Parasol Recovering - From Modern to Historical Impression

This is a tutorial I wrote in 2008 on a costuming forum, saved by my dear friend Carol, and now added here to, hopefuly, start you on your parasol recovering fun.  Thank you, Carol!!

A Modern Sutler Parasol Gets an Historical Impression

Here's the sutler parasol. It's inexpensive, wood handled, silver-toned ribs, nylon covered, with plastic tips and ferrule. It's 32-1/2" long, with 14" ribs. These parasols can be found by searching any costume online retailer and come in ivory, white, pink, or black wood handles and canopy.

 

 

Destruction

 

The ferrule is just glued on and comes off easily with a twist. Then the glue just peels off.

 

The tips and cover come off as one piece. Hold onto the rib with one hand, the rib tip with another, and gently pull the rib tip off the rib.

 

 

The cover will be stitched to the rib near the rib support. Cut the stitches and then the cover will slide off the end where you removed the ferrule.

 

 

 

 

The entire rib frame will probably be held in place with a single nail. I used a screwdriver to pry under the nail head to loosen and then pulled it out with a pliers. Remember to save all the parts for later!

So now it's completely destroyed! Time to paint. The appropriate colors for this era would be gloss black, ivory, or gold. So I'll need some steel wool and paint thinner to rough up and clean the plastic parts so they will accept paint, and a good lacquer spray paint.

 

 

Remove all your rib tips from the parasol cover by clipping the stitches. Pay attention to how they were sewn on so you can sew them onto your new cover the same way.

 

Painting

Now on to painting and making this destroyed parasol back into something beautiful. After looking through my 1879 Peterson's, I decided to paint my handle and the mechanism a dark color. I found some satin black in the paint stash so that is what I'll use and I'll probably "antique" it when I'm finished with a little sanding.

Gather some steel wool or sandpaper, paint thinner, your spray paint, some paper towels or rags, some small nails that the rib tips and ferrule can stand on and some old cardboard. Place everything in an area where you can work on the project from all sides so you don't have to move anything.

 

Sand the plastic parts lightly with the steel wool or sandpaper to give the paint something to bite into, then clean everything with some steel wool or rag dipped in the paint thinner.

 

Stand the rib mechanism in a teepee and the rib tips and ferrule on your nails. Allow everything to dry for a few minutes while you shake the paint.

 

Then spraying in very short bursts work your way all around giving everything a light coat. Don't worry about making sure everything is covered because we'll put on another coat later.

 

Now we'll let this coat dry and add another according to the paint's directions. The destruction and the painting has taken about half an hour.

 

Covering The Canopy

There is a lot of pressure on the parasol fabric so find something that will hold up to that pressure and has no stretch. Silk, silk satin, Kona cotton, cotton twill, linen, or eyelet. If you want a sheer or lace parasol, use an organza or organdy base. 1-1/2 yards of fabric will work for most basic parasols of this size but if you are going to make ruffles from the same fabric which are cut selvedge to selvedge, you may need as much as 3 yards.

A ruffle of 1-1/2 to 2 times the circumference looks nice. If you desire knife pleats you will need 3 times the circumference.

This is where I found some great information about pleats: http://www.elizabethancostume.net/pleats/

 

To make a pattern for the new parasol cover clip the seams for one panel of the old cover. Clip carefully so that the panel doesn't get stretched out of shape. The hem does not have to be removed. Then using the lowest setting on an iron so as not to shrink the fibers, iron the seams flat. It takes a little time and the iron should be kept moving, but eventually the wrinkles disappear enough that you know you will have a good pattern piece.

Fold the piece in half and place the folded edge on a folded edge of the paper or pattern saver you will use for your pattern. I did this on the ironing board because I could stick the pins straight down to get the best duplicate.

 

Trace your original piece onto the paper/pattern saver. Extend the top point about 1/2" and add about 1/4" for the bottom hem. Remove the pins, and cut out your new pattern.

 

 

Draw a grainline on your new pattern where the piece folded in half. Cut 6 panels from your fabric with the grainline parallel to the selvedge (finished edge) of the fabric. This is the strongest direction of the fabric and will put the edges of each panel on a slight bias so they can fit over the curved rib of the parasol.

 

Also cut a 2" circle and a 3" by 6" strip.

 

Hem the bottom of each of the 6 panels.

 

Like the fabric, the seams on a parasol take a lot of pressure. So I've used a "parasol seam". With two panels right sides together pin lengthwise about 3/4" away from the edge. These pins will stay in while you are sewing so they need to be clear of the presser foot.

 

 

Turn the edge in 1/4" and pin.

 

Starting at the hemmed edge and working up, sew the seam together about half-way inside the turned edge. The stitches are through 4 layers of fabric for strength and when the seam is pressed to one side there is no need for a further finished edge.

Sew all 6 panels together using the "parasol seam" and sewing from the hemmed edge upward. I made two sets of three panels and then sewed the two sets together.

