A Grown-Up Lady Brings Tea Cakes to a Tea Party

I tore apart all my gowns. Not all, but the ones not torn apart need to be torn apart to be Regency. My ball gown is nearly completed, and some adjustments were planned for my morning gown, but I was better with the stitch ripper than concrete finished designs when I decided it would be fun to dress up for my local JASNA’s Jane Austen Regency Tea Party last Saturday.

I quickly faked Regency. So quickly, I forgot to take photos of much of the construction for this blog! The finished product will have to do!

Suzan Lauder costume JASNA tea Sept 15My Emergency Regency gown:

A Value Village purchase, a $7.99 length of paisley-embroidered super-fine cotton  targeted to eventually become an entire gown, became a skirt by gathering one long side at the centre (back). It was left open in front as it had trim along all four edges, so this was a Regency look I desired. The petticoats skirt from my morning gown was worn under it, as other possible underskirts were coloured with no trim, and this one was white with lace trim along the bottom, again, looking quite Regency! Coloured with lace would have been pretty.

A $9.99 navy silk blouse from Value Village was hemmed to bodice-size (like making a spencer). The ruffle at the neckline was used to make puffs at the tops of the long sleeves, and a front opening was added. I sewed a rolled edge on the neckline, but it  wasn’t pretty, so some sale Venetian lace from Dressew ($0.50 per meter) was added to the neckline. I liked it enough to add more to the sleeve bottoms.

The bodice was sewn to the skirt, except at the gathers, where I pinned, as it was too heavy for my machine. Hooks and eyes were used to close the front (more about that in a later post).

I also wore a fichu (the event was 2pm-4pm, still “morning” for Regency, hence arms and chest are covered), pantalets rather than another slip (the petticoats are sheer, but it was a warm day), and got away with my black bustier due to the navy bodice. The bustier gave a much better Regency silhouette than did the Balconet bra and waist cincher I wore to the Jane Austen Tea at Starling Winery in June. My half-boots and the first Capote hat I made for the Thrift Shop Regency Costume Experiment were also included, as was the Moorish-looking reticule and brisé fan.

I’ll have to rip the skirt apart again, but the top was planned to go with another skirt from a spaghetti strapped evening gown skirt with tons of fabric, so it got me ahead on another project. This project took about two days, much faster than assembling either of the other gowns, due to lace issues, and scissors that Mr. Suze used that now need to be sharpened, and it’s a long story.

I also made a Regency snack in that time! The 1820 cookbook I have on Google Books wasn’t too useful, so I cheated, but I’m sure this type of tea-cake is time-tested before Austen’s era. Here is the recipe:

Tea Cakes, from A New System of Domestic Cookery by A Lady (Maria Eliza Ketelby Rundell), 1833

Rub fine four ounces of butter into eight ounces of flour (I interpreted this as cutting unsalted butter into all purpose flour with my pastry cutter); mix eight ounces of currants (I only had 5, but it was plenty!) and six of fine Lisbon sugar (Whoa! Schweeet! I used regular granulated sugar.), two yolks and one white of eggs (I beat them slightly first), and a spoonful of brandy (What size spoon? Muahaha! Tablespoon!). Roll the paste (I worked with my hands to mix first) the thickness of an Oliver biscuit (Who?) and cut with a wine-glass. You may beat the other white and wash over them; and either dust sugar, or not, as you like. (I like! A big pinch per cookie.)

That’s it, the whole recipe, plus my comments, of course! I guessed, and baked them at 350F for 10 minutes. I got a couple more than two dozen, which allowed for taste testing! They were a bit more browned than I’d like, but the taste and texture were very nice! In retrospect, I’d make them a bit thicker (they were the thickness of a thick cookie) and bake at 325F for 8-10 minutes.

As for the mystery of how thick to roll them, one of our gentleman Janeites brought Bath Olivers! Oliver was a doctor in Bath, and invented Oliver buns, but found his patients gained weight from eating them. He developed Oliver biscuits for weight loss. They’re like a thick, doughy water cracker, to be eaten with cheese.

Other members brought sweets like Regency-style gingerbread cake, plum cake, pound cake, custard, jam tarts with a lard-based recipe for the crust, Regency-style tiny chocolate tarts, caraway-seed cookies, and Jane Austen’s silhouette-shaped sugar cookies. We tried Regency beverages including negus, spruce beer (non-alcoholic, like root beer, and in cans, from Montreal!), ginger beer, lemonade made the way Jane Austen would have made it, and elderflower cordial. There was a savoury mixed-meatball that sounded a bit gross, some Stilton, and other Regency treats on hand, as well as modern additions of tea sandwiches, devilled eggs, and chocolate cookies. I ate a salad for dinner that night!

In addition to the clothing mentioned above, I was the only one who wore a lace cap, or as christened in an earlier post, Special Headwear for the Grown-Up Lady, which details the Regency cap and shows some pretty museum examples.

The Lace Cap, Measured in Nails

The cap pattern was from The Workwoman’s Guide, by a lady, available on Google books; it’s worth having a peruse through for all the interesting information, including cuts of meat, carpentry, and other household knowledge. Descriptions are in the text of the book, but drawings are at the end.Bonnet Diagrams from The Workwoman's GuideMy cap for the Tea in June was made from Fig. 6 through Fig. 8, Simple Dress Cap or Bonnet, since it looks like many Regency bonnets. The instructions use nails as a measurement. My head circumference in comparison to the drawings suggested 1-3/4 inches per nail. I tend to wear small hats, and I have short hair. I made a little mock-up to be sure, and the length of the back panel was reduced to remove an ugly poof and allow gathering per the original pattern.

Last week, I made another to see how big one would be if it were made using two inch nails (somehow there’s a joke in there!). Without lace ruffles at the edge, it’s big on me, so I feel two-inch nails is size large. You can see the difference below in the fit on the wig head.

Lace cap, 1.75 inch nails (size small) with lace edge trim.

Lace cap, 1.75 inch nails (size small) with lace edge trim.

Lace cap, 2 inch nails, no lace edge trim, so fits medium to large.

Lace cap, 2 inch nails, no lace edge trim, so fits medium to large.

 

 

 

 

 

 

 

 

 

 

To make it easier for others, I drafted the adjusted pattern with notes, and the pdf is for anyone’s use: Simple Dress Cap or Bonnet Adapted from The Workwoman’s Guide (1840) by Author Suzan Lauder

Next post: Probably more of Mr. Suze’s costume: In addition to last week’s post, his boots, top hat, watch, and walking stick are ready to go. I have materials for trousers/breeches, shirt, cravat, and whiskers, all easy to make. We’re searching for a watch fob and he’s done! My lace issues may mean it takes longer for my gowns! Getting down to the wire for Louisville!

