An Edwardian Mistress of Evil - The Plan

 

Definition of Cubbyhole:  

cub·​by·​hole | \ ˈkə-bē-ˌhōl 

: a small snug place (as for hiding or storage)also : a cramped space
The Merriam-Webster definition and also the nickname of my tiny sewing space.  And right now it is completely overflowing!  There are four costumes and projects in progress as it has been difficult to find the perfect fabrics, perfect colors, perfect trims, and perfect touches, all at the perfect price,  to complete each one.  There is the 1870s Carriage Gown which has been in progress for months waiting on the silk roses class:

And the Hamilton Spencer awaiting the right shirt pattern and perfect boots to wear with my skirt:

And a 1900 antique parasol awaiting recovering.  I've now taken the class and the recovering is almost finished!

The fourth costume is for #historicaldisneycostume, an ongoing collaboration with costumers all over the world.  It was just a small step when I finished A Wicked Witch to move to my choice for an historical Disney - Maleficent:  The Mistress of Evil.  And here is The Plan.

Those glorious sleeves!  I was immediately reminded of the Poiret Cocoon Coat with its bat wing sleeves and hobble skirt.  I've used the Folkwear Pattern 503 before and love the way the the single piece creates half of both the front and back and sleeve in one beautiful design.

I was inspired by internet images to create the Cocoon Coat design from a fabric called Magic Black Abstract Geometric Burnout Velvet, lined with a Dusty Lilac Crepe Back Satin.  The satin is a high luster and I'm imagining it will be a beautiful but subdued backinh to the semi-sheer burnout velvet.

Surrounding the neckband will be a trim of iridescent coque feathers to add just that bit of luminous green.

To create the glorious lavender collar under the Cocoon Coat, I'll be using Depew Patterns 1914 Dress a Corselet #3123.  The fabric is a Black Crepe Back Satin, the collar made from the Dusty Lilac Crepe Back Satin, and the corselet from the burnout velvet backed with the lilac satin.

The last part of the costume will be a 1910s Paul Poiret inspired single wrapped turban, View A, from Lynn McMasters' Early 20th Century Turbans pattern.

Those are the patterns, fabrics, trim and design ideas - and, as always, subject to change at a moment's whim.  :)

There was a perfect touch that caught my eye and kept me awake at night until I made the purchase.  A necklace with peridot stones and a silhouette which reminded of the Maleficent headdress from the movie.

Part Two - The Dress `a Corselet - Coming Soon!

Companion Video for this Blog Post:  https://youtu.be/nk23a2hI9kk

Historical Sew Monthly Challenge #7 - Sleeves

There are some amazing examples of historical sleeves styles out there.  Put the focus on the arms and shoulders in your creation for this challenge.

The Dreamstress

There is no way for me to sew any historical fashion with falling down the rabbit hole of research.  The time period, the people of that time, their lifestyles, the joys and sorrows are all eventually woven into the final fabric that hangs on my simple dressform.  I've heard the names of those famous 19th century and early 20th century fashion designers - Jeanne Lanvin, Madeleine Vionnet, Coco Chanel, Elsa Schiaparelli, Jacque Doucet, Lucy Lady Duff-Gordon, Jean Patou, Louis Vuitton, Charles Frederick Worth, Salvatore Ferragamo.  For this Historical Sew Fortnightly Challenge one name came immediately to mind:  Paul Poiret.

Paul Poiret (pronounced pwah-rey) was a leading French fashion designer who lived from 1879 to 1944.  Recognized as the first "modern" master couturier he had a profound influence on 20th century fashion.  Early in his career he worked for Doucet and the House of Worth where he was considered too non-conservative.  In 1903 he established his own design house.

His major contribution to fashion was the development of the dressmaking technique known as draping.  He is remembered for freeing women from 19th century corsets and modernizing the Victorian silhouette.  Construction techniques were along straight lines and made of rectangles.

One of his iconic designs has been brought into a current pattern by Folkwear as their Poiret Cocoon Coat.

The pattern sketch shows the beautiful draped design with a sleeve that is basically an extension of the front and back of the coat looking like a bat wing.  Although the pattern is simple, just a single piece that is cut twice and a collar, I am truly confused as to exactly how this is all going to work!

There is a dart and a curved portion at the outward edge of the pattern.  After the fabric is cut and the dart is sewn the sleeve seam is created from the bustline outward by folding the fabric onto itself.  It is a brilliant design!  And look at that beautifully created sleeve!  Perfection!

See the seamline running along the front center of the sleeve where I have the fabric pinned?

 The four pieces are cut and sewn for both the outside embellished velvet fabric and the interior taffeta fabric.  All that is left is a collar piece which is interfaced and piped with velvet.  Velvet piping also made a nice finish to the sleeve edge.

Since I have just barely enough fabric to create this coat and the one-way design leaves some open spaces, I cut appliques from the remaining scrap fabric and work to position them.

The final coat design.

The interior taffeta.

With a lot of saving and selling I was fortunate to be able to attend Costume College 2018 in Woodland Hills, California this past weekend.  There were 650 people in attendance for a theme of Dressing the  Royals.  I attended classes and lectures, laughed with friends new and old, and costumed day and night.  This Poiret-inspired coat with a beaded gown I had made for a spring event were my Red Carpet and Gala gown for Saturday night.  The coat swished and sparkled and I added some attitude with my rose design Meerschaum pipe.

Those sleeves!!!

Does this coat strike you as a bit Art Deco?  Perhaps you know a Russian-born French artist and designer named Romain de Tirtoff.  His first employer was Paul Poiret.  He was best known by the pseudonym from the French pronunciation of his initials - Erté.  Oops, down another research rabbit hole!

Bonne couture,

Jeanette

Historical Sew Monthly

The Challenge:  #7 - Sleeves

Material:  Velvet blend, taffeta blend

Pattern:  Folkwear 503

Year:  1911 - 1919

Notions:  Frog closure, cord for piping

How historically accurate is it?  The technique of draping and this style is accurate.

Hours to complete:  27 hours

First worn:  Costume College 2018

Total cost:  $80