Reader knows best! Suzan Lauder’s new blog series “Learning from my Mistakes”

Suzan Lauder, Exhibit #158 at the Jane Austen Festival of Port Alberni, July 2016

Suzan Lauder, Exhibit #158 at the Jane Austen Festival of Port Alberni, July 2016

A couple of months ago, I thought about all I was learning while editing my latest novel and decided I’d write a few blog posts on the topic to help others learn from my experience. I thought I’d start writing posts straight away, but editing my novel, and my husband’s last minute decision to retire early, and editing, and summer, and editing, and working with the cover artist, and editing, and a Jane Austen Festival, and editing, and my niece’s visit, and editing all stepped in.

I haven’t had a haircut in more than three months, and the end-of-season sales are over and I still haven’t found that elusive perfect pair of low-heeled dressy wedge sandals with no toe post but a full ankle strap for next winter in Mexico. Fussy, right? You would be too if you’d turned your ankle one too many times on steep driveways across the sidewalk.

But the introductory post is now written and in your sweaty little palms. Or so it would be if this were 1979. More on that later.

Now we begin our journey together. We’re here to giggle over this author’s mistakes. Each post will have a few examples of my own revelations as lessons to all writers, perhaps to give you a boost rather than let you learn the hard way. The end result isn’t about my opinions any more than the opinions of writing experts, editors, publishers, or any person other than the reader.

parasol resized for bullet pointsSuzan Lauder’s “Learning from my Mistakes” Lesson #1: As an author, your goal is to provide a reading experience with the greatest level of satisfaction that is within your control.

Some of what I’ve learned as a writer in the last few years is different than in classic novels or “What We Learned in School” (as if the capitals in our voice somehow make it Gospel). Some say these techniques are trends, buzz phrases, “flavour of the month.” Yet, if techniques you think are buzz phrases are guaranteed to give the reader greater satisfaction, what’s stopping you from incorporating them into your story?

Hmmm? What’s that? I can’t hear you.

“The way I do it is was good enough for Hemingway.”

Are you Hemingway? If Hemingway knew ways to make the reader enjoy his novels more, would he have said the way he does it is “good enough?” Perhaps. But he had a gift that 99% of writers do not, so we have to fill the gap by utilizing every tool available to us.

An interesting story Miss Ray, by William Wood, 1806, Met Museum.

An interesting story Miss Ray, by William Wood, 1806, Met Museum. Public domain.

I struggle to be a good writer where others find it easier. Ease is not a good reason to sit back on your laurels over and over again. You may get a toned butt and quadriceps, but that’s about it. Yeah, I suck at idioms.

Perhaps as an author, you can sell loads of books that are merely “good enough,” but as a reader, don’t you prefer that extra little something? It’s sort of like warming the speculum, chilling the beer mug, smiling at the end of the transaction.

Good writing practice is never “flavour of the month.” If you’re arguing against good writing practice, either you don’t understand the specific application or you’re making excuses to dig in your heels in a world that’s already made the big change. Despite my use of a goofy idiom, it’s no longer 1979, but if you want to stick with the way you’ve always done it, have fun with your typewriter.

Instead, I hope my blog followers enjoy how I describe newer writing concepts to make them easier to understand, and that other authors may be inspired and brave enough to give them a try.

I don’t expect to change the world, just entertain you for a few minutes. Please, have a few laughs at my expense as I bare all my “problems” as a writer!

Disclaimer: I’m not a writing expert. I’m just a writer who learned some stuff other writers might like to know instead of learning the hard way. My approach is pragmatic, and my posts are not professionally edited!

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Trousers or Breeches for Best Bunchage?

Regency shoes with buckle.

Regency shoes with buckle.

1810 Rare Gentleman's Leather Shoes with Silk Ribbon Ties.

1810 Rare Gentleman’s Leather Shoes with Silk Ribbon Ties.

Footwear assisted the decision of whether Mr. Suze would wear trousers or breeches. The first aim was for comfort, and we thought we’d put buckles on a pair of his black work loafers and be done with it. But clarity on the appearance of a Regency man’s shoe pointed out that the soles of his shoes were too thick. You see, my husband and I both have wide feet and wear orthotics. His feet are sensitive, and he owns shoes he can’t wear for long without pain.