Mr. Darcy in the making: The Thrifty Regency Gentleman’s Costume

Beau Monde, 1807, Morning Dress

Beau Monde, 1807, Morning Dress

Mr. Suze used to bug me to let him read my Regency writing. I told him he’d have to read Jane Austen’s Pride and Prejudice first, so he’d understand it better. I didn’t expect him to actually read my favourite novel, but he did! What choice did I have but to share Alias Thomas Bennet with him? I was preparing to submit it to Meryton Press at the time, and he was a good final cold reader.

He became a big fan of my writing, and joined me to watch the A&E/BBC 1995 production of Pride and Prejudice. A good sport, he went along with me on half a dozen meet-ups of my online friends from A Happy Assembly while we were on vacation in Washington, Oregon, and California over several road trips.

When I told him I wanted to go to Louisville, KY for the JASNA AGM, he said I could go on my own; he’d had enough of Jane Austen events. Over time, he softened to say he’d join me and enjoy the city on his own while I was at the conference, and later, he agreed to dress in a Regency costume for the Saturday festivities. In May, my vintage and thrift shop trips to finalize my own costume included searches for his items. I quickly got the lay of the land.

For this post, I’ll speak to two items: the tailcoat and waistcoat. The rest of the costume will be seen in future posts.

I saw only three tailcoats in vintage and thrift stores, at $65 and $35, but two were too large and one, too small. There were no suitable vests for a waistcoat, even if I looked at size extra-large in Ladies’ wear. Mr. Suze is not a large man, and I thought if I did a good job, he’d be okay with this.

Please note these are sewing projects. The same result will not be easy to achieve with no-sew iron-on tape, and the fabric is too heavy for that product in any case.

Upcycling a garment into a Regency tailcoat

Coat, 1810, dark brown herringbone.

Coat, 1810, dark brown herringbone.

Le Beau Monde, 1807

Le Beau Monde, 1807

Regency tailcoat 1815, Metropolitan Museum of Art

Regency tailcoat 1815, Metropolitan Museum of Art

Post-Regency example for fun! 1825-1830 dress coat

Post-Regency example for fun! 1825-1830 dress coat

Regency tailcoats were by no means all the same. They came in many colours, and some had interesting textures, as shown in these thumbnails, which can be enlarged if you click on them.

 

Louis-Léopold Boilly - The Arrival of a Stage-coach in the Courtyard of the Messageries (Detail), 1803.

Louis-Léopold Boilly – The Arrival of a Stage-coach in the Courtyard of the Messageries (Detail), 1803.

Both single and double-breasted designs were stylish, but double-breasted appears more frequently in the examples I could find, and I’ve been told they outnumbered single-breasted by about 2:1. Lapels tended to be wider, and the opening quite high in comparison to modern menswear.

Many modern tuxedo tailcoats require slight modifications to straighten the bottom front to match the style of the early 19th Century. The Regency tailcoat has no back waist seams: each panel is one piece of fabric, whereas post-Regency, the seam at the waistline came into play, and continues in modern tailcoats.

Because I couldn’t easily find a used tailcoat in thrift shops, I looked to the Internet, where previous rental tuxedo coats are readily available at under $100. Problems that rule out some modern tuxedo tailcoats include trim such as velvet or satin that do not look Regency. Shawl collars or narrow lapels are common. Most are black, white, or grey. Black would do for a court suit or a formal ball, but the other two would not work, unless I decided to buy a white one and dye it the popular dark blue of the Regency.

Modern morning coat, dark green wool, herringbone.

Modern morning coat, dark green wool, herringbone.

Back view of Regency tail coat to show the single panels of fabric, with no waist seams.

Back view of Regency tail coat to show the single panels of fabric, with no waist seams.

A wool morning coat in dark green, with a fine herringbone pattern and slightly wider lapels, caught my eye and got approval from Mr. Suze. Of course, he doesn’t know that Jane Austen fans love the idea of a green coat ever since Andrew Davies had Colin Firth choose it to ride into Lambton the day Elizabeth got her fateful letter from Jane!

This coat appeared to have no back waist seam in the photos online, but when it arrived, it did. Also, the collar was not self-lined, so it would have to stay down. Oh, well, we knew we were not going to be perfect by any stretch of the imagination, and it fit well, so that was a huge relief. It was advertised on eBay at £25, or $80 with shipping.

Green tailcoat after first cut of shape of front opening and tails.

Green tailcoat after first cut of shape of front opening and tails.

George "Beau" Brummell, watercolor by Richard Dighton, 1805.

George “Beau” Brummell, watercolor by Richard Dighton, 1805.

Mr. Suze is a bit particular about his clothing. His father was a menswear tailor at the Canadian institution of high-class shopping: Eaton’s. My husband is accustomed to a well-fitted, flattering suit in quality fabric, and that was my goal for the Regency tailcoat. We looked at numerous examples from museum pieces and fashion pages like Ackermann’s, and decided on a full curve at the waist, as opposed to a straighter line. A painting of Beau Brummel served as reference. The line was pinned while “my Beau” wore the coat, and the future wearer did a mirror check to approve it. To further achieve a Regency look, the lapels were pressed higher, and extra buttons are needed to suit this modification. The front of the cut coat is shown above, on the left.

I re-applied the matching fabric facings to the underside of the new shape of the tails. To sew the new contour front edges together, I thought about pinning them under and top-stitching, but I opted to sew a normal seam with the fabric pinned right sides together. That meant I had to turn half the jacket inside out.folded and tied with elastics to sew right sides togetherpinned for sewing, all inside the taildetail of fake side pocket

Green tailcoat, back, final except buttons.

Green tailcoat, back, final except buttons.

I tied the upper portion together with elastic bands as shown and laid it inside along the length of the tail, where I’d opened the bottom hem. The tail was pinned right sides together over it all, and sewn with a 1/2″ seam. It was turned it right side out again by pulling it through the open bottom of the tail.

I did a test run with the narrower side before I was brave enough to photograph it for this blog!

I used scraps of fabric to fake Regency by putting flaps that look like pockets at the sides of the jacket. Regency coats sometimes had a cuff, so if your modification allows more fabric, that’s another way to make it more authentic in appearance. Mine did not.

The Regency coat design didn’t always close, but boasted decorative buttons, and men wore them buttoned or unbuttoned, though I’d assume formal circumstances would demand a tightly-buttoned look. The buttons are plastic, and I have yet to purchase proper buttons for the tailcoat. As mentioned earlier, Regency menswear often had fabric-covered buttons in the same colour, though not always the same fabric as the garment. Regency coat fronts have buttons closer together, so my mockup has 4 buttons where the original suit had one.

