1838 Dress Design, and a photo album

Pictures! I've added an album for my 1830s project to my Picasa for your viewing pleasure. Once I figure out how my scanner works, I will scan more images, but thus far I have only managed one successfully. Oh, technology.

Happily, I have decided on a design for my gown. I am primarily drawing inspiration from a February 1838 fashion plate, but rather than doing an exact reproduction, I'm making a similar gown, the way someone in the time would have been likely to draw inspiration from a fashion plate. Here it is!


The original description reads “Morning dress of Jaconet muslin. Tight sleeves with a single puff above the elbow; lace ruffle at wrist. The skirt has a deep flounce. Plain body crossed in front, showing a cambric kerchief, with a lace frill.”

"Jaconet" or "Jaconette" is some sort of muslin, which in the 19th century was a sheer or semi-sheer fine cotton, quite unlike modern utility muslin. My initial impression is that Jaconet muslin seems to be a crisp sort of muslin, but my textile books are only just now coming in, so there is more research to do. Nevertheless, as I am not trying to do an exact imitation of the fashion plate, the main issue is to look for an appropriate fabric for the style: a sheer or semi-sheer striped cotton, or possibly silk if I find just the right material. Ideally, the material would have a somewhat crisp body, and be firmly woven, with a woven-in stripe, in one or two colors. But if necessary, I could buy white and dye it, or perhaps manage with a printed stripe. It's also possibly that I could get by with a fabric with a softer hand, but that would be highly inconvenient.

I am planning to change the flounce to actually go all the way to the hem of the dress, as I prefer that look, and all images I have been able to find of extant gowns from this period with skirt flounces extend all the way to the floor, so it is certainly a well-documented style - though, interestingly, considering the preference of self-fabric ruffles and flounces on skirts in late 1830s fashion plates, they show up in remarkably few extant gowns. There were none from the period in Johnston, Arnold, Bradfield, Rothstein, Beaudoin-Ross, or Fukai, though Fukai had a couple of 1820s skirt flounces, and Johnston had one with a tuck and one slightly earlier gown with applied trim and rouleaux.

A great deal of fabric went into creating flounces, so they would have been an expensive adornment, but many of the gowns in these books are highly elaborate and expensive. One of my thoughts on the comparative rarity of flounces in extant garments versus fashion plates, beyond the element of extravagance, is that I'm looking at a very brief window of time, and many of the gowns of this period were in fact earlier gowns that had been made over - and there would not have been yards of extra fabric lingering with which to make flounces. I did some hunting online, particularly using the wonderful Demode Real Women's Clothing Directory, and did find some flounces, so that reassures me, because I really want one! Especially since I'm planning on using striped fabric. A bias flounce is a beautiful thing.

I was particularly excited to discover this wonderful c. 1836-38 muslin gown on the Manchester City Galleries site:


This image is, er, borrowed from the museum's site, and is hopefully not bothering anyone - I just want to look at it! I was extremely excited to find it, because it has quite a few elements in common with my chosen fashion plate. Both are in muslin, and both have a bias-cut crossover bodice, mysterious neckline edge trim, tight upper sleeves with ruffle and puff elements, a wide waistband, a full skirt all around, and a wide flounce or ruffle at the bottom of the skirt. The sleeves are different, this bodice it set on full rather than plain, and this dress's skirt flounce is actually at the hem rather than slightly above it, which I prefer. It is a wonderful find for how much it shares and I expect to spend a lot of time staring at it. And any other crossover bodices I can find!

This decision on gown design means that there is absolutely no point in buying a pattern, because neither of the patterns on the market are crossover bodice designs. In fact, none of my books with pattern diagrams have crossover bodices for this period - except for the Workwoman's Guide, so that will be a truly authentic patterning experience! I can assure you that it will be more draping than geometry, but I can likewise assure you that I have learned a newfound respect for math.

After deciding that I wanted to make this style of gown, I realized that I would need to somehow calculate the yardage needed to make the bias ruffle, and had no idea how to go about that. But my wonderful magical friend Charlotte drew me diagrams, wrote equations, and made me an excel doodad that calculates everything for me, with numbers input in response to perfectly comprehensible questions! Who knew I would actually need geometry?! I always swore it was impractical, but I am now convinced otherwise. Even though through the grace of friendship and technology I am not actually doing the math myself, I respect what it has to offer, and may actually try to learn/relearn a little geometry at some point.

Incidentally, if anyone had ever pointed out this potential use to me in high school, I would have been far more cooperative. Education needs to be relevant! But that's a whole other rant...

Anyway! My magical bias strip calculator has informed me that I will need close to four yards of fabric for it, in a 44"ish width - bit that includes two triangles that would together make up an entire 44" square, which I could piece into the strip, or use for the bodice or sleeves. So between that and the four yards needed for the base skirt (I would do four panels for Civil War, but I think three is more reasonable for this period), I'm already up to eight yards. I plan on getting eleven, to make absolutely certain that I have enough for everything, especially since there's so much tricky bias, and stripes to be pieced, and so forth.

I'm hopeful that I'll find something nice tomorrow, during my expedition to Springfield with Madeleine, to Osgood's, which comes highly recommended in the "Sources" list in the back of Lynne Zacek Bassett's Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information, published by Q Graphics Production Company, a division of Sally Queen and Associates, in Arlington Virginia, in 2001. I believe that the whole series is out of print by now, but it is an absolutely amazing resource. In the back, under "Sources," Basset writes that "Most of the fabrics presented here were purchased within my local area, including at national chain stores such as Hancock Fabrics. Osgood Textile Company in Springfield, Massachusetts, a fabric warehouse catering to professional as well as home sewers, and the home decorating and theater trades, offers many fabrics suitable for reproduction historic clothing. They are particularly strong in wools and silks" (p 47). Since the business still exists and is only THIRTY MINUTES away from where I live for school, I was unspeakably excited to discover this. There was hopping.

The next big question is: should I try to dye my white cotton sateen tan for the lining of my quilted petticoat? I can't afford polished cotton, and I think that the sateen will serve well (though I intend to try to pull together specific documentation), but I'm not sure about the white. I'm also not sure how on earth I'd go about dyeing anything without my own washing machine. I suppose I do have a large stewpot...!

My shopping list, at the moment, looks something like this:
-11 yards of sheer or semi-sheer striped cotton for my gown
-more fine needles (I only have a couple left, and have quite a lot of hand-sewing to do)
-cotton thread in fine and mid weights in white, and in dark red mid to heavy weight for my quilted petticoat, and fine to match my gown
-cotton twill tape for waistband ties for my quilted petticoat
-cotton or hemp cord for stiffening my stays and the hem of my quilted petticoat
-cotton batting for my quilted petticoat
-jewelry-making jump rings to reinforce the handsewn eyelets for lacing my stays
-heavy-duty cable ties to do a mock-up of my stays (from a hardware store)
-lacing cord for my stays
-possibly 3-6 yards (depending on width and garment style) of white cotton sheeting, so I can make one of my three white petticoats in a fabric with more oomph than the batiste I have on hand, and will be using for most - it's not a very fine batiste so it's fairly sturdy, but doesn't have as much body as I would like
-silk for a bonnet outer, lining, and ribbons, if I come across good deals, which I might, because I only need yard-ish pieces for each - but I need to do some color research!
-possibly silk thread, for the bonnet

Oh boy. Really must do up some things to sell on etsy so I can afford to sew AND eat this semester!