Thrift and vintage stores were checked for several months for plain black shoes or tall boots, both with minimal embellishment, minimal soles, a wider fit, and in my husband’s size. No luck. I thought if I could find some of those folding leather bedroom slippers, it would be better than the work shoes, but I only found new brown ones, at $60.

I checked the Internet. I avoided this for my clothing for Thrift Shop Regency Costume Experiment because shipping charges can double the cost of an item, but my husband’s clothing has been a steal of a deal, even with shipping.

Real riding boots would cost at least $200. Jazz shoes are supposed to be a good alternative, but they didn’t look too much like Regency shoes. At $120, I gave them a miss, too.

I knew Mr. Suze would be more comfortable in boots than in stockings and slippers, and I concentrated on them more than shoes in my search, but the one I found first would dictate the rest of the costume.

The Boots

On a local “For Sale by Owner” site, I came across a pair of new black riding boots that were men’s size 9.5, and the owner claimed they fit wide. The ad stated the seller had originally asked $150 and was now asking $120. I emailed the link to my husband, but nothing happened, so a month or so later, I checked to see if they were still for sale. The price had been further reduced to $80, so I bugged Mr. Suze to go see them.

He returned with a pair of brand new boots, slightly too large, for $65—he’s great at dealing sellers down! The seller’s daughter was very tall, and he’d bought them for her, but she balked at men’s boots, and never wore them. Thick socks and orthotics will help the fit for my husband, and he won’t spend a great deal of time walking in them in Louisville.

The shaft of the boot was too tall, though, and rubbed the back of his thighs badly. We looked to see if we could turn the tops over to show the brown lining, but the leather was too stiff, and the lining had writing.

Riding Boots, 1810, British, leather. Philadephia Museum of Art

Riding Boots, 1810, British, leather. Philadephia Museum of Art

The different kinds of footwear popular in the Regency are in the drawing below. The jockey boot (black with a brown band) is most frequently seen in artwork and fashion magazines, the runner up is the Hessian, and we had a riding boot (left), similar to the Wellington—but it’s really a modern dressage boot, worn for show horse riding.

Regency Footwear

Regency Footwear

He checked to see how much to cut them down and was quoted $65. Ouch!

We looked into whether we could cut them easily ourselves, and there were no clear instructions on the Internet other than repeated short cuts with a utility knife. Now, I’ve cut many things with a utility knife, and 90% of the time, the cut has at least one ugly spot where the knife slipped. That idea was discarded.

Riding forum members advised other riders that the boots are supposed to sit a couple of inches above the knee, high enough to protect the leg from some aspect of the saddle, so they recommended not to cut them. Instead, suggestions included wetting the boots and walking around in them to get the leather to relax, plus wearing a sports wrap around the knee under the pants. We thought we’d still rather cut Mr. Suze’s boots.

Hessian boots: Mid-calf boots coming to just below the knee or lower that have tassels on the top, named for the German soldiers called Hessians who introduced them.

Hessian boots: Mid-calf boots coming to just below the knee or lower that have tassels on the top, named for the German soldiers called Hessians who introduced them.

At first, we said if we’re going to have them cut, we may as well get a Hessian profile. I could add trim and a tassel. We assumed this would be routine for the shoe maker.

Instead, he asked us to mark the cut line and would take no responsibility for problems. We hesitated, unsure we could do a good job of drafting the double curve.

Mr. Suze discovered a second shoe maker who would cut the boots for $40, but the same issue: he wouldn’t take responsibility for a special shape. We decided it was best to remove the top 2” with a profile to match the original curve.

 

How trousers intended to be breeches became trousers

After months of no luck finding pants suitable for breeches, I discovered a pair of buff-coloured Nubuck pants for $5.99 at Salvation Army.

Blogger Experiments in Elegance has a post on how to fake a Regency costume, and for breeches, advises cutting the pant legs off a few inches below the knee, and utilizing fabric from one cut-off leg to make a trim band for the bottom of the breeches.

I had bought some nice buckles from Dressew to use for knee buckles that would be used on the trim band. However, the most common closure was a set of three to six self-covered buttons up a placket above ties that are an extension of the trim band, which would be narrower than the blogger suggests.