My intention was self-covered buttons with a brass ring trim from Dressew, and I had enough extra fabric left for them. But I didn’t have enough buttons of the right size, and none of the stores in my city have the snap-on brass trim. I won’t be able to get to Dressew (in Vancouver, BC) prior to the JASNA conference, so I can’t use these buttons at this time.

Suit, 1815-1820, The Victoria & Albert Museum.

Suit, 1815-1820, The Victoria & Albert Museum.

The alternatives are thread buttons, which are a lot of work I don’t have time for, and metallic buttons. Brass buttons were a must on blue coats in the Regency, and seen on other colours sometimes, too. The estimated cost for this tailcoat is $20 on sale. Some attractive steel buttons with an insignia will cost about $7 at Fabricland, so next shopping trip, I’ll purchase them.

Making a modern vest into a Regency waistcoat

The modification of a vest into a nice facsimile of a Regency waistcoat was an easy sewing project, once I found the suitable vest. Strange, since I was lamenting that I’d have to make this item from scratch!

Waistcoat, 1810-20, National Trust Collections

Waistcoat, 1810-20, National Trust Collections

Waistcoat, early 19th century, British, wool and silk. 21" by 33", Metropolitan Museum of Art.

Waistcoat, early 19th century, British, wool and silk. 21″ by 33″, Metropolitan Museum of Art.

It’s not that Regency waistcoats are so limited in design that it’s impossible to find them: this clothing item was the pizazz in the man’s outfit. Almost limitless possibilities existed for colour and pattern, as seen in the set of thumbnails. Click to see larger images.

The most common fabric was silk, but cotton and linen were worn as well. Some boasted gorgeous detailed embroidery. Similar to the tailcoat, the waistcoat could be single- or double-breasted.

Waistcoat French or English, 1790–1810, Brooklyn Museum of Fine Arts. Note the detailed embroidery.

Waistcoat French or English, 1790–1810, Brooklyn Museum of Fine Arts. Note the detailed embroidery.

Waistcoat, 1805-1810, Mccord Museum, Montreal. Note the embroidery.

Waistcoat, 1805-1810, Mccord Museum, Montreal. Note the embroidery.

The trouble with modern vests is their simplicity. Plain, pin-striped, or herringbone wool or wool-like synthetics are as good as it gets for suit vests, which are difficult to find. Most thrift shop vests are casual, with zippers and fleece and plaid and quilting and such.

Regency vests usually had stand-up collars and lapels, too, which modern vests lack. The balance is that Regency vests were straight across at the bottom, so I knew I had a fabric source for the collar and/or lapels: that double V-shape on a dressy modern vest.

William Blake, by Thomas Phillips, oil on canvas, 1807.

William Blake, by Thomas Phillips, oil on canvas, 1807.

The internet, and used tuxedo rentals, offered more options in terms of colour and pattern, and the satin vests mimic the look of silk. Mr. Suze and I agreed on a paisley pattern for a fullback vest. It cost $11.99, and included a matching bow tie; the total was $25 by the time we paid for shipping.

He selected ivory since it best suited the green coat, compared to the bright colour palette otherwise available. The other colours would be great with a black or blue tailcoat. We had also noted that many of the waistcoats in paintings were white or ivory.

The vest was a bit on the big side, and I realized I could use that to my advantage, as I pinned it up at the shoulders to get extra fabric to make a short stand-up collar, plus raise the V of the neckline higher, to make it more Regency in appearance. The photos show it pinned up before the cut (left) and after the collar is made, but not attached, and the bottom is trimmed (right). Two extra buttons are on the bottom in the photo on the right, to show how it would look if more were added.Ivory paisley waistcoat, pinned for the cuts to the shouldersIvory paisley waistcoat, collar made, showing cut and location for lapel

 

 

 

 

 

Waistcoat, National Trust Inventory, 1790 - 1810, Cotton and silk, Chastleton House, Oxfordshire.

Waistcoat, National Trust Inventory, 1790 – 1810, Cotton and silk, Chastleton House, Oxfordshire.

Regency waistcoats sometimes had distinct lapels, but more often, the front panel rose to the collar above the button line, and that upper portion was propped open by the cravat. Unfortunately, when I removed the two Vs from the vest’s bottom front to straighten the line for a Regency look, I couldn’t put it on like the latter design, as it was lined in herringbone, the same as the back panel of the vest. The option was a small lapel.

Ivory paisley waistcoat, final

 

 

 

 

If you have additional fabric, a detail that appears on some, but not all Regency waistcoats is a small pocket on each side, which can be faked with a piece of finished size of about 1-1/2″ by 5″. I tried to make them with what I had left, but they were too small.

This vest had matching satin-covered buttons, perfect for Regency. One was cut off with the bottom V, and there was one spare. Because Regency had lots of buttons, I’ll add more in between the current buttons if I have time after my other projects are complete for Louisville.

The two pieces put together look nice! There’s about 2″-3″ of waistcoat showing below the bottom of the waistline of the tailcoat, a fashionable length. The small lapel on the waistcoat fits neatly into the higher opening at the collar of the tailcoat. We’ll see the shirt ruffles and cravat fill that space in a future post!

TSRCE for Gentlemen: Green herringbone tailcoat and ivory paisley waistcoat.

TSRCE for Gentlemen: Green herringbone tailcoat and ivory paisley waistcoat.

Next post: Who knows? My time has become filled with editing for myself and a fellow author, fitness programs that stopped for August, as well as new activities.

I’m scrambling to complete the most important Regency costume projects now, as time is running out. The balance of Mr. Suze’s costume will come some time this month, and I have lots of little projects I want to finish for Louisville. If I can manage to write something to accompany photos, that will be the topic for upcoming posts!

Faking Regency Part One: A modern blazer morphs into a spencer.

This sounds pretty easy, right? Get an old blazer, cut and hem to under-bust length, and Bob’s Your Uncle. Well, not so easy. Unless, of course, you’re super-lucky and find exactly the right blazer.

Early 19th century spencer, Metropolitan Museum of Art

Early 19th century spencer, Metropolitan Museum of Art

Embroidered muslin bodice or spencer, 1800-1810

Embroidered muslin bodice or spencer, 1800-1810

Rose pink striped cotton and silk spencer, early 19th C.

Rose pink striped cotton and silk spencer, early 19th C.

Early 19th Century, Spencer, early 19th century, French, silk, Metropolitan Museum of Art

Early 19th Century, Spencer, early 19th century, French, silk, Metropolitan Museum of Art

Cream silk satin Spencer, c1818. Decorated in imitation of military uniforms. Worthing Museum.

Cream silk satin Spencer, c1818. Decorated in imitation of military uniforms. Worthing Museum.

If you hadn’t already figured it out, the Regency spencer is a little, long-sleeved jacket that’s just as long as the bodice of the empire waist gown. One bonus for shopping for a blazer to make into a Regency spencer is that almost any neckline will suit. Click on the thumbnails to see details, including neckline examples.