It's spring break now, and I'm staying on campus all week to sew - which I am unreasonably excited about! Lots to do, lots to do...

And just because I have been admiring it, here is my inspiration quilted petticoat:


And the circa 1840 reproduction printed cotton I ordered from Fabric.com to make my own:


It's to be here on Monday, and I'm very excited indeed!

1830s Clothing Research by Garment or Technique

1830s Clothing and Textile Research:
Organized by Garment, Technique, or Topic

Several days ago, over the course of a couple days, I went through all the relevant books that I had at the time (of course I have another pile now, and more keep coming to the library, so this may go on forever!) and listed the items in the books, organized by topic. So that way, when I'm working on a given item, such as the stays, or the gown, I can look up all my related information. My google bookmarks for online information are organized in much the same way, and, er, for multiple periods. I have significantly more tags than you can shake a stick at. Even a very large stick.

Like the annotated bibliography, this will be a post that I keep updating, but I will make a new post remarking on the updates and linking to this post when I do, so the changes will be announced.

A note - entries entirely in italics are those which seem specifically relevant to a particular item that I am making. So far, I have done this with some of the gown entries, since deciding on a style of gown. Some of these italicized entries also have additional notes after the bracketed section of notes, which is my very informal reminder to myself of what it is that seems relevant about that particular item to my project.

As my piles of books increase, more will be listed here. I plan to list everything relevant to my narrow time period, even if I expect that it will not be relevant to the scope of this project - for instance, because I know know the style of gown I am constructing, evening gowns might seem unnecessary, but I am trying to put together as complete a set of resources as possible, for research, for my own future use, and for the use of, well, anyone who might be able to get use of it. I am a big fan of sharing information.

Undergarments

Shift/Chemise

-WWG: “Women's Shifts” p 46, plate 6 (between 46 and 47), p 47-50

-Hunnisett 1: p 66-68

-Fukai: p 200-201

-Rothstein: “Shift, linen” in image 75: image p 35 above; text p 143 [English 1835]

Drawers

-WWG: “Trowsers or Drawers” p 50, plate 7 (between 50 and 51), 53

-Hunnisett 1: p 66-68

-Fukai: p 200-201

-Rothstein: “Drawers, cotton” in image 75: image p 35 above; text p 143 [English, 1834]

Stays/Corset

-WWG: plate 11 (between 54 and 55, after plate 8), p 80-82

-Salen: “Rural Corded Corset, 1830-40” p 34-37

-Salen: “Corded Taffeta Corset, 1840” p 38-41

-Salen: “Project: White Linen Jumps, c. 1790” p 102-107 [for hand construction techniques]

-Salen: “Techniques” (not period specific) p 114-123

-Waugh Corsets: “The Corset” p 75, p 76 (plate 36), p 79, p 103-104, p 138 (plate 105)

-Waugh Corsets: “The Construction of Corsets” p 149, p 155-156 [quoted from WWG]

-Hunnisett 1: “Corsets and Corset Construction” [theatrical] p 24-28

-Steele: p 34 [1830 painting “Marchande de Corsets”]

-Steele: information p 39-45

-Steele: p 40 [1824 painting “The Scottish Bedroom”]

-Steele: p 41 [FIT museum installation photograph, third corset c. 1840]

-Steele: p 42 [1830s fashion illustration dated 23 July 1837]

-Steele: p 45 [1830s image by Numa, Le Matin or The Lover as Lady's Maid]

-Fukai: p 132-133 [early 19^th century corsets]

-Fukai: p 200-201

-Waugh Cut: p 193, lower left 3 [1834 diagram for a “Corset” from Petit Courier des Dames]

-Garnett: p 35 [duplicate: 1837 fashion plate with woman in undergarments]

-Garnett: “Queen Victoria by A. E. Chalon, 1837-38” p 35

-Rothstein: “Corset, white cotton” in image 75: image p 35 above; text p 143 [English, about 1835]

-Bradfield: “Satin corset with front tab” p 173 [redrawn from July 1837 Le Petit Courier des Dames]

Bustle (bumpad, bumroll, hip pad, tournure, false bottom)

-WWG: plate 11 (between 54 and 55, after plate 8), p 83-84

-Waugh Corsets: p 93, p 117, p 134

-Hunnisett 1: p 64 [refers to 1870s technique for Bustle B, p 127-131], p 67-68

Petticoat

-WWG: p 104, plate 14 (between 104 and 105), p 105 [see also Sleeves]

-Hunnisett 1: p 64-66

Stiffened Petticoat (Corded, Quilted, Horsehair)

-Waugh Corsets: p 118

-Fukai: p 201 [corded]

Flannel Petticoat

-WWG: plate 10 (between 64 and 65), p 72-73

Pockets

-WWG: plate 10 (between 64 and 65), p 73

-Bradfield: “Pair of pockets” p 167 [1837-39?]

Primary Garments

Period Fashion Overview

-Hunnisett 1: “Period Patterns – 1826-1838” p 49-52

-Beaudoin-Ross: fashion plates and information p 68-73

-Fukai: “The Romantic Style” p 151-152

-Fukai: p 202 [1833 fashion plate]

-Waugh Cut: “1820-1840” - p 137-138

-Waugh Cut: plates 46-48 (after p 144)

-Waugh Cut: p 216-217 [quotes about fashion from 1831-1835, 1832, and 1837]

-Garnett: “Sleeves, Skirts and Ringlets: 1820s-1840s” p 34-35

-Bradfield: “1835-1870” p 162

Sleeves

-WWG: p 84, plate 12 (between 84 and 85), p 85-90

-Hunnisett 1: p 56-58

-Waugh Cut: p 193, upper left [1834 diagram for a “sleeve a la folle” from Petit Courier des Dames]

Gown and Coat Neckline Elements

-WWG: “Frills” and “Cuffs” plate 10 (between 64 and 65), p 74-76

-WWG: “Shoulder-Pieces, Collars, Capes, &c.” plate 13 (between 90 and 91), p 91-103

-Waugh Cut: p 193, upper 2^nd from left [1834 diagram for a pelerine from Petit Courier des Dames]

-Rothstein: “Collar, embroidered net” in image 39: image p 35 bottom; text p 132 [English, late 1830s]

-Bradfield: “Fine white pelerine of embroidered muslin” p 139 top [1825-35]

