.jpg)
YouTube Companion Video: https://youtu.be/S0jf8Sr9aVI
It promised to be the event of the season! And there was I, with absolutely nothing to wear! Which is often the case since I flow between eras as easily as clouds on a summer breeze.
The time would be 1824 and 1825 when Lafayette made his return tour of the United States. To honor the occasion I pulled everything from my personal library and began reading and pouring over illustrations. Two Centuries of Costume in America 1620 - 1820 Volumes I and II didn't extend into the fashion period.
Two Jane Austen fashion books weren't quite right either.
I have two books of the collections by Timely Tresses. One covers the period 1810 through 1819. And the second offered a selection from the years 1820 through 1839.
It was in this second collection that I found the details that identify the period of mid 1820s fashion: the shoulder and neckline detail with focus on the sleeves, the waist lower than previous fashion, the flat front and full back skirts, and the elaborate hem detail.
Pinterest provided some beautiful detail as well for sleeves, sheer sleeves, long sleeves over short, and sleeve bands over sheer sleeves.
Through this research I was led to the work of Rudolph Ackerman who, in 1809 applied his print and book-publishing business to the illustration of Repository of Arts, Literature, Fashions. The publication appeared monthly until 1829 by when forty volumes were completed. Ackermann's Repository is available on archive.org and I was able to read about fashion of 1825.
"The Repository of Arts, Literature, Fashions, Third Series, Volume 5, This work already honoured with His approbation is most humbly dedicated by Permission to His Majesty by his Grateful and Obedient Servant R. Ackermann"
It was in this Volume I read descriptions of fashion, accessories, regional female fashion, and so much more.
And it was also here I discovered THE gown which actually took my breath away!
A full description of the gown and accessories was also available.
My heart is set on creating this gown as well as I can with the time and funds I have at my disposal.
.jpg)
The Pattern
Laughing Moon offers pattern #138 Ladies' Back Opening Regency Gown approximately 1815 to 1825. The options and instructions for varying bodice neck openings, sleeve designs and lengths, and hem treatment makes this pattern perfect for my needs. It has the flat front and full back skirt and slightly lowered waistline. I purchased the pattern online. (Link provided below)
The pattern is offered in pdf format and requires Adobe for tiled printing at home. I've tried this without success which actually was wonderful because then I discovered Pattern Printing Company which will take my file, ensure the correct printing scale, and print and mail the pattern within days. A wonderful service as this pattern had 5 large pages. (Link provided)
I print the files for cutting and sewing instructions from the downloaded file on my phone to my wireless printer. 57 pages plus cover. It is 57 pages of treasure! Every instruction you could possibly need to create all the fancy sleeve and hem detail is included.
I begin by determining my size, the view I want to use which is View D for the bodice and sleeves, and note which pattern pieces I will use. I also find which cutting layout applies to my fabric width. I read the instructions thoroughly but, as often happens, some techniques don't mean much to me until I get to that point in the sewing.
I cut only the pattern pieces I need for my size. The skirt pattern consists of a Front, Back, and Side Back. Each of the three pieces has an upper designated by an A, and a lower designated by a B. The overlap for taping is clearly marked on the pattern pieces.
The bodice pattern pieces are a Front, Side Back, and Back.
For my sleeve design I need patterns for the Long Sleeve, the Short Sleeve and Short Sleeve Band, and the Wrist and Arm Bands.
For the Sleeve Petals at the very tops of the sleeves, I've borrowed the three pattern pieces from the Hamilton Spencer pattern which I made a while ago.
The last pattern pieces I will use for this gown are for the Belt and Neckline Binding.
The Fabric
The Ackermann's description of this evening gown is of a "plain colour velvet dress". The colored illustration is, to my eye, a plum or reddish purple.
.jpg)
I have a sweet friend, Eva, who decided to leave the costuming hobby and she graciously gifted me several boxes of beautiful fabrics and trims. Among those fabrics was a yardage of a plum mid-toward-heavy weight satin that has the perfect drape for this gown and it exactly the amount I need for this gown and accessories. How fortunate! The fabric had been stored and the creasing is quite severe.