Knee buckle, 1770-1810 American

Knee buckle, 1770-1810 American

Buckskin breeches, showing buttons and tie closure and jockey boots. Metropolitan Museum of Art.

Buckskin breeches, showing buttons and tie closure and jockey boots. Metropolitan Museum of Art.

 

 

 

 

 

Buttoned fall on museum breeches.

Buttoned fall on museum breeches.

Regency boots with breeches: Edmund Blair Leyton On the Threshold

Regency boots with breeches: Edmund Blair Leyton On the Threshold

Regency breeches had buttoned falls in front rather than the modern fly, though the odd museum piece from that era shows early use of a buttoned fly. The same blogger describes how to make a flap for the fall-front with the other leg.

 

 

 

Breeches were the best idea if I could find shoes. With boots, either breeches or trousers would suffice. Trousers would be advantageous for me, as I could put a stirrup at the end to hold the pants into the boot, much less work than making breeches.

 

 

 

 

 

 

Trousers and Hessians: Thomas Philip Robinson the third Baron Grantham and later Earl de Grey aged 35 years - portrait study by the great French artist Jean Auguste Dominique.

Trousers and Hessians: Thomas Philip Robinson the third Baron Grantham and later Earl de Grey aged 35 years – portrait study by the great French artist Jean Auguste Dominique.

Trousers became popular in the mid-Regency for casual wear, but breeches with stockings and slippers remained the correct clothing for formal occasions like balls. Eventually, trousers overtook breeches in formal wear as well, though this occurred after the end of the Regency.

Since neither boots nor trousers were appropriate ball attire in the Regency (though one Oregon Regency Society gentleman said he was wearing his to the ball anyways), our story would be we were sneaking into the ball for a short while to watch, but would not dance since Mr. Suze was not properly attired.

We do not want to dance. It’s not that we don’t want to dance, it’s that we don’t want to ruin our marriage in the attempt to dance.

We took ballroom dance lessons once, and Mr. Suze stared at his feet and forgot he had a partner. I got frustrated and started to lead, but I’m terribly uncoordinated, which didn’t help Mr. Suze concentrate on his feet. We’d get messed up on the steps, he’d get mad, I’d try to instruct him, and we’d stop to argue. Neither of us were able to learn the steps of one dance before the instructors moved on to the next.

We’d try again, and repeat the whole mess. We finally dropped out of class, deciding we were too terrible at this, and we didn’t want to keep arguing to get better.

Neither of us is concerned that his trousers and boots aren’t correct for the ball, as we’ll be lurkers and watchers.

trousers after legs slimmed, with watch pocket, fake front fall edges before addingSince Regency trousers were slim, I cut about 3” from the inseam of the pants. Instead of using part of a pant leg for a flap, I used some of the cut fabric to make panels that look like the trim panels for the sides of the falls. Self-covered buttons were also made to fake Regency at the top of those flap edges, as well as to secure suspenders to keep the trousers high. A small watch pocket was made to set inside the waistband.

steampunk costume pocket watch showing paper insideAt first, I despaired of finding a pocket watch at a reasonable price, as the vintage watches I’d seen were over $100, and that was for either one that was a fake and used a battery, or another that didn’t work and would be another $200 to repair!

But Value Village had a display of Steampunk accessories for Hallowe’en, and I got a cool pocket watch and chain for $1.99! Outside, it’s a pretty good-looking imitation for the price. Inside, it has a hilarious paper face!

We now have to find a watch fob of some sort. The Pragmatic Costumer has a nice article on watch fobs for ideas.

finished breeches with suspendersA combination of the leg narrowing, the original size of the pants, and the need for So Mr. Suze to wear the pants high like Regency gentlemen caused the pants to be tight at the waist band. A 5” deep opening was made in the seam at the back of the pants, and eyelets and laces were added for true Regency fashion. I was going to sew the fly closed and have him use them.

When he tried the trousers on, he couldn’t reach the ties. Not such great idea, after all! We left the fly.

Puttin’ on the Ritz: The Walking Stick and Gloves

Cane with tortoiseshell and brass wire piqué on ivory.

Cane with tortoiseshell and brass wire piqué on ivory.