-Bradfield: “White embroidered muslin pelerine” p 157 [1833-35]

-Bradfield: “White embroidered muslin tucker” p 167 [1837-39 see also morning dress p 165-66]

-Arnold 1: “A selection of chemisettes” p 50-51 [c1830-35 and others]

Skirt

-Hunnisett 1: p 59-60, [levelling skirt] p 65

-Johnston: p 74-75 [top: 1820-24, rouleaux at hem]

-Arnold 1: p 62 [detail of inside of hinged knife pleat skirt treatment c. 1837-41]

Gowns (including some with low bodies)

-WWG: plate 14 (between 104 and 105), p 106-113 - esp. figs. 15 and 18, p 110-111

-Hunnisett 1: p 53-54

-Hunnisett 1: “Fashion Plate 1836”

-Olian: “Notes on Plates” p vi; plate 2, plate 3 **** reproducing plate 2, left, dress B (2^nd of 4)

-Beaudoin-Ross: p 22-23 [1830-1835 summer dress with pelerine in printed muslin]

-Fukai: p 188-197 [various romantic dresses, high and low]

-Fukai: p 188-189 and p 191 [Day Dress c 1838] elbow puffs

-Waugh Cut: “Day Dress c. 1834” diagram XLI (section after p 150)

-Waugh Cut: “Bodice c. 1839” diagram XLIII above (section after p 150)

-Waugh Cut: p 193, right [1834 diagram for a high dress from Petit Courier des Dames]

-Garnett: p 34 - “Scene in the Library, 1830s” middle, and “Brocaded silk dress, 1833” bottom

Low Body Styles

-Hunnisett 1: p 52-54

-Johnston: p 50-51 [1827-29] stripes with bias

-Johnston: p 76-77 [1830-34, top] striped bias bodice

-Johnston: p 76-77 [***1838-40 see also http://collections.vam.ac.uk/item/O13835/dress/ and below]

-Johnston: p 80-81 [1830 muslin]

-Johnston: p 104-105 [1838-40 printed cotton]

-Johnston: p 172-173 [1836-38 hideous printed wool with good sleeves] elbow puff with tight lower

-Johnston: p 174-175 [bottom right 1838-40 V crossover bodice closure] – crossover closure

-Johnston: p 192-193 [1837-40 lovely printed challis, pleated sleeves caught in bands]

-Beaudoin-Ross: p 24-25 [1836-1841 day dress in printed barege, lovely]

-Arnold 1: “An evening dress with beret sleeves c. 1829-31” p 60-62 [left p 60; p 61; upper left p 62]

-Arnold 1: “A dinner dress c. 1830-36” p 61, p 62-63 [right p 61; lower left p 62; p 63]

-Arnold 1: “A morning dress c. 1837-41” p 62, p 64-65 [lower right p 62; left p 64; p 65]

-Arnold 1: “A day dress c. 1839-45” p 62, p 64, p 66 [upper right p 62; right p 64; p 66] - sleeve

-Waugh Cut: “Day Dress c. 1837” diagram XLII (section after p 150) [great sleeves] bias bodice

-Severa Dressed: p 28-29 “Daguerreotype, 1839-40”

-Rothstein: “Dress” in image 39: image p 35 bottom; text p 131-132 [English, 1836-38]

-Rothstein: “Dress, lilac silk” p 132 image 40 [English, 1838-42 - *** same as starred, with mantle]

-Bradfield: p 151-54 [1830-33 gauze dress and satin under-dress] striped bias bodice

-Bradfield: p 155-56 [1829-33 printed muslin day dress]

-Bradfield: “Crisp deep cream silk evening dress” p 163-64 [1836-37; pleated front, see also p 170]

-Bradfield: “Printed cotton...Morning dress” p165-66 [1837-39; also muslin tucker 167] sleeve ruffles

-Bradfield: “Printed white muslin [dress]” p 169-70 [1837-40; boned bodice] sleeve puffs

-Bradfield: “Creamy white silk afternoon dress” p 171-72 [1837-38; very low-set sleeve] sleeves!!

Accessories

Stockings

-Fukai: p 198

Shoes, Boots, Slippers

-WWG: plate 20 (between 158 and 159), p 171-175

-Johnston: p 78-79 [3 pairs slippers, 1830s-40s]

-Fukai: p 198-199 [slippers]

-Bradfield: p 145 [“black kid heelless shoes” 1825-29]

-Bradfield: “White satin heelless shoes” p 167 [1837-39? also an identical pair in black satin]

-Bradfield: “Day boots of cotton” p 172

-Bradfield: “Black satin dress shoes” p 172

Gloves

-WWG: p 175

-Johnston: 154-155 [top 1820s-30s yellow kid glove]

-Fukai: p 202-203 [black lacy silk knit mitts]

Bonnets

-WWG: “Women's Bonnets” p 158, plate 20 (between 158 and 159), p 159-162 [incl. Caleche]

-Rothstein: “Bonnet” in image 39: image p 35 bottom; text p 132 [English, 1835-40]

-Bradfield: “Large white silk bonnet” p 140 bottom [unspecified date, 1820s? 1830s?]

Caps

-WWG: “Women's Caps” p 61-62, plate 9 (between 62 and 63), p 63-64, p 65-68

-WWG: p 124, plate 15 (between 124 and 125), p 125-130

Aprons

-WWG: plate 11 (between 54 and 55, after plate 8), p 76-79

Shawls, Coats, Capes, Wraps

-WWG: “Cloaks” plate 20 (between 158 and 159), p 162-164

-WWG: “Shawls” plate 20 (between 158 and 159), p 166-167

-Johnston: p 1140115 [1830s peacock pelerine]

-Bradfield: “Plain navy-blue silk taffeta mantle” p 157-158 [1835-39 – matching velvet binding**]

-Bradfield: “Dark grey-brown...silk taffeta mantle” p 159-60 [1830-35 – contrast velvet edging]

Bags

-Bradfield: p 139 bottom [“reticule” c. 1830-35?]