A pressing cloth misted with water and a gentle pressing removes every fold line. It takes quite a bit of time but the results are beautiful.
In the stash is a length of woven ribbon purchased in a costumers' destash group. It was the wrong color for that project and although it has shades of brown, gold, green, and coral, it really seemed to work with the plum satin and the jewelry.
The hem embellishment is described by Ackermann's as "small silk cord laid across, forming squares". It seemed that a narrow black velvet ribbon would add the weight usually provided to this era of gown by the embellishment and be visible against the plum silk. The ecru cotton lace was also in the stash and the design and edging seemed perfect for the sleeve and sleeve petal edges.
The sleeves are described by Ackermann's as being white gauze. I wanted something a bit more ecru or gold-toned and purchased two fabrics that I knew could be used for either the gown or accessories. On the left a gold metallic embroidered net, on the right a ribbed organza with embroidered medallions.
I didn't want the sleeves to compete with the ribbon at the neckline...
..or the sleeve petals...
..or the coral and gold jewelry which I found beautifully compliments the ribbon.
The poor dressform wore this strange combination for days so that each time I looked at it I could immediately be struck with an impression. In the end I opted for the ecru embroidered organza as it had a very understated impression leaving all other elements to show off on their own.
The embroidered organza is washed to allow it to gather and flow when sewn and worn.
And finally the fabrics and trims are ready to create the 1825 evening dress.
Cutting the Fabric
Didn't we forget the mock-up? No, we just cheated. The pattern instructs that the bodice be flatlined and those pieces are cut from white cotton. A quick basting and fitting shows no adjustment needed. Thank goodness!
Two Skirt Backs are cut and pleated according to the instructions. The back is quite full and a lot of fabric is taken up in the pleats.
The left and right Skirt Side Backs are cut.
The Bodice Side backs are cut.
The Bodice Backs are cut.
Bodice Neckline Binding.
I have chosen to make the belt from the same ribbon which will be applied to the neckline. The ribbon will be backed with the plum satin.
The Short Sleeves with Short Sleeve Bands will be under the long sleeves. I cut four Bands as I will need an additional Band over the outer sleeve.
The Long Sleeves are cut from the embroidered organza positioning the medallions down the outer sleeve center and mirroring the pattern on the right and left sleeves.
Last will be the six sleeve petals cut with the Hamilton Spencer pattern.
Research, inspiration, pattern selection and prep, fabric and trim selection and prep, and, finally, all pieces cut, it's finally time to sew. Finally!
Sewing the 1825 Gown
The white cotton is flatlined to the bodice pieces stitching all around the outside just inside the seam allowance.
The Bodice Front can either be gathered or darts sewn at the lower edge. I mark for the darts, sew, and press.
The Side Backs are stitched to the Backs. A quick note here that instructions are also included if you wish to add piping to the Back Bodice.
Then the Side Backs are stitched to the Front. All seams are pressed open and trimmed.
The Neckline Binding halves are sewn together and a very narrow hem sewn on the outside edge. Knowing that I was finishing the neckline with the woven ribbon, I stitched the Binding to the bodice neckline and simply turned the Binding to the inside to become a facing. This didn't work well, however, as the Binding had to be clipped for it to lay flat against the inside of the bodice. But it did strengthen the neckline and provide support for the ribbon.
Time for sleeves. There are so many incredible options for sleeve treatments for this gown and the instructions are well written and well illustrated. My Short Sleeve choice is marked for gathering stitches on the upper and lower edges and all notches and symbols. This seems to take time now but saves so much time later. I pierce the pattern with an awl and mark the pattern with chalk through the hole.
Two rows of gathering stitches sewn to the lower edge.
Matching notches and symbols the sleeve is folded in half, stitched together, and the seam pressed open. The instructions are great at pointing out the detail needed for this stitch line.
The Sleeve Bands are sewn ends together (2 for the Short Sleeve, 2 for over the Long Sleeve for my design). Then the lower edge of the Short Sleeve is gathered to fit the Sleeve Band. The Sleeve Band is placed over the Short Sleeve with right sides together and raw edges even and pinned.