The difficulties include a requirement for long sleeves (as per usual in the Regency, longer than standard is better), a fitted bodice, fabrics that don’t look modern, colours that are more interesting than black, and a lack of embellishments such as studs, fake pockets on the chest, or jean jacket seams.

The textures and colours of many blazers in my thrift shop visits didn’t work. Black polyester rules, and next to that, corduroy and knits. Every time I saw one I’d consider, it was 3/4 sleeve, the wrong size, or had some detail that screamed the 90’s.

I looked at blouses, too, since some spencers are more blouse-like and some modern blouses are more blazer-like.

 

 

spencerspencer back

 

 

 

 

 

 

 

This unlined, fitted, pomona-green jacket will be my spencer. Pomona? I would have called this leaf-green, as it’s fairly bright. (Some of my shots were taken in the evening, and appear darker.) Then I read an article about Ackermann saying Pomona green was the same as apple green and I thought, this is a little darker than apple green, but I’ll check on Google images. Enough of the examples were the same as my blazer for me to confidently say it’s one of the more popular colours of the Regency!

The 3/4 sleeve, linen, shawl-collared blazer was $16.50 at Women in Need Thrift and Vintage. It has unique matching self-covered buttons.

Short sleeved spencer alongside unusual short coat.

Short sleeved spencer alongside unusual short coat.

Sleeve trim idea.

Sleeve trim idea.

The down side of my blazer is the 3/4-length sleeves. At the time I bought it, I didn’t realize that detail wasn’t popular during first 20 years of the 1800s. I looked in vain for examples of Regency spencers with 3/4 sleeves, and though there are a few short-sleeved spencers, I found nothing 3/4 sleeved.

Lucky for me, the flared cuff was long enough to drop to make a long sleeve. I kept looking for a long-sleeved blazer for a spencer. As mentioned before, I saw a blazer with lovely soutache designs, but balked because I worried about how to cut down the blazer at a good point for the soutache. When I decided I could rework the soutache if need be, I returned, but it had been sold. But today, I found a cute, gold silk blazer with a pretty collar, long sleeves, and mother of pearl buttons! The only sad part is a centre-back seam. More on that later.

(An aside: I’ve seen the perfect dress that just needs an empire waist height ribbon to fake Regency on two shopping trips since June, but both times, they were too small for back gathers for me, but would work with a smaller person!)

In most cases, your blazer should be cut to 2-1/2″ longer than the bottom of your bust line, turned under 1/2″, and hemmed 1″. This will stiffen the edge and ensure it fits over your gown bodice, but it won’t be too long. You can see I’ve marked my blazer to spencer length while wearing it. This frees up two buttons from the front for embellishment elsewhere.

If your blazer doesn’t close tightly at the bottom after it’s trimmed to length, there are several possibilities. If there are buttons in the upper portion (part you’re wearing), it’s better to fit the spencer than to ease in fullness. Add darts or gathers under the bust, or pleats or gathers in the mid-back; they’re era-appropriate. Don’t make it too tight, as it must fit over the gathers of your gown.

My blazer was already fitted with six darts in front and two very long back darts (in fact, the back darts were over-sewn longer and deeper than the originals). It was snug across the bustline, so I removed the back darts, washed it so the stitch holes relaxed closed again, and pressed out the remaining dart creases while it was still damp. A few gathers added by hand in the mid-back at the waistline help to fit my slimmer rib-cage under the bust.

If the bottom button is too far from the bottom of the spencer, you can put back a cut-off button and make a buttonhole at the band level, or add hooks and eyes. To fake Regency, buttons should have a Regency look: metal, shell, pearl, mother-of-pearl, fabric-covered, thread-covered (such as Dorset), or corded knot (such as Celtic or Chinese knot or frogs with knots) are best. Since metal buttons were expensive, use them only if your spencer has a rich look with elaborate trim. With corded buttons, your other trim would be best as corded, in fact, a military look to the spencer was popular! Self covered buttons were ubiquitous on mens’ wear, but less so for ladies’.

Spencer jacket, 1790-1815. Note no closure in front.

Spencer jacket, 1790-1815. Note no closure in front.

If there are no buttons, there’s nothing wrong with having a spencer that doesn’t fasten closed, unless you need it for warmth. An example of an open-front spencer can be seen on the left, and others existed in the Regency.

My blazer was unlined, so I chose to use the inside bottom facing from the original blazer on the outside, as a waist band. Bias tape was used to finish it on the inside where it’s not seen. Another option is to add a contrasting band (as on the pink striped blazer above). If you have good sewing skills and choose to add a waist band, it’s an opportunity to put contrasting piping all around it per a tutorial below.

Spencer jacket 1815 (back). This trim is an example of how we plan to fake a Regency diamond back! The real shoulder seam will never be noticed!

Spencer jacket 1815 (back). This trim is an example of how we plan to fake a Regency diamond back! The real shoulder seam will never be noticed!

Since the facing didn’t continue across the buttonhole panel in front of the original blazer, it didn’t go all the way around, so was short for the waist band. To make up for this, I used extra fabric from the cut away parts in front. If you use multiple pieces for the waist band, make sure your seams are at the blazer’s side seams, or at both bottoms of the diamond-back, so they’re less noticeable.

In addition, to fake Regency, some front cut-off material from my blazer made a little skirt-tail in the centre back, similar to the museum examples. See thumbnails below; click to enlarge. Extra self-covered buttons trim the ends of the waist band tabs in back.

Back detail of a spencer, 1813, American or European, Wool and silk, Metropolitan Museum of Art.

Back detail of a spencer, 1813, American or European, Wool and silk, Metropolitan Museum of Art.

To fake Regency, you need do none of the above. Focus on the one detail that’s not too hard to manage: the diamond back.

The look was on almost all women’s wear of the period, achieved by a shoulder seam that fell behind, rather than on top of the shoulder, and a pair of side-back seams that curved from the outside edge of the back gathers on gowns to partway up the back of the sleeve. The back of the sleeve fit farther into the back of the bodice than a modern sleeve, too. Click on the thumbnails for examples of the backs of spencers.

Silk spencer, 1810. Augusta Auctions.

Silk spencer, 1810. Augusta Auctions.

A faux-diamond-back can easily be achieved by numerous methods. You can fake the seams with a line of fabric paint or even fine-line permanent marker in a slightly darker colour, a line of top-stitching using hand back-stitching in embroidery thread, or machine top-stitching a double line.

Spencer, early 19th century, American or European, silk. Metropolitan Museum of Art.

Spencer, early 19th century, American or European, silk. Metropolitan Museum of Art.