Mr. Suze’s project was to make himself a walking stick. We had some pieces of bamboo that had previously been used for supporting plants, and some of the Ackermann’s prints had bamboo walking sticks. I’d been looking for a handle re-purposed from a drawer or door handle, similar to the photo (left). I also knew that drapery rod ends may have other designs suitable for this.

Mr. Suze went to Habitat for Humanity’s Re-Store and found a pineapple-like end that he attached to the bamboo, then to Rona for an end piece so the bottom wouldn’t scratch floors.

I’d read that the walking sticks were quite long, and had seen some Ackermann’s illustrations that confirmed it, but my husband wasn’t so keen on a tall cane. The compromise was to make the length so his hand on the top made his arm parallel to the floor. He freshened up the bamboo with a light sanding and shoe oil.

TSRCE men's boots, gloves, and walking stick. The cut-off panels from the boots are shown.

TSRCE men’s boots, gloves, and walking stick. The cut-off panels from the boots are shown.

I was pleased with the pineapple look, as I’d learned at the JASNA Jane Austen Tea just a few weeks earlier that in the Regency, pineapples were important because they were so expensive. They were imported from Suriname or India, and a shipment of pineapples would allow a ship’s captain to retire in fine comfort. The rich had pineries to try to grow them, but they were so dear, they were rarely eaten, but just left on the table for decoration as they deteriorated! This explains why there were so many reticules of pineapple design as well.

The gloves are white cotton costume gloves for $4.99 from Value Village. They’re not something you’d see at other times of the year, but the Hallowe’en costumes are out! A Regency gentleman would be more likely to wear kid gloves, but I had enough trouble with the search for kid opera gloves for my costume since the few I found were far too small. There’s a good chance they’re more rare for a man!

Mr. Suze opted to glue on whiskers rather than grow his own sideburns, and found a moustache at a Dollar Store that’s pretty perfect, except it’s black, and he used to be blond but is all grey now! We’ll try using tempera paint to change the colour. He had the top of his hair left long for two haircuts, and will comb it forward, as that was the Regency style.

Quizzing glasses

Quizzing glasses

Perhaps he’d like to forego his glasses for the popular Regency accessory, the quizzing glass!

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One thing I missed last week was the closure on the sleeves of the shirt. It has plastic buttons right now, but the most common was ribbon ties. Cuff links as we know them today became popular in Edwardian period, though in the post-Regency, around 1840, simple versions were introduced in France.

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Some helpful sites for the Regency Gentleman’s costume:

The Oregon Regency Society’s Outfitting the Regency Man has links for purchasing authentic product and patterns to make costumes from scratch. Their How-To sheet shows a modification of a standard tuxedo tailcoat.

The Black Tie Guide’s Regency Evolution: Dress Details has details on things like lapels, colour, and etiquette while providing an excellent, succinct summary of the man’s outfit.

How to Make a Men’s Regency Boot on a Budget by Living with Jane uses leather-look boots and adds a leather-look panel to the top for jockey boots. They look like rubber boots to me.

How to Convert an Ordinary Suit Coat into a Tail Coat from Tor.Com is useful as long as your suit coat or blazer is in a fabric like Regency examples.

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Next Post: I hope to have another episode of “Faking Regency,” because I haven’t yet finished my ball gown, which was my intended post for Monday. I’ll add a post between Monday and Louisville if I have time, then there will be pictures from the JASNA AGM!

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!

 

 

A pretty wrap to keep out the chill: Regency shawls.

Shawl, muslin cotton, white embroidery. Made in India, 1806- 1814.

Shawl, muslin cotton, white embroidery. Made in India, 1806- 1814.

Whitework Shawl, 1810-1820

Whitework Shawl, 1810-1820

The first Regency shawls I saw were summer-weight, wispy things, mostly white-on-white and all lacy-looking. Thus, I purchased a sheer Indian shawl, as it was as close as I could get. Made of fine net in a seafoam colour with silver embroidery, it was a compromise, but I knew silver embroidery was popular on clothing in the Regency period. (Click on thumbnails for larger images.)

