex weave and a very distinct regular series of opaque dots. The closest I can find is in fact labeled as anti-skid fabric. And yeah. Very similar. But it’s annoying it cannot be found any more.


But I can’t very much info about who produced the stuff and why I cannot find any since about 2010.

Tags:

Well dye remover. I decided rather than trek across Auckland for dye remover I’d just order some. So I did, and ordered a new cutting blade for my cutting machine at the same time because well I’m going to finally just start cutting the darn Elsa sequins! Well huge confetti circles that are 1″ across 🙂 They are translucent so once dye up will be very icy when finished 🙂


The dye remover is for my silk satin and also for something else I have forgotten.. whoops!


But I have also just spent the day detangling my very expensive lace front wig I bought for my Chistine Daae costumes.


It’s a bit frizzy for that now but ideal for doing all kinds of historic hairstyles which is fab. I just need to run a blade over the ends (designed for human hair these thin ends out and as the frizz sticks out is fairly easily cut out 🙂 )


I have read most of the first bio of Worth I got from the library. The library has two last holds for me: the Opulent Era and The House of Worth : portrait of an archive.


That second one I have not read through yet, obviously I know TOE very well 🙂 This is just saving me hunting out a copy for myself as the costume reference shelf is a little out of hand. Okay, no I do want this. I just want to find a very good quality copy!


I have the large scale edition of Costume by KCI and sadly most of the photos I am interested in were not adjusted for the larger format so are a little blurry. Luckily the section on Japanese influenced western costume is all good!


Also.


I’m buying the freaking Rocailles. I may as well do this properly if I’m going to the effort of removing all the dye then adding more. And if I have 10m of silk chiffon already decoloured just for the selvages and.. well this is the gown that started the obsession. And yes, the museum catalogue includes “metallic thread” so I was right in assuming the outlines were originally si;ver.


OMG!


So obviously the owner being rich and in New York had other worth frocks but WHAT THE HEY!@!!!!


 


I wish it was possible to know if all these gowns were worn my The Mrs Astor, or if they were collected. But I love her taste. I really do. And I am almost up to this section in the Worth biography so I’ll keep reading and see what the book has to say about the New York social scene. Most of the info is fantastic. Not a lot about the day to day proceedings, but a lot of info I assumed but more as well (1200 seamstresses in the 1860s????)


My OMG moment was false though, a picture of the Electric Light (Worth) gown for the Vanderbilt party  came up and I thought how could I possibly have not made the connection. And now it turns out I have lost my book with the very good copy of it.. Anyway. False Excite.


So next step is to see where the book is and possibly rescue it from the pile of books to donate….


 

Tags:

So obviously one uses silver lined glass beads and the other uses pearls. Of note, fake pearls. Which is very exciting. Beacuse I have vintage fake glass pearls so I suspect they are made the same way- I think it’s an enamel paint over glass.


Anyway notice the other big thing.




The pearls do not have a shadow line. I was originally working from The Opulent Era which includes a close up of the pink gown that shares photo space with the yellow sunburst. And in that the beads are outlined with fine seed beads. But that is not what is going on!


The yellow sunburst apparently has a silver cord laid down and the silver lined beads sewn around that. You can see the couched threads once you look for them but especially on the cloud circle to the inside of the furthermost star. Also metal would explain how the cord stays so crisp as opposed to a silk over cotton core. Compare how firm they appear compared to the known beads and thread. The gown has a lot of shattering of the silk but how soon did the silver corrode? Was it a factor calculated into the making? Or did the gown get stored in a way that wasn’t completely optimised?


So I suspect the same rational I used to decide the pearls were the better option for me played a part in the original. I think the beads alone were not going to give enough definition so the couched silver does that.


I however love the effect of the the corroded metal! I love how it outlines in such a sharp graphic line. So I am really really torn as to just how “accurate” I want to go. I should only couch cord iff I use rocailles but it should also be silver. Also the rocailles are one size while the pearls graduate… will going for a single sized pearl and dark silver cord work? As somthing that could have been done?


But the same can be said of the sequins. I will likely use modern non tarnishing sequins so will that affect how this changes over time?


 


And now I am remembering why I stalled the last time! My historic gear is rarely a copy. I much prefer to do as was done which is to take a fashion plate or photo of a celebrity and say “I like this, but do this” as is how the pink version came about anyway! But I love so much about the yellow (with hints of pink and green and bright yellow).

Tags:

I have decided that I know how to make line art in photoshop so let’s just do this 🙂


I had basically traced all the photos of the skirts in my books here and then traced over that while adjusting for curve. Let’s just say onion sheet is the best stuff ever 🙂


I just scanned that, and scaled to full size and have so far created paths for all elements except the hem and the curves inside the clouds.


I started with the easy-peasy straight rays of light, this is just using the pen tool on the tips and ends of each ray.


For the wavy rays I wanted to have a more regular and controlled shape so I created one ray in paths.



I started by adding anchor points regularly, shifting them to gently widen and length each curve.