The seam is sewn. Then the seam allowance of the other raw edge of the Sleeve Band is turned in and hand stitched to the interior creating a finished Band. And repeat.
The embroidered organza Long Sleeve is marked and sewn.
A narrow hem is sewn to the wrist edge and the cotton lace pinned to the sleeves for a final impression before sewing.
At this point I decide to complete the Sleeve Petal embellishment before I commit to the sleeve design and the cotton lace. The darts are sewn into all 6 petals.
The cotton lace is pinned to the petals and placed on the dressform.
The original illustration has a ruffled edge to the sleeve petals, but I'm liking the design of the cotton lace and I sew it to the petals with a narrow hem. I also commit and sew the lace to the sleeve wrist edges. What I'm unsure of during this process, and am still unsure of as I make this dress diary, is if the lace should be just a bit darker. It's ecru and balances the dark fabric and ribbon, but I'm still considering tea dyeing for just a bit of depth. What do you think?
With the petals and lace sewn, I go back to sewing the sleeves into the bodice. For my design the Short Sleeve will be inside the Long Sleeve. The upper edges of both sleeves are identical.
The Short Sleeve is pinned inside the Long Sleeve and two rows of gathering stitches sewn at the upper edge between the marks.
The sleeves are inserted into the bodice matching notches and symbols and gathered where indicated and pinned. Then the sleeve is sewn to the bodice. (I always smile here as that one simple sentence is never really simple, is it? Sew the sleeve to the bodice....LOL)
With both sleeves sewn to the bodice it's time to attach the woven ribbon around the neckline.
The last part of the sleeve embellishment to recreate the illustration will be the horizontal and vertical sleeve bands.
.jpg)
The Short Sleeve Band and Wrist and Arm Band pattern pieces are used for the upper and three lower horizontal bands. Fabric is cut the same width as those bands for the vertical bands at the upper sleeve and down the front of the sleeve. The pieces are sewn right sides together into long tubes, the seams allowances trimmed, and the tubes turned right sides out and pressed.
The six bands for the wrist area of the sleeves are pinked at each end to prevent fraying.
Loops are formed on each end and then stitched through all four layers.
I've made the bands loose enough for my hand to slide into them but still tight enough to gather the sleeve fabric.
The bands are positioned to the sleeve and tacked in place under the loops and at the back.
The extra Short Sleeve Band made when the short sleeves were sewn is now pinned and handstitched over the long sleeve and onto the short sleeve band gathering the organza fabric as necessary.
With all horizontal bands in place the vertical bands can be positioned over the upper sleeve and down the center front sleeve. They are stitched to the horizontal bands.
After a test fit the edges of the bodice back are pinked, and folded in to create the alignment for buttons and buttonholes.
The gorgeous dark gold thread buttons were purchased from theboudoirkey on Etsy. (Link provided)
The upper button will be sewn directly to the woven ribbon and will close with a large snap which will be easy on/off for me. The remaining buttons will be sewn as usual.
The bodice is ready for the skirt!
The Skirt Back pleats are basted in place.
The center back seam is sewn leaving the seam open near the upper edge. All long seams of the skirt are sewn, the seam allowances pinked and pressed.
The skirt and bodice are sewn right sides together matching all notches. Where is that photo? Sorry!
The belt is created with the woven ribbon and fabric handstitched at all edges. As with the top of the edge of the bodice, a button will be sewn to the outside of the ribbon and a large snap will be used for easy on/off.
The event draws near, but I'm determined to complete the hem embellishment. I've pinned the velvet ribbon to the gown to make sure that the black is visible on the plum satin.
I've had an idea that I believe will allow me to work on the hem embellishment, but if time runs short, can be completed at another time. A variety of designs worked on a paper grid help me decide how to use the velvet ribbon.
Using the skirt pattern pieces I cut 9" bands matching the lower 9" of each skirt section. I sew all but the center back seam together.
Then I cut my ribbon to length and starting at the center front, place and pin the ribbon along the full length of the 9" wide band criss-crossing the ribbons as I place them where my measurements determined.