Better yet,  Regency clothing often had trim over these seams to show off the shape, making them even easier to fake: cording, piping, soutache, braid, narrow ribbon, narrow bias tape, and other similar materials can be attached along the line where the seams would sit.

I got a great deal on a few dozen packages of bias binding tape in multiple colours at Value Village for $3.99, and I’m using a slightly darker green for all my trim, as I have four packages in two sizes. For most of the trim, I’ve just folded 3/4″ bias tape in on itself to the width of the pieces folded behind. This means it has some thickness at 1/4″ wide.

If you’re an experienced sewer, you can make piping or a piped band from purchased bias tape. Links to tutorials are at the end of this post.

When shopping for the blazer, the faux-diamond-back will look better if you buy one that doesn’t have a centre back seam. In fact, many that don’t have the centre back seam have a side panel with a seam similar to the lower curve of some Regency clothing backs, and I’d suggest using that curve, plus faking the shoulder seam that sits two or more inches behind the modern one.

pomona spencer pinning on fake regency diamond backIt’s best to make a pattern for your trim so it’s mirror image both sides. Light cardboard–mine was from a breakfast cereal box–works well. Set it so one side runs along the centre back of your shortened and hemmed blazer, and play with lines and curves in pencil until you see one you like. Mark it with marker and cut out to make a pattern to guide in placement of the trim on each side.

I pinned my trim in place, then put it on a model for a photo. On the model, the fake Regency shoulder seams looked better if dropped down more at the sleeve end, so check before you sew. Attach the trim after you make any adjustments to sleeves, described next.

1810

1810

1815-1820

1815-1820

Modern reproduction.

Modern reproduction.

1815 LACMA

1815 LACMA

1820-25, Metropolitan Museum of Art

1820-25, Metropolitan Museum of Art

1820, Metropolitan Museum of Art

1820, Metropolitan Museum of Art

Like gowns, spencers often had puffed sleeves or similar-looking embellishments over a straight sleeve, however, many had a plain sleeve (see some examples above), so faking Regency here is optional.

If you prefer a little over-sleeve, examples to the right range from clusters of petal-like fabric to fancy slashed and looped designs. These sleeve examples are on spencers, and more ideas from gowns can be found in the post, “Were Regency gowns worn on the Titanic?

You won’t have enough fabric to make the full sleeve variations, but a simple, small capped, tulip, or shirred cap sleeve, or a rolled tube at the top of the sleeve, can come from the fabric cut from the back of the blazer, or you can utilize sleeves made with coordinating fabric.

There’s a tutorial below for tulip sleeves. If desired, use the same trim you used to fake Regency with your diamond back to attach the new sleeve over the old one at the seam line, or turn under 1/4″ to 1/2″ and top-stitch close to the edge. If it’s possible to hide the ends, make the new sleeve fit an inch or two farther towards the middle of the back of your spencer, so you also have a fake Regency sleeve fit!

pomona spencer gathered cap sleeve mock upFor my fake short over-sleeve, I used the leftover fabric from the back panel. First, I experimented with some cheap fabric from a pair of torn pants to make the best of the small amount of fabric. A piped band (tutorials below) made from 2″ wide bias tape held the gathers, topped with one of the self-covered buttons from the old sleeve cuffs.

1818, Metropolitan Museum of Art

1818, Metropolitan Museum of Art

The simplest fake Regency sleeve topper, to the right, was another option I considered. I could have used the 3/4″ bias tape (sewn closed) and the three buttons from the 3/4 sleeves on each side. This can also be accomplished with ribbon, if the same ribbon is used for the fake Regency diamond back.

Self-covered button kits can be purchased at fabric stores for about $3 a package of 3-6, depending on size (full price, but I got one from Dressew for $0.99!), and they’re easy to make.

Alternatively, matching ribbon or fabric can be stretched over stiff plastic circles with a little glue, then the back fabric stitched in place. It should be slightly more than double the diameter so it closes fully behind the button and there’s something to sew it on with. Important note: the latter is fine for trim but not for actual working buttons.

The finished pomona green spencer, with cap sleeves over long sleeves, tied back with a piped band and button from the original blazer.

Front view of Suzan Lauder’s pomona green spencer, with cap sleeves over long sleeves, tied back with a piped band and button from the original blazer. Long sleeves are trimmed at the bottom with piped band also. An extra button was added to empire waist band, made from original blazer facing.

Back view of Suzan Lauder's pomona green spencer, with Fake Regency diamond back and pleated skirt-like ruffle.

Back view of Suzan Lauder’s pomona green spencer, with Fake Regency diamond back and pleated skirt-like ruffle. Buttons from the original 3/4 sleeve cuffs are used on the tabs at the back of the empire waist band.

This project wasn’t easy for me, though it may be for a more experienced sewer. I hadn’t sewn much for 30 years, except for the odd repair, straight-line window toppers and throw cushions, or slapping together a Hallowe’en costume that was meant to last a few hours. I became good friends with my stitch ripper over the last two weeks and learned a few things along the way.

No-sew iron-on tape would work for simpler modifications to make a spencer, but some of my problems came from construction and developing my own patterns, so they’d occur had I used no-sew tape, too. In addition, it sucks for curves, and you couldn’t have made piped band. Other trims (like in the thumbnails) are fine, and there’s nothing wrong with straight lines for your fake Regency diamond back.

Most of these ideas for faking Regency are applicable to gowns, pelisses, redingcotes, and any other bodiced clothing of the Regency period. Have fun shopping for trim on sale or in grab bags at thrift stores!

A blue quilted spencer, front. Late 18th early to 19th century, Metropolitan Museum of Art.

A blue quilted spencer, front. Late 18th early to 19th century, Metropolitan Museum of Art.

Spencer, late 18th to early 19th century, French, silk. Note the unusual detail below the centre back.

Spencer, late 18th to early 19th century, French, silk. Note the unusual detail below the centre back.

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Web sites with ideas and tutorials:

Inspiration: So Many Backs from Atelier Nostalgia Though these are gowns, you can see the line of the Regency diamond back you want to emulate, and variations on that design.

Sew Many Seams’ Tulip Sleeve Tutorial  Shows two types of tulip sleeves to make, using a plain sleeve pattern as a guide.

Slashed puffed sleeve from Firefly Path: The inside of the slash can be made from the spare fabric cut from the spencer, and the oversleeve from a complimentary fabric using a regular puffed sleeve pattern. Maybe use that extra cushion cover or dinner napkin! The slashes need not be filled in, either. You can loop trim material from the inside shoulder to outside through each slash. Similarly, a loop can be made from the cuff inside to outside. Very fake Regency!

Sew4Home’s excellent tutorial on how to make your own piping and bias tape.

For the advanced sewer, two choices for instructions for a piped band: Kleidung 1800‘s site is German, but brief descriptions of each step are in English under the photos. Tea in a Teacup has a different way to make the band, and it looks a bit different in the end.