Now for a test fit. Assemble the handle and rib mechanism together with the original nail. There might have been a small plastic ring that came off when you took off the rib mechanism. That was there so that the parasol would not overextend itself. You can toss it. Period parasols just had a small nail with a head for this purpose. I didn't use anything for the test fit.

Attach the rib tips to the cover with safety pins through the hem of the cover and the hole of the rib tip.

 

Slide the cover over the top of the parasol. Position the rib tips over the ribs. Gently start to raise the cover. This part was nerve-wracking! I was prepared to duck in case the whole thing flew apart! But it didn't!! So I'm just thrilled to get it this far!

 

The most difficult thing at this point was squashing the desire to machine sew the trims on the cover before attaching it to the frame. But it can't be done!  The parasol has to be completely open and locked and all embellishments hand sewn in place.  Close your parasol, remove your new cover and continue.

 

Reassembling

 

This picture shows the small rubber or plastic piece that you removed when you disassembled the parasol. It is so that the parasol doesn't overextend. Period parasols had a small nail with a head and that is what I used and you see on the right side of the picture. Reattach the rib mechanism to the handle with the original nail.

 

Now it's time to press everything. Not just so it looks good but because pressing actually sets the stitches so that they become part of the fabric.

 

Fold the rectangular piece inward 1/2" on each long edge and over 1/2" on one short edge and press.

 

The 2" circle will be the parasol wear piece. It will replace this small plastic piece that was on the original parasol. This will be placed over the top of the parasol before you put on your cover and protect your cover from the rib mechanism. You can pink the edge.

 

 

Then sew your rib tips onto the cover. I turned the corner in a bit, made a few locking stitches, and then put the needle through the hem, through the rib tip, and through the hem on the other side. Then brought the needle back and repeated for six stitches, then made a locking stitch to finish.

 

Slide the parasol wear piece over the top of the parasol. Slide the cover on inside out. Stitch with a gathering stitch about 1/4" from the opening in the cover, pull tight, cut the needle off the thread, and loop the threads around the fabric in different directions, knot and cut thread.

 

Drop the cover over the ribs and adjust so that your seams line up with the ribs. Slide the rib tips on each rib. About 1" down from where the rib supports meet the ribs place a few loose stitches to catch the rib sewing only through the parasol seam.

 

To protect m'lady's gloves from getting caught in the parasol slide, take your rectangular piece and loop it and pin it and slide it over the handle. Gather the bottom edge and pull tight. Whip stitch the side opening. Gather the top edge going over a rib every few stitches. Pull tight and knot off.

 

 

 

You did it!  Your parasol has new paint, a new cover, historically accurate touches and is beautiful!

 

 

If you are like me, the fun is just beginning with embellishments!  I pleated some trim for the outer edge, added a lace edge on the inside rather than a full lining, a tassle topper, and a lace closure with button and buttonhole.  Yes, hand sewn so the stitches wouldn't pop as the parasol is opened.

 

 

The end result is a parasol that will shade you while bringing beauty to your historical costume!

 

 

 

Enjoy your parasol journey!

 

Love always,

Jeanette

Wright Place, Wright Time - Foundations Revealed Competition 2019

"I know the price of success:  dedication, hard work, and an unremitting devotion to the things you want to see happen."

Frank Lloyd Wright 1867 - 1959

The Frederick C. Robie House is a U.S. National Historic Landmark on the campus of the University of Chicago in Chicago, Illinois, USA.  Built between 1909 and 1910, the building was designed by architect Frank Lloyd Wright and is renowned as the greatest example of Prairie School, the first architectural style considered uniquely American.

Wright designed the Robie House in his studio in Oak Park, Illinois between 1908 and 1909.  The owner, Frederick C. Robie, was only 28 years old when he purchased the property in May 1908.  He and his wife, Lora, a 1900 graduate of the University of Chicago, selected the property to remain close to the campus and the social life of the University.  The Robie family, Frederick, Lora, and their two children moved into the house in May 1910.

The steel beams in the 9,062 square foot building carry most of the building's weight to piers at the east and west ends.  As a result, the exterior walls have little structural function, and thus, are filled with doors and windows containing 174 art glass panels in 29 designs.

Attending the University of Chicago had been a dream of mine, but as a welfare child it seemed an impossible dream.  In a long career path I was finally accepted into the University program to pursue my doctorate in International Business in 1990 and fell in love with this architectural icon.  The Robie House has only recently received funding for a full renovation which is scheduled for completion within the next few years.  Tour groups must wear hard hats to see some rooms but the work continues.  Thankfully, most of the art-glass can be saved including my favorite design of which I have a small recreation at my home.

The angular crossings remind me of the lacing on a corset, the house itself with the steel beams like a well-fitted corset.  The purpose of both is to create beauty and elegance as well as to support and protect.  To honor the Robie House and the years when Lora Robie was enjoying her new home's creation, I chose an early Edwardian corset style to create for the Foundations Revealed Competition 2019.  Lora may have worn such a corset style as she walked the campus and watched the dream of her new home become a reality.