Shawl, cashmere and silk, 1800–1820, Metropolitan Museum of Art

Shawl, cashmere and silk, 1800–1820, Metropolitan Museum of Art

At some point, I saw other shawls, and realized these delicate ones were the minority. The majority were the  Kashmiri shawls, with their ubiquitous wide paisley panel at the ends and a border along the sides. Paisley, paisley, paisley. Most were cashmere, some with silk for a magnificent sheen. Wool, silk, or blends were also seen.

Shawl, Spitalfields. Silk, England 1810 -1815. The workers of the silk weaving district in London were French Huguenot silk workers who had fled to England to escape a religious purge.

Shawl, Spitalfields. Silk, England 1810 -1815. The workers of the silk weaving district in London were French Huguenot silk workers who had fled to England to escape a religious purge.

Shawl, wool and silk, Scotland, 1815.

Shawl, wool and silk, Scotland, 1815.

Shawl. Silk and wool. England, circa 1815.

Shawl. Silk and wool. England, circa 1815.

 

1812, Costume Parisien.

1812, Costume Parisien.

1811, Costume Parisien

1811, Costume Parisien

The love affair with Kashmiri textiles went to gowns, too. You can see how they were matched.

 

 

 

1810, Costume Parisien.

1810, Costume Parisien.

1810, LACMA collections.

1810, LACMA collections.

Felicite de Durfort von Merry-Joseph Blondel, 1808

Felicite de Durfort von Merry-Joseph Blondel, 1808

What’s with the paisley? The bent teardrop was a popular “Tree of Life” design in Persia. When Scotland became a leader in the production of textiles, the town of Paisley became the place where cashmere shawls were made. In England, the design became named after the town.

I was ecstatic when I found two paisley Pashmina shawls at Value Village for $7.99. This turned into a facepalm moment in my shopping history. I chose the one I liked best, that would go best with my outfits, and set aside the other. The next day, I realized these shawls were uncommon, and I could have given the second to a friend, or even sold it to someone assembling a Regency costume. But when I went back, the second one was gone.

 

While paisley was popular, Regency shawls used other designs, in all the colours of the rainbow!

1801, Costume Parisien

1801, Costume Parisien

Shawl, silk and cotton, English, 1800-50, Metropolitan Museum of Art

Shawl, silk and cotton, English, 1800-50, Metropolitan Museum of Art

1802, Journal des Dames et des Modes

1802, Journal des Dames et des Modes

Spitalfields rectangular silk shawl with Chinoiserie borders, c.1810

Spitalfields rectangular silk shawl with Chinoiserie borders, c.1810

La Belle Assemblée, February 1811.

La Belle Assemblée, February 1811.

Silk shawl by Spitalfields, London, 1810-1815.

Silk shawl by Spitalfields, London, 1810-1815.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The fiber Kashmir, or cashmere, is made from the down hairs of Nepalese capra hircus goats, also called Cashmere goats or Pashmina goats. The Pashmina shawl is the modern equivalent of the Kashmiri shawl, and they’re ubiquitous once again, but in different designs. Pashmina is a high-level cashmere, made from the thinnest threads.

However, most modern shawls labelled “Pashmina” have no Pashmina hair in them, but unlike the word “cashmere,” there is no regulation of the term. The best knock-offs are made from cashmere and silk and cost around $100; the cheapest are $20 for viscose and/or wool. The latter textiles may keep you warm, but don’t have the light weight of the fibers they’re mimicking. Real cashmere will pill with wear, and doesn’t have sheen or create static electricity.

I bought a real Pashmina in Turkey in 2001, and since have acquired two knock-offs. Below are my shawls. They’re folded in half both so you can see their true size in comparison with one another, except the Value Village shawl is scrunched a bit to flip it over so you can the pattern on each side.My shawlsThe parasol ratings show the real Pashmina (pale green) with a closed umbrella, meaning it’s okay, but not the best choice. There are almost no shawls in my Regency image collection that are plain with no pattern. Its large size and light weight in comparison to its warmth is great, though. It’s my airplane blanket!

The red and brown “Pashmina” is as soft and has a nice silk-like glow, but its perpetually smooth texture and $19.99 price make me believe it’s viscose. The pattern and the stripe near the ends make this shawl reasonable in a Regency costume.