For the ambitious spencer designer, two posts about making soutache designs: The Fashionable Past shows technique while trimming a Victorian coat, and a trick to make the loops easy by Threads.

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Next few posts: I’ve started on projects for Mr. Suze’s costume, and I have a “Grown-up Lady’s Lace Cap” to make as part of the give-away for my guest post on Roof Beam Reader’s blog as part of his Austen in August (#AusteninAugustRBR) reading challenge, and I’ll draft up the cap pattern to share.

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I WON A PRIZE!!! As part of the same reading challenge above, I won JAFF Author Lisa Pliscou‘s Young Jane Austen: Becoming a Writer, which I’ve been coveting since it came out, for its cool illustrations. I’ve entered every contest I’ve seen about this book! HOORAY FOR ME!

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There are still spaces remaining for the Jane Austen Society of North America Annual General Meeting on October 9-11, 2015, my goal destination for the Thrift Shop Regency Costume Experiment series. The conference theme is “Living in Jane Austen’s World,” and the workshops run the gamut (?? who says stuff like that?) from Regency medicine and home remedies, to evaluation of the wealth of Austen’s characters; the influence of India on Regency England; plants and gardens of the Regency (featuring Meryton Press’s Linda Beutler, an international clematis expert!); food, fashion, and social events of the period; and many others! Pre-conference activities start on October 7. Registration deadline is September 1, 2015, so don’t delay!

 

 

The trials of Regency correctness in fiction writing: My guest post on Austen in August

Words coined during Queen Victoria’s era, critical plot points that require our hero to travel to London from Derbyshire and back twice in the same week, a twist that depends on English Parliament sitting in the fall in the wrong year–these elements creep into our Regency fiction writing every so often, and the poor author must re-think the scene. All three have affected my latest novel! On top of it, there’s technology and medicine, titles and inheritance law, etiquette and fashion… all must be in order in an Austen-inspired Regency romance, or beware!

When literary historian and blogger Roof Beam Reader was looking for guest blogs for his annual Austen in August series, I suggested a tongue-in-cheek summary of the challenges with keeping true to the era, and the energetic viewpoints of Austen enthusiasts regarding historical accuracy in Jane Austen Fan Fiction on some story boards. It was a new topic to him, and he was keen, as no one had taken this direction on his blog yet.

Regency lady writing: did she have issues with anachronisms? --From Ackermann's Repository for Art, 1813.

Regency lady writing: did she have issues with anachronisms? –From Ackermann’s Repository for Art, 1813.

Click here to read my post on Regency correctness on Roof Beam Reader’s blog! #AusteninAugustRBR

If you’ve already signed up for the Austen in August reading challenge, you can enter the giveaway, too! I’ve donated a signed copy of my Regency romance with a mystery twist Alias Thomas Bennet, a choice of reticule from a set including the two I upcycled for the “Pretty Little Purses” post for the Thrift Shop Regency Costume Experiment, and a special “grown-up lady” lace cap to be made to order.

Book Club Questions for “Alias Thomas Bennet”

Who would expect heavy rains to be so welcome? After the recent extended drought in Los Angeles and Orange County, California, my home-away-from home again this weekend, it makes sense. My Chat Chit friends’ gardens will green up! Of course, I attribute it to the engineer friend who passed away this week: he’s up there above us, and repaired the systems!

The last time I was here, I was part of a “Meet the Author” event with “The Real Orange County Book Club.” I enjoyed meeting another of their members yesterday. Her enthusiasm about my book and writing inspired me to share the Book Club Questions I wrote for their use when my novel, Alias Thomas Bennet, was their monthly read for September 2014.

Alias Thomas Bennet 1263 x 900Alias Thomas Bennet by Suzan Lauder
Book Club Questions

1. Alias Thomas Bennet is inspired by Jane Austen’s Pride and Prejudice and follows its general plot line, which in Fan Fiction is referred to as “canon.” Discuss the differences between “canon” and Alias Thomas Bennet. Do you agree with how the changes have been made? What could be done differently?

2. Outside of this book, Fan Fiction encompasses almost every area of storytelling in our culture: from The X Files to Mulan, Little Women to Wolverine, the online community of re-writes is immense. Discuss your familiarity and reactions to the idea of Fan Fiction. What other examples of Fan Fiction are you aware of? (Hint: famous trilogy based on Twilight!)

3. Maria Lucas is a minor character in the original Pride and Prejudice. What do you think of her role in Alias Thomas Bennet? Discuss her motivation and the societal aspects that compelled her.

4. A mature scene told from Darcy’s point of view has been controversial with readers. How would this differ if it was presented by an omniscient narrator as in most mature novels? Do you think it would be different if it was not a fantasy, but a sex scene? What is your reaction to the concept that Darcy ultimately decided to propose because of his desire? Do you think there might be some element of that in Pride and Prejudice?

5. The story begins with a series of flashbacks. Talk about your reaction to the exposure of information in the flashbacks, your understanding of them, and your suspicions as they evolved with the information in each vignette. Discuss how close your conjecture was to the exposé in chapter 8 and 9.

6. Wickham is a particularly evil villain in this adaptation. Some might criticise this as a ploy to victimize the heroine in order to add importance to the role of the hero. What is your view? What do you think about the outcome for him in this book? What do you think about Elizabeth’s reactions?

7. What is your impression of Fanny and Thomas Bennet/Lord Shelton? Do you think they are over-played, and the story should be more about Elizabeth and Darcy, as in Pride and Prejudice? Why?

8. In canon, Fanny Bennet is flighty and distractible. In Alias Thomas Bennet, it’s implied she suffers from PTSD. What do you think of this possibility? Why or why not is it a plausible explanation for her canon personality?

9. Discuss what life would have been like on a sailing ship for a month with small children, eating only hard tack (cracker-like bread) and gruel.

10. Some readers love the gown descriptions, and some hate them. What do you think?

11. Discuss what it might have felt like for Elizabeth and Jane to suddenly become the focus of society, when before, they were unknown. What do you think of this class structure issue? How does it compare with how people are judged today? What are the similarities and differences?

12. What did you like best about this novel? What would you change?

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Please share any special thoughts that came up as you read this list, as I love feedback, and other readers would love to hear about it as well!

Hypothesis challenged, testing complete, final report now available

A photograph session with my antiques was the plan. It worked for all the individual costume parts, so why not for the reveal of the entire Thrift Shop Regency Costume? Because a better opportunity came out of the blue!

