You wouldn't wear an evening gown to work, would you? Here's how to dress without provoking the Victorian etiquette police, part 2: eveningwear & sportswear.
You wouldn't wear an evening gown to work, would you? Here's how to dress without provoking the Victorian etiquette police. Part 1 covers daywear.
C. Claridge translates some gorgeous but cryptic Victorian instructions into modern-style knitting and crochet diagrams, and then tries them out.
My passion for Ostrich plumes started when I saw the opening credits of the 1997 movie Wings of the Dove.
Where do such plumes come from?
How do milliners fabricate them and can I create such confections?
These are all questions I asked myself then, and they led me on a course of study and experimentation. In this article I will share some of what I have learned along the way.
or My hat looks like it has a dead fish on top because the bow just lies there! How can I fix that?
One of the most often used decorative elements on late Victorian and Edwardian hats were bows and ribbon loops.
To a non-milliner, trying to recreate some of these fantastic hats may seem a daunting task. Here are some tricks that simplify things.
This month Lynn shows us how to add large areas of silk flowers or ribbon decorations to a hat, without using glue and without sewing each one on individually.
Why would you want to add decorations to a hat in this way?
There are several reasons, but the most important would be to save the base hat from being damaged, either because it is vintage or because you might want to redress it in the future and anything you do now will have to be undone.
Have you ever walked into a large craft or fabric store to purchase the things you need to decorate that fantastic hat you're making, and been totally overwhelmed by the possibilities?
Should your hat be simple and elegant, or should it be a liberally decorated, multi-coloured feast of delights?
Professional period milliner Lynn McMasters shares her secrets with us in this new series on millinery design.
Constance concludes her exploration of the Victorian cage crinoline with the recreation of a large covered crinoline from 1868.
Constance explores how, during the mid C1800s, skirts expanded - supported firstly by stiff petticoats and then cage crinolines.
Constance MacKenzie continues exploring the crinoline's development, making a light & collapsible Victorian cage crinoline.
The Chicago History Museum's collection contains over fifty gowns from the House of Worth. This one is from 1866-67.
Museums are full of elaborate, high-end Victorian gowns, but working-class garb is more elusive. Joy takes an in-depth look at an 1860's day dress.
Tucks were a favorite decoration from the 1820s to Teens: here's how to create a mid-19th c.-style tucked petticoat, start to finish.
In Part II, we look at the numerous skirt supports that the early Victorian woman wore to hold out her skirts and look fashionable.
Studying the undergarments of a transitional period in which styles shifted slowly but dramatically.
I've often been frustrated that there are wonderful Victorian patterns available (published in the period or drafted from extant dresses) but there is very little information on how to put the pieces together or on the other finishing details that go into making historical dress.
Here I'll address this gap by doing a photographic analysis of the construction techniques used in three Victorian evening bodices in my personal collection.
Due to the Single Pattern Project, I'm most interested in the elliptical style. Two of the bodices were either worn with elliptical skirts or with the early bustle style, the third was probably worn with the earlier circular hoop style.