Research of the Early Edwardian Era from 1902 to 1909 defines the a lady's fashion silhouette as having a low, full bust and long hip creating a "pigeon breast".  The straight front of the corset gives the figure an S-bend.  The bust sits lower and may be artificially exaggerated with padding and ruffles and other methods as the corset flows away from the ribs, while a hip padding may be placed under the corset to give the impression of an arched back and rounded hips.

As this is my fourth corset, I am still learning many basics.  I have grand visions of beaded and intricately flossed designs but decide, instead, to focus on learning the basics of the sculpture of this era.  I decide to begin with a Truly Victorian pattern as my base which allowed for a toile that I could then customize to fit.  The pattern states "This pattern is recommended for persons with previous corset making experience."  I'm ready!

There are many new techniques for me to learn with this corset era:  bust gores, hip gores, internal boning channels, and even padding to accentuate and fill to the desired silhouette of that time.  I begin with a basic muslin toile to learn how the pattern works, to decide on the option given for high, medium, and low bust heights, and the same for the hip length.

I choose the high bust option which is designed to hold the bust at about the same height as a modern bra but lower than a Victorian corset.  I also choose the low hip which will still have a beautiful curve to showcase garters.

A pure white narrow herringbone coutil is my strength layer.

Over the coutil I lay a pure white organza embroidered with leaves.  This layer is to give the impression of a windowpane and the longest season in Chicago, Illinois:  winter.  To keep the panels and layers organized I pin them to my dressform and work with them in order.

For the center back panel I use a gold silk the color of the center panels of the Robie House art-glass window design.

The busk is matte black, as will be the grommets and corset lacing and binding to reflect the black lines in the inspiration design.  Although I have been successful with my past three busk insertions, I still have a little celebration when this one is finished and looks beautiful to me!

As I sew the gores and panels I stitch the coutil and organza together at the leading edge leaving the trailing edge free.  When I pin the layers for sewing I form them over my pressing ham to give them some ease which they will need in wearing.

The first new techique - bust gores.  Careful stitching and topstitching and I see a shape taking shape.

The remainder of the panels, bust and hip gores are sewn and the corset halves are complete.

A hip gore close-up and a fit test of the self-made garters.  Loving these bust and hip gores!

The Truly Victorian pattern includes bust and hip pad patterns and I take a break from the corset to sew and fill these.  They are made from the same gold silk as the corset back center panel and garters and filled with a modern poly-fill.

I cannot delay the next step any longer :), grommets.  I don't have a setter so all are done by hand with an awl and a hand setter and hammer.  It takes patience and hand strength and chocolate to get through the 30 grommets.  But eventually they are all in and although I have a nasty blister on one hand, I'm happy.

Curiosity gets the best of me and I have to see how all of this creates the Early Edwardian silhouette.  Those Edwardian ladies were clever!

Now for the second new technique - internal boning channels.  My steel boning is 1/4" wide and the boning tape is wide enough for two bones each.  I lay them to follow the pattern but adapt for my size.  The channel is stitched down the center, then on each edge.  With the back center panel there are a total of 28 bones in this corset, 14 per side.

After sewing midnight black bias binding to the top edge of the corset, I insert the bones.

After sewing the binding on the lower edge I add embroidery flossing to hold the steel bones in place.  As with anything, the more I flossed the better they looked, but they still weren't perfect.  If anyone was that close to see the imperfections they had better be buying me a diamond ring.  :)

With the lacing added I was ready for photos of my Robie House-inspired corset both indoors and outdoors on my antique dressform.  Can you see my dressform through my little window?

I also took some photos indoors.

And then I went to the computer to submit those six indoor photos and my essay to the Foundations Revealed Competition 2019.  I froze.  I had already seen some of the incredible creations by professionals with professional photographers, models, make up artists.  But I had also seen those of us who are still learning and growing and I knew that the professionals were doing the same - learning and growing.  And although I'm crawling still, I can only walk if I keep getting up and trying.  So I submitted my entry which will appear for the public on March 1st, just over a week from today.

I'm stunned and happy with what I've learned in this corset and am now ready to start a new project which will stretch me even further - a recreation of a 1908 double lacing corset in the collection of Edward Jones.  I have been able to purchase his pattern made from the original which assists his tuition for University.

I believe that Frank Lloyd Wright would smile to hear me say that I understand what he meant when he said "I know the price of success:  dedication, hard work, and an unremitting devotion to the things you want to see happen.".  It took all of that for me to create, submit for the Competition and honor a Frank Lloyd Wright place in a Frank Lloyd Wright time.

As a member of Foundations Revealed I have to acknowledge and thank the incredible tutorials, videos, and mentors and supportive members from whom I have and continue to learn so much!  Specific information from Foundations Revealed used for this project include:

1.  Flossing Design Library - Symington Collection, written by Cathy Hay

2.  April 2018 Monthly Mentor Meetup - Edge Finishes

3.  July 2018 Monthly Mentor Meetup - External Boning Channels

4.  September 2018 Monthly Mentor Meetup - Padding the Figure

Thank you for taking time to follow my story!