Undress Garments

Night-Gown

-WWG: plate 8 (between pages 54 and 55), p 56-58

Night Jacket

-WWG: plate 8 (between pages 54 and 55), p 55-56

Non-Garment Items

Pocket Handkerchiefs

-WWG: p 170

Work-Box

-WWG: “The Work-Box” p 15-16

-WWG: plate 24 (between 208 and 209), p 212-214

Dressing-Case

-WWG: “A Travelling Dressing-Case or Tidy” p 208, plate 24 (between 208 and 209), p 209

Materials and Techniques

Basic Sewing Techniques

-WWG: “A Few Observations on Needle-Work” plate 1, p 1-11

Textiles

-WWG: “A Few Observations on Purchasing Goods” p 11-14

-Trestain: “How to Use This Book” - pp 6-7

-Trestain: “A New Nation,” Pre-1830 - p 8-16 text; p 17-40 images

-Trestain: “Westward Ho!” 1830-1860 - p 41-48 text; p 49-66 images

On Down and Fur

-WWG: p 175-177

Knitting

-WWG: p 237-278

Straw Plaiting

-WWG: p 278-290

Care of the Lady's Wardrobe; Packing

-WWG: p 119-121

Boning

-Waugh Corsets: “Whalebone” p 167-169

Bibliography (copied from larger bibliography; not all sources used)

Arnold, Janet. Patterns of Fashion 1: Englishwomen's dresses and their construction c. 1660-1860. New York: Drama Book Specialists/Publishers, 1978. [Arnold 1]

Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001. [Bassett]

Beaudoin-Ross, Jacqueline. Form and Fashion: Nineteenth Century Montreal Dress (Formes et modes: Le costume à Montréal au XIXͤ siècle). Montreal: McCord Museum of Canadian History, 1992. [Beaudoin-Ross]

Bradfield, Nancy. Costume in Detail: Women's Dress 1730-1930. Hollywood: Costume & Fashion Press, 2009. [Bradfield]

Dial, Tim. Basic Millinery for the Stage. Portsmouth, New Hampshire: Heinemann, 2002. [Dial]

Dreher, Denise. From the Neck Up: An Illustrated Guide to Hatmaking. Minneapolis: Madhatter Press, 1981. [Dreher]

Earnshaw, Pat. The Identification of Lace. Buckinghamshire, UK: Shire Publications Ltd, 2000. [Earnshaw]

Fukai, Akiko, Ed. Fashion: A History from the 18^th to the 20^th Century (The Collection of the Kyoto Costume Institute). 2006 edition published by Barnes & Noble by arrangement. Köln: Taschen, 2006. [Fukai]

Garnett, Oliver and Penelope Byrde. The Museum of Costume & Assembly Rooms: Bath (The Official Guide). Bath: Heritage Services Section of Bath and North East Somerset Council in association with the National Trust, 1994. [Garnett]

Harris, Beth, Ed. Famine and Fashion: Needlewomen in the Nineteenth Century. Aldershot, England: Ashgate Publishing Limited, 2005. [Harris]

Hedlund, Catherine A. A Primer of New England Crewel Embroidery. 5^th ed. Old Sturbridge Village Booklet Series. Sturbridge, Massachusetts: Old Sturbridge Village, 1973. [Hedlund]

Hunnisett, Jean. Period Costumes for Stage & Screen: Patterns for Women's Dress 1800-1909. London: Unwin Paperbacks, 1988. [Hunnisett 1]

Hunnisett, Jean. Period Costumes for Stage & Screen: Patterns for Outer Garments, Book II: Dominos, Dolmans, Coats, Pelisses, Spencers, Calashes, Hoods and Bonnets. Studio City, California: Players Press, Inc., 2003. [Hunnisett 2]

Ingham, Rosemary and Liz Covey. The Costume Technician's Handbook: A Complete Guide for Amateur and Professional Costume Technicians (Completely Revised and Updated Edition of the Costumer's Handbook). Portsmouth, New Hampshire: Heinemann Educational Books, Inc., 1992. [Ingham and Covey]

Johnston, Lucy. Nineteenth Century Fashion in Detail. London: V&A Publishing, 2009. [Johnston]

Lady, A. The Workwoman's Guide: A Guide to 19^th Century Decorative Arts, Fashion and Practical Crafts (A Facsimile Reproduction of the Original 1838 Edition). Guilford, Connecticut: Opus Publications with Old Sturbridge Village, 1986. [WWG]

Olian, JoAnne, Ed. 80 Godey's Full-Color Fashion Plates: 1838-1880. Mineola, New York: Dover Publications, Inc., 1998. [Olian]

Razek, Rula. Dress Codes: Reading Nineteenth Century Fashion. Stanford Honors Essay in Humanities Number XLIII. Stanford, California: Humanities Honors Program, Stanford University, 1999. [Razek]

Rothstein, Natalie, Ed. Four Hundred Years of Fashion. London: Victoria and Albert Museum in association with William Collins, 1984. [Rothstein]

Salen, Jill. Corsets: Historical Patterns and Techniques. Hollywood: Costume & Fashion Press, 2008. [Salen]

Steele, Valerie. The Corset: A Cultural History. New Haven, Connecticut: Yale University Press, 2001. [Steele]

Trestain, Eileen Jahnke. Dating Fabrics: A Color Guide 1800-1960. Paducah, Kentucky: American Quilter's Society, 1998. [Trestain]

Wardrop, Daneen. Emily Dickinson and the Labor of Clothing. Becoming Modern: New Nineteenth Century Studies; Reading Dress Series. Durham, New Hampshire: University of New Hampshire Press, 2009. [Wardrop]

Waugh, Norah. Corsets and Crinolines. New York: Theatre Arts Books, 1970. [Waugh Corsets]

Waugh, Norah. The Cut of Women's Clothes 1600-1930. New York: Theatre Arts Books, 1968. [Waugh Cut]

Progress! More research, and some fabric ordered...

I have been pretty much living and breathing this project for quite a few days now. I have done up a complete list of every single piece of relevant clothing information for the 1830s project in the books that I have so far, organized by garment. That will go up in my next post - because I'm trying to separate out the research posts, so that they're easily findable, and so that I can update them as I go along. Looking at all those images, and reading all those tidbits about construction, I feel that I've really trained my eye for the period, far more than I had before.

One advatange of doing SO MUCH at once was all the connections made between various pieces of information. It led to all kinds of excitement when, for instance, I fell in love with the c1838-40 pale pink silk gown on the bottom of pages 76-77 of Lucy Johnston's Nineteenth Century Fashion in Detail, from the V&A. I love that book (and the earlier one of the same variety), but it doesn't usually have full pictures, so it can be frustrating at times. In this case of this gown, it only had the bodice, and not the entirety of the cuffs. So I looked up the item number on the V&A website, and there was a full picture of the gown - though it was covered by an odd outer garment, and the picture itself looked a little tired! A couple hours later, I found that same picture in the V&A's somewhat pathetic 1984 publication Four Hundred Years of Fashion, edited by Natalie Rothstein. And the overgarment, it turned out, was dated somewhat later. So that explains why the picture looked old!

These things are perhaps unreasonably exciting to me. I am being widely laughed at for my great enthusiasms, but some of them are catching! To wit, I have made an order from Fabric.com, and along with my various items, also have along for the ride three swatches selected by my dear friend Lyndie, who is a gilded age enthusiast recruited for a transitional-bustle-era sewing project with me. Just, you know, on the side. Because I bought the patterns years ago and I want them! Every time I watch Daniel Deronda, The Way We Live Now, or The Buccaneers, a my desperation to sew clothing from this period increases. And since I could use the same chemise, drawers, and corset as for earlier 1860s things, it doesn't seem an unreasonable directions to go.