When a Jane Austen Tea fundraiser was mentioned by my local JASNA group on Facebook, I realized I’d be able to wear the full costume for an earlier photo op. Lucky me! I hopped in the little car for the short drive out to the event at Starling Winery, which was a great grand finale for my blog series. The grounds are stunning, and the day was warm and sunny.

austen tea party young ladieshats

 

 

 

 

 

 

 

 

About 10% of those attending had a clue about Jane Austen era clothing, at least, that’s what I gathered from the costumes. Most of the rest wore a picture brim hat with mounds of netting, a long rayon sun dress from their closets, and sandals. There were a few fans and pairs of gloves, too. No one minded, though. Suddenly, I was less ashamed of my zipper.

Jane Austen Tea Party Starling Winery June 20 2015The Regency costumes were wonderful to see. Some had marvellous fabrics, others remarkable lace. A group of young women had bonnets to die for.

I discovered that, although I was wearing a dress with long sleeves, a high neckline, and a floor-length skirt, I wasn’t as overheated as expected, as the super-fine fabric breathed very well, and I could feel the day’s light breeze through it.

So here it is (drumroll)… TA-DA!Austen Tea Party Starling Winery 2015 Lame Mr. DarcySorry about Mr. Darcy. He was wearing one of those £50 All-in-One Regency Men’s costumes that actually has no shirt or waistcoat, just a dickey with a pre-tied cravat, and those are boot covers. He’s aged about 20 years, too. But he’s such a fine, tall, person, with handsome features and a noble mien!

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Great buys:

  • The sage shoes with slightly pointed toes were new from a thrift shop at $7.99, and the trim on them meant no extra work.
  • The vintage, black, crocheted and beaded, gate-closure reticule (a different reticule is included in the cost estimate) was a steal at $3.99, and is beautifully unique.
  • Ribbon and lace at a 3 for 1 sale.
  • Braid, ribbon, lace, fringe, and an ostrich feather from a fabric store in Mexico for $5 total.
  • $1 tassels from an Indian fabric store for my parasol and future reticule project.
  • The vintage, 1980’s, white, Swiss-dotted cotton, Prairie Dress-style wedding gown for the Regency gown.
    • I had budgeted up to $100, believing it would cover a gown that needed no more than back gathering and a waist ribbon.
    • This $33.95 gown needed the skirt raised from natural to empire waist.
    • It has a fine cotton skirt lining and camisole, so I had no need for petticoats.
    • For the JASNA AGM in Louisville, KY in October 2015, I’ll remove the zipper and add hooks and eyes.
    • An extra cost was a coloured ribbon I preferred in the place of the self-coloured tie that came with the gown.

Total cost: $114.92

Shoes $7.99
Stockings $1.99
Pantalets $1 + $1 lace = $2
Balconet bra $27.50
Waist cincher $5.50
Gown $33.95 + $1 sewing tape, thread + $2 hooks and eyes + $1 waist ribbon = $37.95
Gloves (on hand for many years) $0
Cap $2
Hat $8
Modifications to earrings $2
Ring $1
Fan $1
Parasol $9.99 + 8 x $1 = $17.99
Reticule and handkerchief (gift) $0

$115 is about entry level price for a basic, Regency style, long-sleeved morning gown in unpleasant-looking but probably appropriate fabric, but with no petticoats or lace. It will also get a short-sleeved gown in a pretty cotton print and nice Regency cut, but none of the lace. Plus, this is an entire costume, not just the gown.

This means the Thrift Shop Regency Costume Experiment was a success. Yes, it is possible, and not all that difficult to assemble a nice, Regency acceptable costume at a low price using found, budget, and upcycled materials.

While I was checking for examples of gowns for my cost on Etsy, I was dismayed to see horrible non-Regency ball gowns being sold as such for $175 (plastic-looking fabric and buttons, modern cut) and $250 (modern fabric, non-Regency application of contrasting colour, and strange collar)! The interest in this topic has made all kinds of uneducated sellers decide they want a piece of the pie.

On the other hand, a couple of really nice ball gowns with attractive details and trim were offered for around $170, and both pulled off the look in synthetic. They were from different dressmakers. So if you want to buy a custom Regency gown rather than search the thrift shops, it doesn’t have to be horribly expensive.

Then a blouse for a morning gown look, etc., etc… well, you just have to follow the rest of the series!

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Beyond the basic costume:

I have more materials than required for my base costume, but it gives me a different outfit for every event at the conference, plus some things to give away as gifts to Janeite friends!

In addition to the above, ready to wear articles include 4 reticules, three pairs of ballet flats, one pair of half-boots, three pairs of tights, two floor-length full slips, one black bustier, one fuchsia slip dress for an over or underdress, the makings for two turbans (scarves from one can also be bandeau head wraps), a medium-length, slightly curly pony tail hair fall, a second cap, The Pink Bonnet, two necklaces, a second pair of earrings, a bracelet, and a Regency-look Pashmina shawl.

Items requiring modifications to be worn include the Lydia Bennet hat, the Lady Catherine bonnet, a light blazer for a summer spencer, a pelisse dress, two long dresses requiring minimal modification to become evening/ball gowns. A lucky buy was a piece of faux silk in exactly the right colour to match the jonquil 1960’s dress for a ball gown. I was going to add a contrasting front panel to free up fabric for back gathering. Adding a panel at the back while I remove the zipper will be much simpler.

A variety of ribbon, lace, tassels, fringe, braid, bias tape, cording, beads, and some fabric remnants also are available for completing the above. The only items I may have excesses of are ribbon and a huge roll of 6” wide lace from a grab bag that can be used for sleeves or caps. I have material to make up to 12 reticules with my new designs!

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Time spent:

At first, I went to one or two shops every two or three weeks for up to two hours. In February, I started to go at least once a week for 2-4 hours. Construction, modification, and decorating probably took 40 hours total. The greatest amount of time was spent in my head, thinking about how to best approach designs, and match colours and fabrics.

As this is a leisure activity, I hesitate to value my time any more than I would for redecorating my home or reading. Any excess of material (caps and reticules) will be given away.

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Problems Encountered:

The learning curve on Regency fashion:

  • Examples of things I learned along the way: Long sleeves are typically very long, so they are up the arm and fall over the base of the hand. Laces and buttons were not as common on gowns as I thought: ties were most common.
  • The styles changed a lot over the period, and included very simple gowns to gowns with a great deal of elaborate trim.

Misunderstandings about Regency styles:

  • A cap is not crocheted lace, it’s very fine cotton, sometimes made into a lace-like look with pulled thread, darning, and whitework embroidery.
  • Puffed sleeves: There were many more types of sleeve than the short, puffed sleeve, or the long sleeves with a puff at the top, though both were so common, it’s a reasonable mistake.
  • Dark-based prints are uncommon, but do show in extant gowns.
  • The empire waist is not the only style. Some gowns had no waist, though the cut or an overdress was reminiscent of the empire waist.