I sew a black seed bead at the most center of the crossed ribbons to hold the ribbons in place.
The ribbons are sewn to the band 1/2" from both edges. The center back is sewn.
The beribboned band is laid on the skirt with its edge 8-1/2" from the lower skirt edge, right sides together and pinned in place. Following the stitch line on the band, the upper edge of the band is sewn to the skirt. Then the band is folded down so the raw edges of the skirt and the band meet. The skirt edge is folded right sides together 1/2". The band edge is folded wrong sides together 1/2". Then the two folded edges are hand stitched together. This last technique taking hours and only completed an hour before the event. Ever been there?
The Finished 1825 Evening Dress
With mere moments to spare I dashed to the before Ball dinner, caught my horse-drawn carriage, and was swept away to the Lafayette Birthday Ball and Soiree. It was magical!
.jpg)
I did make accessories - a turban and reticule - and want to share those with you as well as details of the evening. But that will be for the next blog post and video. Thank you for being here!
Historical Sew Monthly - July 2023
What the item is: Regency Gown
How it fits the Challenge: This is the story of two present-day Cinderellas. The first is me. I had attended my last costumed event in October 2019. In September 2023 an event was scheduled just 3 hours from my home which is an extraordinary occurrence and it would be the first costumed event I would travel to in almost four years. The event was The Lafayette Birthday Ball hosted by Beespoke Vintage. With 2024 and 2025 being the bicentennial of the Marquis de Lafayette's return visit to the United States, and events also being held near me, this was the perfect time for me to learn this beautiful and not often recreated era of mid-1820s fashion. One day I happened upon a January 1825 Ackermann's Repository illustration. I fell in love! I had been gifted a satin in the perfect color. I recreated the gown and attended the Ball in true Cinderella style. Having been gifted this fabric and saving funds, I decided to sponsor another Cinderella to attend the Ball. She has since published on social media sharing her and my name. So I became a Fairy Godmother as well!
Material: Satin, embroidered organza, cotton
Pattern: Laughing Moon 138 Regency Gown and Hamilton Spencer for sleeve detail
Year: 1825
Notions: Woven buttons, woven ribbon, velvet ribbon and seed beads for hem embellishment, costume pin for belt, cotton lace for sleeve details
How historically accurate is it? A very detailed pattern and closely following the 1825 illustration made this as accurate as I could for impression. Machine sewn where possible.
First worn: The Lafayette Birthday Ball in September 2023
Total cost: The satin was gifted but if I had to purchase all materials I would estimate $140
How it fits the Challenge: This is the story of two present-day Cinderellas. The first is me. I had attended my last costumed event in October 2019. In September 2023 an event was scheduled just 3 hours from my home which is an extraordinary occurrence and it would be the first costumed event I would travel to in almost four years. The event was The Lafayette Birthday Ball hosted by Beespoke Vintage. With 2024 and 2025 being the bicentennial of the Marquis de Lafayette's return visit to the United States, and events also being held near me, this was the perfect time for me to learn this beautiful and not often recreated era of mid-1820s fashion. One day I happened upon a January 1825 Ackermann's Repository illustration. I fell in love! I had been gifted a satin in the perfect color. I recreated the gown and attended the Ball in true Cinderella style. Having been gifted this fabric and saving funds, I decided to sponsor another Cinderella to attend the Ball. She has since published on social media sharing her and my name. So I became a Fairy Godmother as well!
Material: Satin, embroidered organza, cotton
Pattern: Laughing Moon 138 Regency Gown and Hamilton Spencer for sleeve detail
Year: 1825
Notions: Woven buttons, woven ribbon, velvet ribbon and seed beads for hem embellishment, costume pin for belt, cotton lace for sleeve details
How historically accurate is it? A very detailed pattern and closely following the 1825 illustration made this as accurate as I could for impression. Machine sewn where possible.
First worn: The Lafayette Birthday Ball in September 2023
Total cost: The satin was gifted but if I had to purchase all materials I would estimate $140
No comments:
Post a Comment