Anyway. I took advantage of the sale (ending tonight at midnight, presumably Eastern time) on reproduction quilting fabrics to order from the c1840 Pennock album a fabulously busy floral striped cotton in brick red and tan, with bits of blue and green in the florals. I ordered two yards of this, for the purpose of reproducing this gloriously busy quilted petticoat in the Old Sturbridge Village collection. I am very excited about this particular item, because it will be useful for both my 1830s project and for wearing with later crinoline era clothes. And because it promises to be somewhat ugly in that marvelous way. I wonder how skirt-supportive this garment will/could be. Would I still need a corded petticoat over it? Would it be helpful/reasonable/accurate to add a couple of rows of cording to the hem? And then of course I still need to get my paws on tapes for the waist, brown or tan polished cotton (unless I go for a plain cotton) for the lining and waistband, and some sort of batting to put between the layers, as well as thread. It makes me very sad that I likely won't be able to get all these things this week, because I would dearly love to start on this project for spring break, which starts this coming weekend, and which I will be spending holed up on campus, sewing. And knocking off a paper that's due afterward, bah.

I plan to use leftover bits of the striped floral, along with this Pennock floral on dotted tan ground, to make a patchwork pocket, such as I've seen a couple examples of. I bought half a yard of that, because it was the smallest quantity I could order.

I also purchased a swatch of white cotton broadcloth, to investigate it for potential undergarment-construction purposes, since I am going to need a great deal of sturdy but lightweight white cotton. I'm hoping I'll run across something appropriate, plentiful, inexpensive, and consistently available locally, of course, but a place that doesn't charge shipping for orders of $35 is the next best thing. I really don't think I can justify/afford more than $3/yard, so this is my upper limit - hopefully I can find something for less or catch JoAnn's with a coupon!

Then there's the yard I ordered - because at $5.49/yard it wasn't that much more for a yard than for a $1.75 swatch - of a brick red and periwinkle blue striped silk. I am suspicious of this fabric, because that is a VERY good price for a wide width of what looks like a smoothly woven silk. But if it's nice, I will assuredly be attacking it. I love stripes, and I love garish mid 19th century color combinations. The combination looks very 1860s to me, and my instinct is to think that it's probably not appropriate for my 1830s project, which is most unfortunate, but I may just have to find a way to afford it for, say, a transitional bustle dress, because it's simply too delicious to resist - if it's really silk, if the weave is smooth, if the body is right, etc. If all else fails, I will have a wide yard of pretty fabric, and can always turn it into a just-for-fun corset or some such.

Last but not least, I also got 12 yards of repro (ish) striped cotton in red, mustard, and antique. It's from a collection that is "inspired" by a quilt. Some of the other fabrics in the collection are quite odd, but I think that this stripe looks decent, and really, it's hard to go wrong with stripes. The only real point of concern is that the white is "antique" rather than a pure white, but hopefully it's not too bad. I didn't feel like I could pass up paying less than $4/yard for fabric in my favorite color (red) that I really liked, for a decent new Civil War everyday dress. A good sturdy cotton done up nicely (bias ruffles, anyone?) but reasonable for a c1860 cotton (not sheer) print. I have a beautiful wool plaid waiting to be made up (waiting in California!), and a partially completed, elaborate silk ballgown project in the works, but I'd rather get back into things with something simpler. Plus it will come in handy for certain plans I have for next school year...

Regarding that dress, I got SO much yardage because I want to be able to have lots of bias options, and it was inexpensive enough that I figured I'd play it safe and get plenty. I already have various lovely vintage/antique buttons that would work, white polished cotton for the lining (um, I think - I should check - I might only have black polished cotton; the white white all be sateen, but it's lightweight, so I miiiiiight use it anyway), hooks and eyes, white batiste for collars and cuffs, and even a sheer white cotton with woven stripes that I can snag a bit from for a corded bonnet to wear with the dress. Yes, I know - I really like stripes!

The rest of the order is just a few little samples of the silk/rayon (mostly silk) brocade that Fabric.com carries, one that I have my eye on for pseudo-historical purposes and several that Lyndie was fond of. We'll see if they're likely to be of any use.

In other news - I keep looking at images of extant gowns (like the pale pink one mentioned above) made of very fine, thin silks, and thinking about my 70 yards of black habotai (china silk). I've seen comments on The Sewing Academy about the possibility of using starched habotai as a substitute for silk tissue in, for instance, bonnets, and I can't help wondering if it might be workable, if it were starched and lined and given a nice heavy hem, and made up in the right style. I don't know - I'll keep thinking about it, and hope I find something perfect in the meantime. Because black for the romantic era isn't really what I had in mind! Though - maybe for a transitional bustle sort of thing - they had lots of floofy thin fabrics; I mightn't even need to starch it. Thinkthinkthink.

In other other news, I improvised a rather grand little costume on Friday for a glam rock costume party, and had a great time. It was quite strange, though, wearing as clothing the ivory lace vintage-style corselet that I normally wear as an actual undergarment! I added lots of ruffles of synthetic black organza for a skirt, mostly in the back for a somewhat bustley look, and it worked quite well. I did my hair in about two minutes, with a sort-of roll in the front, and the back twisted up in two sections and wrapped around each other on top, decorated with a magnetized hematite string of black and silver beads. Makeup was basically classic vintage style, with a little extra for glammy oddness: usual base, plenty of power, eyebrows, blush done somewhat doll-like in circles, orange-pink-red lipstick, a dusting of black eyeshadow with a blush brush, serious black eyeliner, and massive false eyelashes. I accessorized with black net lace-up half-finger mitts, black diamond-patterned tights, peep-toe four inch heels of interesting design, black drop earrings, and a choker and bracelet set that my great-grandmother bought in Mexico in the 1940s, which are silver and heavy and look somewhat like chainmail. Unfortunately, not much in the way of pictures was taken, but if I can get my hands on any, I will post them. I also helped by friends Lyndie and Aaron with hair, makeup, and costuming concerns, so we were VERY fashionably late, but very well-received. It added to the drama of our interest that Lyndie's fair was full of sparkly things, Aaron was wearing a dress, and I was wearing a 40s-style rabbit fur jacket (which I bought at a thrift store; I did not contribute to the death of any bunnies...though I did eat rabbit stew once). Fun was had! And I do love a good improvised costume.

Now I must pull the corselet out again, because I have an Oscar party to go to, and I do believe that I would disappoint if I failed to be fancy for the occasion. I will wear my 1950s style red satin formal, which I based on a Vintage Vogue reissue pattern. It's strapless and heavily boned, with shaped black chiffon draping across the bosom, running into a long scarf that can be worn hanging, or around the shoulders. I am realizing that I have very little in the way of pictures of this dress, so I'll have to make a point of getting some tonight! But first, I must get ready. The real question is - should I fuss with doing my hair, or call it a Marilyn Monroe costume and wear my blonde wig? Realistically, I will probably get very tired of wearing the wig, very quickly. But...I'm already late.