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Difficulties encountered along the way:

My own culling of items in my closet:

  • With moves and sale of a rental where we had some storage, we were living in a smaller space. I had given most of my clothes, and all of my fabric, crafts, and Hallowe’en costume parts to charity two years before. Some of the clothes and shoes would have been useful!

Jane Austen Tea Party Starling Winery June 20 2015 2
The dress I had in mind was elusive:

  • If all else seemed good, the thrift store dress would be polyester knit; black with huge roses; too fitted to make back gathers; sleeveless with no extra fabric for sleeves; covered in appliques or patchwork; have multiple long darts that would likely show if taken out; not my size; or too short.
  • A few true vintage items from the mid-20th century, in great condition, might have worked if modified, but I couldn’t bear cutting such a great piece of fashion history, so I wouldn’t buy them.
  • Polyester knit is ubiquitous, not just in dresses, but in slips, camisoles, and lace blouses (for sleeves), too. I saw one woven cotton camisole, and it was too small.
  • After the first few months, I purchased a couple of items that need more work because of fear I wouldn’t find anything.

Jane Austen Tea Party Starling Winery June 20 2015  me

The opposite of the impulse buy problem:

  • A bag of notions seemed pricey until I saw the price of the items new, but it was gone when I came back.
  • A blazer with a lot of soutache work could have been a lovely spencer, but I hesitated because I couldn’t easily see a place to break up the design. Someone else got it.
  • When I bought my shawl (not in this base costume, as it will be covered in outerwear), there was another similar, and I chose the one I thought went best with my evening gowns. I now believe that a shawl with that quality of design may not be common, and the price was cheap—if not for me, for a friend. But there were no more like it when I went back.

Other costume items:

  • Similarly, the fan and parasol were difficult to find. At least they were one size.

Availability of the right type of stores:

  • I live in a small city, so there aren’t many vintage and thrift stores, and similarly, fabric stores.
  • About half of second hand stores have good quality merchandise intended to be reasonably fashionable today, and none of that works well for Regency.
  • Thrift stores have more items that are older and out of style, and even more so in Vintage stores, though most of their items are funky for those on the edge of fashion, or items that are back in style and can be worn today.
  • I had four trips to larger cities during the course of the blog series, and was able to buy some good value items that I’ve never seen here.

Colour matching:

  • Even though you don’t have to be matchy-matchy with accessories, for back ties and fake sleeves it’s best, and it’s hard. Choosing a feather for a hat is similar.

Technical difficulties:

  • My new iron got glummed up one of the first times I used iron-on no-sew tape. You’re supposed to use a press cloth, and I didn’t read the instructions. The pieces of heat-activated glue tape weren’t fully under the fabric, and the hot iron in contact with a tiny piece tugged it out.
  • No-sew tapes (iron-on and double-sided) are fine for simple, flat attachments that take almost no load, but do not work well for more complex things such as pleats, drawstring openings, and the heavy texture of a straw hat.
  • I am terrible at crafting. I don’t seem to have the manual dexterity to make things neat and tidy. If you zoom in on the inside of the Capote hat, you’ll see an uneven ribbon that thankfully will be hidden by my hair.
  • I tied the gown’s waist ribbon off to the side, and in photos, it appears like a droopy breast! Unless you are young and perky, centre front or back tie is better!

Prices went up and product availability changed:

  • When I started a year ago, shoes that would work were $4-10. Now the price in thrift stores is no different than for new shoes on sale at budget stores. Of course, the ballet flats weren’t on sale all winter, and won’t be until fall again.
  • The little flared kitten heel shoes disappeared before I bought, though I saw a half-dozen pairs in my size on a visit a few months before I started to buy, when I was just beginning to consider what I’d wear to Louisville. I think the style was too old. Lucky are those who still have them in their closets!

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The biggest change:

I discovered a new love. I’ve started to follow Pinterest pages and Facebook groups on costuming, and have been tempted to buy books for more than coffee table use!

I know I’ll be using the sewing machine again, and this time, the challenge will be to use existing patterns and modify them to make them my own, as opposed to purchasing modern patterns. I may be crazy to do so, but I’ll learn along the way, just as I did for this Experiment.

My dream is to actually see the museum pieces. I constantly have little questions about this and that, and only looking at actual construction would help. Costumers with many years of experience and related degrees rarely have this opportunity, so it may be the impossible dream.

But if we did not dream, the death of our imaginations would turn us into black holes, imploding into the nothingness of an empty life. As an author, I rely on possibilities to light my life. Things seem to work out in the long run, in spite of any bumps in the road along the way!Jane Austen Tea Party Starling Winery June 20 2015 harpist

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A point of pride:

I learned the bulk of the knowledge I’ve shared throughout this series by observing examples on the Internet. I read some excellent web site summaries, but avoided asking experts for help, and didn’t buy any books on the topic, as that cost could be put towards the costume.

I even got to the point in my acumen where I could pick out bloggers who knew enough to be dangerous and give inaccurate advice—kind of like how I started. I’m still learning, and it’s never been a chore. I enjoy the challenge of research.

The part of this story that was not intentional is important, that of the re-use of discarded items. It’s not just about being cheap, it’s about minimizing waste. Our society loves to buy and throw away, and the little thrift shops are full of evidence of that. But someone else’s discards became my treasure.

I’m going to miss those shopping trips. But wait… Mr. Suze needs a tailcoat, and breeches, and boots, and more!

I hope you enjoyed this little series of less than imaginative writing. I could never have imagined myself as a blogger, yet sometimes, fortune falls at your feet. It’s been an experience beyond the ordinary: I proved I could act outside of the box of consumerism, not just buy because I can afford it, and I’m proud of how far I’ve come.

Thank you for joining me on this trip.

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NEXT POST: No promises on a specific topic.

This summer, I plan to focus on the final edits on Letter from Ramsgate, which has taken a back seat to this blog. Then I’ll be posting it twice weekly on A Happy Assembly!

At the same time, I’ll make my ball gown and a spencer, and there will be a post for each. I’ll show you my shawl, too. I promised a post on tricks to fake Regency, and I’ve developed my own pattern for reticules that I’ll share, as well as pulled an old pattern for a cap off a plate in a book and will draft it for you to use. So you’ll hear from me every 2-3 weeks or so, and then from Louisville, KY at the JASNA AGM!

Starling winery raspberriesI’d like to promote the Centennial Belles of Port Alberni’s Jane Austen Tea on July 3 and 4, 2015, and the Port Alberni Jane Austen Festival on July 8 and 9, 2016. This little town has ambitious plans for 2016: to break the world record of people in Regency costume, which is currently regularly broken by The Jane Austen Festivals in Louisville, KY and in Bath, UK. Perhaps a few of my Janeite and Chat Chit friends may decide this is a good time to come visit me on their way there!