The brown striped “Pashmina” with animal spots was a gift. It’s small for a shawl: I use it as a large scarf. The fabric is coarse and probably contains a fair bit of sheep’s or regular goat’s wool. Though this scarf goes well with many of my winter clothes, the pattern eliminates it from my Regency wardrobe, so no parasol.

The previously mentioned seafoam net with silver is like an evening gown wrap, and that will be its best use at any Regency event I’ll attend.

Shawl c.1820

Shawl c.1820

The Value Village shawl is two-sided, with the centre area having bold stripes on one side and a dark grey main field opposite. When I took the photograph, I had not recalled any Regency shawls with a bold stripe in the main field, and thought I’d use what is likely intended as the back as the outside of the shawl. When I gathered photos for this post, I found an historical example similar to the side of the thrift store shawl that got a closed parasol! The sun came out, so we need to open that little parasol perched on the stripes!

Shawl, British, silk c.1822, Metropolitan Museum of Art

An interesting historical shawl is one that has no paisley and uses a different traditional design altogether: tartan. It’s a pity the only piece of Lauder tartan I own is a small scarf! I’d love to find a way to work it into one of the costumes without cutting it up or modifying it. It would be lame as a turban. These days, over the shoulder and tucked into the belt is reasonable, but I’ve yet to see a Regency outfit with tartan in this way. Do any of you know?

 

More shawls: Though mostly post-Regency, Mimi Matthews’ blog has a selection of beautiful 19th century artwork with shawls.

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I’d planned to do a cushion reticule post today, but I haven’t made the last reticule for the set, and I had company this weekend from two different cities! Neither stayed with us, but my house needed to be tidied, and after that, our time was full with brunch, and The Bug Zoo, and skinny, former opium den streets, and other such tourist attractions!

I decided to do this shawl blog post first, as it was quick and easy. I know you don’t mind!

Next post: A twist added another design to my reticule arsenal, and three different designs will be shown, plus I hope to have the pdf’s ready for the patterns and instructions. After that, I still have at least three other designs I want to try making, but I may take a reticule break and show some of the “Faking Regency” tips.

Fun with Reticules: Introduction

Are you playful? The tiny purses of the Regency are! They’re a flexible accessory, with plenty of room to play when selecting or making one. A cute little drawstring bag similar to Regency museum pieces isn’t hard to find, but if none can be procured to suit your taste, they’re not complicated to make for under $10.

My moorish reticuleIn perusing the various fabrics and designs of museum photos of purses from the first 20 or so years of the 19th century, I realized the brocades, embroidery, and silks of modern throw pillows had amounts and type of fabric to suit re-purposing/upcycling into reticules. Decorative cushion covers run from $1.99 to $7.99 at thrift stores. The most common size is 17” square.

Cushion covers come with two layers, sometimes in pairs, often feature attractive trim and, depending on the shape desired, they’re partly sewn. From there, I came up with designs to maximize the fabric, and discovered that up to four reticules could come from one 17” square or larger cushion cover! I have several designs to share, and they could inspire you to use your cover for your own unique reticule.

Now, I know you don’t need so many reticules! You can make just one, or you can give the extras as gifts. Even friends who don’t dress up for Regency events will like them as an evening purse, to store lingerie or jewelry, or to fill with lavender for a closet or drawer scent.

It’s important to consider your final design when you purchase the cushion cover. Many have directional fabric; are made in multiple panels, with different motifs in each; or have modern themes that don’t suit a reticule. The buyer must pick and choose.

Three Cushion Covers for Reticules tTSRCEI chose three:

• For $1.99 at WiN (Women in Need Vintage and Thrift Store), I got a 17” silk dupione cushion cover with a beaded fringe—plastic, but I think it looks enough like glass beads.
• A 16” square gold damask polyester cushion was $2.99 at Value Village, and it looks rich enough to be silk. There’s no edge trim.
• The most expensive cushion was $3.99 at Value Village, a 17” red brocade with pink and yellow roses in the centre field and in a square around it, with multi-coloured bands on each side. It also has a pink corded edge sewn in without the benefit of an attached tab.

Lining the reticule is optional, but may be preferable if it’s a light fabric. I lucked into finding a cream satin pillow sham that has potential to line up to six reticules.