I'll post the list of 1830s references soon, and hopefully add more books to the annotated bibliography in a couple days. So much to do!

Annotated Bibliography for 19th Century Costume Research

As previously discussed, this semester, I am working on an academic independent study project entitled “Reproducing and Documenting 1830s Women's Clothing.” I am combining actual garment construction with academic research and writing, and one of the products of the project will be an annotated bibliography, with Chicago style citations, detailing the relevance, usefulness, and historical accuracy of the various sources, in my own experience and in the opinions of experts.

Since I study and reproduce other 19th century periods as well, and so many books have larger relevance, I decided to extend the bibliography project to include more of the 19th century, both earlier and later, though my personal interest lessens after the 1870s. I am putting this work-in-progress bibliography online so that it is available for use and comment by others, and will be updating it frequently.

I may possibly update the online version with links to dress diaries, articles, etc. that discuss the use of various sources, as these can be very useful for others interested in using those sources. I would probably limit those links to the most documented and historically accurate examples, because of the academic nature of the basis of this project.

(Though, for the record, I think that there are many perfectly acceptable reasons to stray from museum-quality reproductions, whether that straying is machine-sewing hidden seams, using man-made materials when natural fibers are unavailable, making a historically-inspired Halloween costume, or turning the past on its ear with steampunk or a twisted historical. On which note, someday I intend to reproduce the enormous ballgown Deborah Kerr wears in The King and I. 1860s? Not so much. But fabulous nevertheless!)

This bibliography is so far in its infancy. There are no actual annotations yet, though certain aspects are noted in an organized fashion. Again, I will be updating it frequently, so bear with me. One thing of importance is that I am including books that may not actually be helpful or historically accurate, because I have them, ran across them, have heard about them, or found them in my library catalog. I think it is as useful to know which sources are not helpful as which are, but of course this is a matter of opinion. Additionally a book that is not useful to me may be quite useful to someone with a different aim. I welcome input and suggestions.

Currently, the bibliography includes the enormous pile of library books I am currently in possession of, as well as some of the costume and sewing books in my personal collection, but I have not yet included most of my own books, so the list is extremely incomplete. For instance, I have not even touched by crinoline era specific books, or costume history overview texts.

I would be glad to get input from anyone, the more specific and detailed the better, of course. I am especially interested in sources that I can use for my independent study, which is focusing on the late 1830s, the transitional years between the romantic era and the crinoline era. If anyone knows of a source that is useful for that time period, online or print, that is not listed here, I would love to know about it, and I would also love to get feedback specific to that period for the sources listed here.

For clarity's sake, I will explain the way these placeholder annotations are formatted. The bibliographic entries themselves are formatted Chicago style, since that is most commonly used in the social sciences, and because it makes me less cranky than do MLA or APA. Sometimes the style gets interpreted somewhat loosely, to try to incorporate information that seems necessary (for instance, to clarify which edition of the “Kyoto Book” [see entry under Fukai, Akiko] I am using), and some of these variations will likely shift over time. The citation format and my annotation notes are structured as follows:

Lastname, Firstname. Title of book. Place of publication: Publisher, Year of publication.
-Original publication date, if any. 'In my collection', or call number and library borrowed from.
-Instructional or not. Images or not, color or not. Academic or not; source's field or intent.
-Recommended by anyone? Feedback, reputation, usefulness, authenticity.
-Is there a bibliography, recommended reading list, or list of sources?
-Is the source possibly relevant to the 1830s? These will be pulled for my project.

And without further ado, here is the bibliography, such as it is:



Arnold, Janet. Patterns of Fashion 1: Englishwomen's dresses and their construction c. 1660-1860. New York: Drama Book Specialists/Publishers, 1978.
-Originally published 1964. In my collection.
-Instructional with diagrams. B&W images. Theatrical/historical costuming.
-Recommended by everyone.
-Bibliography of primary and secondary sources.
-Relevant to 1830s project.

Arnold, Janet. Patterns of Fashion 2: Englishwomen's dresses and their construction c. 1860-1940. New York: Drama Book Publishers, 1993.
-Originally published 1966. In my collection.
-Instructional with diagrams. B&W images. Theatrical/historical costuming.
-Recommended by everyone.
-Bibliography of primary sources.

Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.
-In my collection.
-Not instructional. Contains swatches of actual fabric. Textile history.
-Recommended but expensive.
-Bibliography and list of suppliers for textiles.
-Relevant to 1830s project.

Beaudoin-Ross, Jacqueline. Form and Fashion: Nineteenth Century Montreal Dress (Formes et modes: Le costume à Montréal au XIXͤ siècle). Montreal: McCord Museum of Canadian History, 1992.
-In my collection. Available from the museum for $15 CAN.
-Not instructional. Full color images and B&W. Museum collection of extant garments.
-Recommended by anyone? I don't think so. Beautiful and inexpensive.
-Bibliography.
-Relevant to 1830s project.

Bradfield, Nancy. Costume in Detail: Women's Dress 1730-1930. Hollywood: Costume & Fashion Press, 2009.
-Originally published 1968. In my collection.
-Not instructional, but drawings have measurements & detail. B&W images. Historical costume.
-Recommended by many. Some overlap with Arnold.
-Books consulted list.
-Relevant to 1830s project.

Carnahan, Ruby. How To Make Hats: Easy Step By Step Instructions. Chicago: Carnahan Associates, 1966.
-TT 655 C3 1966, borrowed from Five College library, Smith College.
-Instructional; includes patterns. Black and white images. How-to personal fashion, vintage.
-Recommended by anyone? No.
-No bibliography.
-Relevant to 1830s project.

Crill, Rosemary, Jennifer Weardon and Verity Wilson. Dress in Detail from Around the World. London: V&A Publications, 2002.
-GT 2050 .D74 2002, borrowed from Five College library, Hampshire College.
-Not instructional. Full color images. Museum collection of extant garments: non-Western.
-Recommended by anyone? No. Only useful for non-Western costumes.
-Further Reading list project.

Dial, Tim. Basic Millinery for the Stage. Portsmouth, New Hampshire: Heinemann, 2002.
-PN 2067 D53 2002, borrowed from Five College library, Smith College.
-Instructional. Black and white images. Theatrical costuming.
-Recommended by anyone? I don't think so.
-Brief bibliography.
-Relevant to 1830s project.

Dreher, Denise. From the Neck Up: An Illustrated Guide to Hatmaking. Minneapolis: Madhatter Press, 1981.
-TT 655 C3 1966, borrowed from Five College library, Mount Holyoke College.
-Instructional; includes patterns. Black and white images. Theatrical costuming.
-Recommended by various. Not sure of historical accuracy.
-Extensive bibliography.
-Relevant to 1830s project.