Once I was happy, I stroked the path. My experience with Elsa has suggested the ideal cutting/stitching line is to use the brush on 3pxls



This was then copied and pasted as multiple layers and each one rotated and placed in position. I also erased overlapping lines.


 



The straight rays were merged and the wavy rays were merged to another layer.



So then I started to add the clouds. Each circle was created by using the circle line tool, stroked and copied to different layers and for each layer they were free transformed to shape. And the overlapping sections were also erased.



So now I need to create a star and cloud to repeat for the hem and also add curves to each cloud.


Once finish it will probably be flipped and printed then temporarily basted to the back and machine stitched as I had planned before.

Tags:

 Contemporary style:


Harper’s Bazar Ball Toilette, (2.11.1882, cover). Magnolia satin with rosy hints. Tablier is embroidered in silks and beads, terminated at the food by two pleatings of the satin. )

I did find a few more examples of a the tablier style covered in beads. But I need to explain what a tablier is.


It means apron. But it is important to understand what an apron in fashion in the natural form and sencond bustle era looked like. It was plain and pulled back. So it’s basically a plain skirt front as opposed to one covered in drapery or rushing etc.


Wedding dress Place of origin: Paris (made) Date: 19/02/1880 (worn) Artist/Maker: Worth, Charles Frederick, Materials and Techniques: Silk satin, lace and net, lined with silk, imitation of pearls embroidery, velvet Museum number: T.62 to B-1976

5: Wedding dress Date:1881 Culture:American Medium:silk, pearl Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art,Accession Number:2009.300.3847a, b

Wedding Dress c. 1882 – England Material Ivory silk brocade of gold thread with floral pattern; trimmed with silk tulle, Brussels lace, beads, and imitation pearls; 240cm-length train with fifteen tiered flounce. Inventory Number(s) AC2203 79-9-8AB

 

 

6:Dress About 1885, 19th century Gift of Miss Estelle Holland M20296.1-2 © McCord Museum Keywords: Dress (85)

2: Medium: Green/brown changéant silk velvet, lace, beads, rhinestones, and gold metallic cord Date: 1889-1890 Country: France  Object Number: P91.55.6

Evening dress Date:1888–89 Culture:American Medium:silk Accession Number:C.I.47.65.1a, b

 

A garment found several years ago on ebay.

Another earlier ebay find

 

 

There was some exploration of asymmetry of these overlayers of beaded silk especially when on a delicate fabric.


Name: Wedding Dress Date: 1887 Place: United States Medium: silk, beads, faux pearls

Classification: Women’s Ceremonial Dress Department: Fashion Arts and Textiles  No: 1971.320

Maria Feodorovna (1847-1928), Princess, Tsaritsa, Glucksberg family, Romanov family

Maria Feodorovna (1847-1928), Princess, Tsaritsa, Glucksberg family, Romanov family

I adore these oversized pearls on thin silver beaded loops. Some of the other gowns how tassels and loops made from matching pearl beads (see garment immediately to right), but this is quite a statement.


And then we come to the two Sunburst gowns. Worth regularly repeated his designs, with some adjustments based on the new client.


Evening Dress© The Kyoto Costume Institute Evening Dress c. 1894 Designer Charles-Frederick Worth  Material Ivory silk satin two-piece dress; gigot sleeves; pale pink silk chiffon decoration at neck and bodice; skirt with sunbeam and cloud asymmetry pattern of pale pink silk tulle insertion and bead embroidery. Inventory Number(s) AC4799 84-9-2AB

Ball gown Design House:House of Worth (French, 1858–1956) Designer:Charles Frederick Worth Date:ca. 1887 Medium:silk, glass, metallic thread  Accession Number:49.3.28a, b

This just happens to be a very obvious copy due to the single large stylised motif across the entire skirt. These just stand out a mile away!  These do also make use of cut work and so perhaps represent an early start to the later gown with heavy use of cutwork. They certainly show more in character and line to the vertical plant motifs than the layers of net and beads.


And that seems to have lead to experimentation with full skirt length motifs.


Ball gown Design House:House of Worth Designer:Jean-Philippe Worth (French, 1856–1926) Date:1900 Medium:silk, rhinestones Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Accession Number:2009.300.1250a, b

Harper;s Bazar, 1894. (3.17.94, cover) Coiffure from Lentheric of Paris. Pale sky blue satin bordered in black fur. Beaded irises cover the side front seams.

 

(BTW that shape of the wheat sheaf gown is well represented in other garments Worth created especially in velvet or fabric a la disposition.)


And what can we say about this gown that has not already bean said:


THE ‘LILY’ EVENING GOWN, WORTH WORN BY COMTESSE GREFFULHE Worth Gift of the Duc de Gramont Circa 1896 Black silk velvet, white silk satin (for the partially modern collar), white satin appliqués embroidered with metal cannetilles and gold sequins. GAL1978.20.1

 


Still no luck tracking down the book so I went looking on  Worldcat


So this allowed me to look for a book published between 1970 and 1996 (the year I know I saw it) that is about wedding dresses and probably by a museum. I though Museum of London based on the format I had in my head but well:


Wedding dress : 1740-1970

Author: Madeleine Ginsburg; Victoria and Albert Museum.