Earnshaw, Pat. The Identification of Lace. Buckinghamshire, UK: Shire Publications Ltd, 2000.
Originally published 1980. In my collection.
-Not instructional. B&W images. Textile history and design.
-Recommended by anyone? Not that I recall. More about lace types than times.
-Bibliography.
-Relevant to 1830s project.

Fukai, Akiko, Ed. Fashion: A History from the 18th to the 20th Century (The Collection of the Kyoto Costume Institute). 2006 edition published by Barnes & Noble by arrangement. Köln: Taschen, 2006.
-Orig. pub. 2002. GT 580 .F36 2006, borrowed from Five College library, Hampshire College.
-Not instructional. Full color images. Museum collection of extant garments.
-Recommended by everyone.
-Bibliography.
-Relevant to 1830s project.

Harris, Beth, Ed. Famine and Fashion: Needlewomen in the Nineteenth Century. Aldershot, England: Ashgate Publishing Limited, 2005.
-HD 6073 C6 H37 2005, borrowed from Five College library, Smith College.
-Not instructional. Black and white images. Academic: labor history.
-Recommended by anyone? No, but I emailed Laurie Nisonoff about it.
-Select bibliography and notes.
-Relevant to 1830s project.

Hedlund, Catherine A. A Primer of New England Crewel Embroidery. 5th ed. Old Sturbridge Village Booklet Series. Sturbridge, Massachusetts: Old Sturbridge Village, 1973.
-TT 771 H25 1973, borrowed from Five College library, UMass Amherst.
-Instructional. Black and white images. Non-academic.
-Recommended by anyone? No.
-No bibliography, but has list of titles in booklet series.
-Relevant to 1830s project.

Hunnisett, Jean. Period Costumes for Stage & Screen: Patterns for Women's Dress 1800-1909. London: Unwin Paperbacks, 1988.
-PN 2067 H862, borrowed from Five College library, UMass Amherst.
-Instructional with diagrams. B&W images. Theatrical costuming.
-Recommended by many, with reservations.
-Bibliography.
-Relevant to 1830s project.

Hunnisett, Jean. Period Costumes for Stage & Screen: Patterns for Outer Garments, Book II: Dominos, Dolmans, Coats, Pelisses, Spencers, Calashes, Hoods and Bonnets. Studio City, California: Players Press, Inc., 2003.
-TT 530 .H8 2000 v.2, borrowed from Five College library, Hampshire College
-Instructional with diagrams. B&W images. Theatrical costuming.
-Recommended by many, with reservations.
-Bibliography.
-Relevant to 1830s project.

Ingham, Rosemary and Liz Covey. The Costume Technician's Handbook: A Complete Guide for Amateur and Professional Costume Technicians (Completely Revised and Updated Edition of the Costumer's Handbook). Portsmouth, New Hampshire: Heinemann Educational Books, Inc., 1992.
-Originally published 1980 but completely updated. In my collection.
-Instructional. B&W images with color section. Theatrical costuming overview.
-Recommended by some for generally good, though not historical, information.
-No bibliography, but does make reference to historical diagram books.
-Relevant to 1830s project.

Johnston, Lucy. Nineteenth Century Fashion in Detail. London: V&A Publishing, 2009.
-Originally published 2005. In my collection.
-Not instructional. Full color images. Museum collection of extant garments.
-Recommended by many. Note: some garments only have detail shots, not full.
-Further reading list.
-Relevant to 1830s.

Joslin, Katherine. Edith Wharton and the Making of Fashion. Becoming Modern: New Nineteenth Century Studies; Reading Dress Series. Durham, New Hampshire: University of New Hampshire Press, 2009.
-PS 3545 .H16 Z6855 2009, borrowed from Five College library, Smith College
-Not instructional. Black and white images. Academic: literature.
-NOT recommended by Clare M. Sauro on Worn Through: poorly sourced, disappointing
-Bibliography mostly literary, has list of image websites.

Lady, A. The Workwoman's Guide: A Guide to 19th Century Decorative Arts, Fashion and Practical Crafts (A Facsimile Reproduction of the Original 1838 Edition). Guilford, Connecticut: Opus Publications with Old Sturbridge Village, 1986.
-Orig. pub. 1838. TT 705 .L27 1986, borrowed from Five College library, Hampshire College.
-Instructional with diagrams, period. B&W images. Period home sewing and craft manual.
-Recommended by everyone.
-No bibliography.
-Relevant to 1830s project.

Olian, JoAnne, Ed. 80 Godey's Full-Color Fashion Plates: 1838-1880. Mineola, New York: Dover Publications, Inc., 1998.
-In my collection.
-Not instructional. Color images. Historical costuming, fashion plates.
-Recommended by me for overview of high fashion changes.
-No bibliography.
-Relevant to 1830s project.

Razek, Rula. Dress Codes: Reading Nineteenth Century Fashion. Stanford Honors Essay in Humanities Number XLIII. Stanford, California: Humanities Honors Program, Stanford University, 1999.
-GT 595 R39 1999, borrowed from Five College library, Smith College.
-Not instructional. No images. Academic: fashion theory.
-Recommended by anyone? No.
-Bibliography and notes, extensive.
-Relevant to 1830s project.

Rothstein, Natalie, Ed. Four Hundred Years of Fashion. London: Victoria and Albert Museum in association with William Collins, 1984.
-In my collection.
-Not instructional. B&W and color images, limited. Museum collection of extant garments.
-Not highly recommended because of limited images, but often inexpensive.
-No bibliography.
-Relevant to 1830s project.

Salen, Jill. Corsets: Historical Patterns and Techniques. Hollywood: Costume & Fashion Press, 2008.
-GT 2075 .S25 2008, borrowed from Five College library, Mount Holyoke College
-Instructional with diagrams. B&W and color images. Historical costuming.
-Recommended by various.
-Further reading list and list of suppliers.
-Relevant to 1830s project.

Steele, Valerie. The Corset: A Cultural History. New Haven, Connecticut: Yale University Press, 2001.
-GT 2075 .S74 2001, borrowed from Five College library, Hampshire College.
-Not instructional, has some period diagrams. B&W and color images. Academic: fashion theory.
-Recommended by anyone? I don't think so, but I love her perspective in the introduction.
-Extensive notes and bibliography.
-Relevant to 1830s project.

Trestain, Eileen Jahnke. Dating Fabrics: A Color Guide 1800-1960. Paducah, Kentucky: American Quilter's Society, 1998.
-In my collection.
-Not instructional. Full color images of textile samples. Textile history: patterns, esp cotton.
-Recommended by many.
-Bibliography.
-Relevant to 1830s project.

Wardrop, Daneen. Emily Dickinson and the Labor of Clothing. Becoming Modern: New Nineteenth Century Studies; Reading Dress Series. Durham, New Hampshire: University of New Hampshire Press, 2009.
-PS 1541 .Z5 W315 2009, borrowed from Five College library, Smith College.
-Not instructional. Black and white images with color section. Academic: literature.
-Recommended by anyone? Emily Dickinson Museum is hosting a presentation of it.
-Bibliography.
-Relevant to 1830s project.

Waugh, Norah. Corsets and Crinolines. New York: Theatre Arts Books, 1970.
-Orig. pub. 1954. GT 2075 W3 1970 Folio, borrowed from Five College library, Mount Holyoke.
-Instructional with diagrams, period and modern. B&W images. Theatrical costuming.
-Recommended by many.
-No bibliography.
-Relevant to 1830s project.

Waugh, Norah. The Cut of Women's Clothes 1600-1930. New York: Theatre Arts Books, 1968.
-Orig. pub. 1968. TT 504 .W385 1968, borrowed from Five College library, Hampshire College.
-Instructional, with diagrams. Black and white images. Theatrical costuming.
-Recommended by many.
-Limited bibliography.
-Relevant to 1830s project.

My 1830s Clothing Independent Study: The Basics

Since I'm finally really getting going on my 1830s clothing project, I thought it would make sense to post about my plans and ideas, and include the official independent study description here. This is what's on file with the college:

"Reproducing and Documenting 1830s Women's Clothing

As a means of delving into my primary academic interest of 19^th Century Studies, drawing on my background in historic costuming and reenacting, I am constructing this independent study project to carefully research the clothing of a highly specific time period and document the process of reproducing garments as authentically as possible. Resources to be consulted include a facsimile copy of the anonymously published 1838 The Workwoman's Guide, Janet Arnold's Patterns of Fashion I, Norah Waugh's The Cut of Women's Clothes 1600-1930, and online sources such as digitized museum collections. Based on research, I will construct a cotton cap, shift, corset, and quilted winter petticoat. I may also construct more elaborate items such as gloves, a bonnet, or a cloak. In order to maintain authenticity, I will not be using a sewing machine or synthetic fabrics. I will take extensive notes during the process, and conclude with a thorough annotated bibliography and formal paper discussing the results of the project, in addition to the finished garments. Along the way, I will correspond with my advisor via email and biweekly meetings."

Since my last post, I have constructed absolutely nothing, but I have been doing research and collecting books from various libraries (the Five College library system is a beautiful thing, seriously), and catching up with other academic situations. But the time has come for some sewing! Of course, the trouble is - I have, rather inevitably, become more ambitious. I really, really, really want to make a full ensemble, for myself. And there is no way I'm making a useless corset! I don't know how much I'll actually get done before the end of the semester in May, but I'll keep working afterward if need be. I want this to be a cohesive whole, not just an academic experiment.

My student loan check is currently on its way to my bank, so hopefully I will be able to buy some supplies soon. I have a quite a bit on hand that I can work with, but I need thread and patterns right off. That's right, thread: I refuse to use readily available poly-cotton when I'm being so careful about accuracy as to hand-sew everything. Once I have thread, I can draft up patterns for a chemise (or was it still shift at this point? I think it was - I need to heck) and a cap, from The Workwoman's Guide, and start sewing. I wonder if maybe I could use cotton embroidery floss in the interim - or would that be too thick for even the lightweight cotton fabric of the chemise/shift? I need to learn more about thread...

In the department of patterns, I will be doing a lot of my own drafting and draping (we'll see how much I remember from those fashion department courses, and how much I can make up along the way), but I would like to get my hands on some commercial patterns for the more complicated items, in part for the documentation that good historical patterns can provide.

I am focusing on the transitional years of the end of the decade, around 1838-39, which is a really unique look straddling the line between romantic era and crinoline era. Also, it's pretty. Plus I was inspired by some wonderful fashion plates and extant garments on display at Old Sturbridge Village. The trouble with this date selection is that as far as I can tell, there are no patterns for it, and because it is brief, there are fewer examples available of any sort. I think I would like to get an earlier 1830s pattern and use that as a framework, at least, so I am trying to decide between Past Patterns #003 1830-1836 Full High Gown and Truly Victorian TV455 1830s Romantic Era Dress. I prefer the look of the Truly Victorian pattern, and have a vague suspicion that those sleeves might be easier to alter to the later style, but I am leaning toward the Past Patterns one, because I know that Past Patterns is known for their outstanding documentation included with the patterns, and since this is an academic project, documentation is critically important. Any feedback about either pattern would be greatly appreciated!

As a side note, I have made no decisions whatsoever about the dress yet, in regards to function, style, or material. In general for the project, I'm planning on keeping things somewhat less than ultra-crazy-elaborate-fabulously-expensive high fashion, but somewhat more than drab basic minimum.

I haven't made much in the way of decisions about the stays either, but it promises to be an adventure in any case - I am short-waisted and very curvy, with more than my fair share of bosom. Pattern never fit me, so if I get one, it will need a lot of work, but it seems like a helpful starting point, even if I do a lot of redrafting. I'm looking at Past Patterns #001 1820s-1840s Corded Stay, but I'm not at all sure I trust cording to support my bosom: I run a large DDD. Would this pattern be useful to me, or should I just do the research and draft/drape my own from Corsets and Crinolines or another diagram book?

Whatever else happens, I know that I desperately want to make a bonnet. And I have about 70 yards (it's a long story) of black habotai (China) silk on hand, so that will do for the lining, at least, if I starch it. But again, I am debating patterns. My friend Gann has the Lynn McMasters 1830s Romantic Period Bonnet pattern, which I could borrow, but the shape is definitely earlier (though the website says that the pattern includes instructions to redraft it for a later shape), and it doesn't seem to include documentation with the pattern, whether or not the design and construction are period. I don't know anything about Lynn McMasters patterns, so I have no idea. Meanwhile, I hear very good things about Miller's Millinery, and have my eye on #B2 1834-40 Fashionable Bonnet (pictured second). I hate to spend money if I don't have to, since I don't have much to work with for the project on the whole, but if the Miller's Millinery pattern is really worth it, I'll get it. I need to find out if the pattern includes documentation, and how the accuracy of the construction methods compare between the two...

I'm also debating the issue of cap patterns. I've looked at the Miller's Millinery designs, but received encouragement to try drafting up a diagram from The Workwoman's Guide by the wonderful Elizabeth Stewart Clark, on her (slightly later in period but altogether fabulous) forum, The Sewing Academy. Still, I'm wondering if the construction information might be helpful enough that it would be worth it to me to buy the pattern.

So - those are the big thoughts for the moment. Otherwise, I'm doing a lot of research, and collecting books. I'm going to add another post in a moment, with my working bibliography, which includes all the print resources for this period that I've got my hands on so far. I would LOVE to get feedback on any of the books listed, ideas of other books not listed, and so forth. There are a couple more books waiting for me at the library, and a couple that I know I need to order through ILL, but that list is it so far.

Okay, epic brainstorming post is over now!