Publisher: London : H.M.S.O., 1981.

Edition/Format: Print book : National government publication : English


This sounds like the puppy!!!. And it is still available at the library I know it was from. And I recall the production I was in that caused the book to be at a rehersal:


Trial By Jury! Yes, a Gilbert and Sullivan operetta about a bride and with all her bridesmaids in tow! I then requested a whole lot of other useful book s 🙂

Tags:

In tidying all my beads I found my pearls again. All the pearls. The Metropolitan Sunburst gown uses faceted beads so would have glittered like a glittery thing. But I am short shighted, that effect would get very lost on me, especially while working so the more solid effect of the pearls of the Kyoto version is very tempting. It may also be down to the darkening of the lined beads (not sure what metal, but given they look nearly black.. tin? Silver?)


I’m not sure if the instagram importer will work so here is a quick grab from facebook 🙂



In this photo, clockwise from top:


~super delicate cotton tulle. It wobbles so I think it may actually be rayon. It’s still a very gold colour. So to the RIT color remover


~silk faced satin (a purchase from Cynthia Setje waaaay back in 2006! So it’s kind of perfect 🙂 ) Already knocked back to gold from green, it should soften further (6 skirt panels cut and interfaced, colour removed with pre-Dye by Dylon)


~hand drawn beading pattern (pinned to the face of my front skirt panel.) This may get swapped for a scan of my scale drawing which is more accurate 🙂


~glass pearls! You have no idea how expensive glass beads have been for the decade around my start date! These were a lucky dollar store find! (24 hanks)


~silk habotai- intensely yellow- to the RIT!


~silk chiffon- looks quite lovely, much more institutional mint in reality! To the RIT!


 


Not shown are my sequins and lined seed beads.


I may have enough sateen to line the bodice, but there may be a little Worth construction hunting before I commit!


 

Tags:

Help. Obsessed. There may have been a Pinterest board created and it may be strictly properly sourced and maybe just updated with a gown that is included in one of the few Lafayette photos to have lots of close views. Such bliss.


 


LANGTRY, MRS

Neg. No: 2194

Neg. Size: 15″X12″

Neg. Date: 10-11-1899


Sitter: Lillie Langtry (stage name) Lady De Bathe, née Emilie Charlotte Le Breton (1853-1929).



I think this may be my favourite of all the gowns Worth produced like this. Though that may be because it’s Lily Langtry!


Yes, I often combine my interest in theatre, costume, and stage so of course I have a lovely file archive of Mrs Langrty.


 


I know a lot of people have been inspired by RedThreaded’s Worth gown, but there may be some weird web archiving glitch so here it is for anyone not yet seen!



 


I apologise! This image has been very hard to source. This is the other woven velvet/satin gown that is also absolutely taken up brain space!



Worth, Tea gown, 1895 © Photograph rights reserved / Mairie de Paris


This has horizontal bust darts! As well as curved bust seams and a waist seam to get that beautiful shaping of the velvet.


 


But all this has been part of my life tidying that has been happening- organising books, papers, digital files. SO this has meant reorganising my patterns and WIP and thus my recent flurry of posts.


 


I’ll be trying to get all my Mina posts from before the website changeover, but that may be a bit difficult!

http://www.arrayedindreams.com/tag/sunburst/


I don’t know if I grabbed all my lj posts- can only really grab tagged posts. But okay, now I remember why I kept stalling. And stalling, and stalling.


But this week has seen other projects able to be passed on and so a lot of reshuffling of my Must Make projects.


And I never have stopped obsessing over this thing. It started in my teens, it was one of the very first historic garments that grabbed me by the ears and shouted “this is art!” long before i found it recognised as such (any art courses dealt with fashion theory, not clothing as technical and artistic in and of itself.. textiles were seen as art, not cutting.)


 


Beaded tablier are an obsession so there will be a post about them at some point.

Tags:


Yep, the stand is padded because I want the idealised figure and while I am from the neck up and the ribs down, it’s that middle section that needs period accurate help 😉


 


Yes. This is good. Might not work with the princesse as I hoped but well it was probably a bit much to hope for too many multi-purpose uses out of a thing with a train!


 


So nice to get back to this era 🙂


 


2008? (not even going to say how old the other one is)


 


2004?



2009?



 


Spot the totally ridiculous mistake(s) to have made on the Sunburst. 2009 and I was a bit heartbroken so it got put away. I have salvaged a lot of the silk though. It’s still quite gold but not much can be changed about that 🙂


This section of my portfolio is lacking as I really need to find the original photos and tweak them to look good and in higher res.


 

Profile

glittersweet: (Default)
pinkdiamond

September 2017

S M T W T F S
     12
34 5 6789
10 11 1213141516
171819 2021 2223
24252627282930

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Sep. 25th, 2017 06:19 am
Powered by Dreamwidth Studios