I’ve designed five pages of patterns, to come up with eight different reticules, and potential to modify them with scallops makes even more possibilities! In addition to instructions for each design, I also have instructions for adding lining, cording, trim, and tassels.

The Designs (click on thumbnails for larger views of the museum Regency examples)

1810–20 French, cotton, glass 6 38 in. Metropolitan Museum of Art

1810–20 French, cotton, glass 6 38 in. Metropolitan Museum of Art

Square or rectangular reticules can be made from any cushion cover with dimensions starting at 14” for two side-by-side, and the maximum length that works without wasting fabric is 24”. There is no pattern sheet for these, but there will be instructions.

 

 

 

 

Reticule, Dutch, 1805. Silk, multicolored embroidered silk flowers, slide ring. Rijksmuseum

Reticule, Dutch, 1805. Silk, multicolored embroidered silk flowers, slide ring. Rijksmuseum

Reticule Designs 1 through 4 are on two pages, with instructions. They are nice for cushion covers that have a running trim along the edges, be it fringe (including tassel fringe or ball fringe) hanging bead work, piping, or braid, though all designs work with any kind of cover. Reticule 3 is especially good for piping or braid.

Woven Reticule Purse Shield Shape 1795

Woven Reticule Purse Shield Shape 1795

Designs 2 and 4 are smaller, and would benefit from a lining, so the top would not have to overlap to make the sleeve for the drawstring—we’ll see an example. The Envelope Reticule (#2) is my own original design. It’s Regency-appropriate and unique.

Reticule, American or English, Early 19th century, 10-5/8"x7-7/8", silk, satin, metal, embroidery. Museum of Fine Arts, Boston

Reticule, American or English, Early 19th century, 10-5/8″x7-7/8″, silk, satin, metal, embroidery. Museum of Fine Arts, Boston

Reticule, American or English; Early 19th century, 10-5/8"x7-7/8", silk, satin, metal, embroidery. Museum of Fine Arts, Boston. (Side two.)

Reticule, American or English; Early 19th century, 10-5/8″x7-7/8″, silk, satin, metal, embroidery. Museum of Fine Arts, Boston. (Side two.)

The patterns can be modified, for example, scalloped edges can be added to designs 1 and 3, tassels sewn into the seams at the points. The folded end finish directions of Reticules 2 and 4 will make these scalloped reticules close in looks to the museum examples.

1800-1825 French Reticule, LACMA Collections

1800-1825 French Reticule, LACMA Collections

The American Girl's Book, Or, Occupation for Play Hours - Eliza Leslie, Harriet Elizabeth Fourdrinier

The American Girl’s Book, Or, Occupation for Play Hours – Eliza Leslie, Harriet Elizabeth Fourdrinier

 

 

 

One of the most common styles of reticules seen in the Regency is a three-sided version of the above, and instructions are included with the pattern for #3 and #4. A large cushion cover with a plain back is best for this design.

 

Reticule, 10-1/4" long, French. Early 19th c. Silk, metal, glass. Metropolitan Museum of Art

Reticule, 10-1/4″ long, French. Early 19th c. Silk, metal, glass. Metropolitan Museum of Art

Design #6 is ideal for a cushion cover with a regular banded design making square interior frames on the sides, and preferably also a corded or piped edge. It can be made with either same both sides or one-side finished cushion covers. The finished reticule looks similar to the one on the left. Depending on size, a nice central field design on the cushion could make another reticule.

 

 

 

Reticule, silk and metal, 1800–1810, probably German. Metropolitan Museum of Art. Like Petal Reticule #2.

Reticule, silk and metal, 1800–1810, probably German. Metropolitan Museum of Art. Like Petal Reticule #2.

Petal Reticule #1 (No historical information on this example.)

Petal Reticule #1 (No historical information on this example.)

There are two patterns for Petal Top Reticules, which work well with cushion covers with a corded or piped edge and some motif of interest near the corners. Both of these work better if the back panel is a plain/lining material rather than matching the front side.

 

Six-petaled reticule. (No historical information.)

Six-petaled reticule. (No historical information.)

The inspiration museum designs show one where two matched cushion covers would be needed to make 6 petals for Petal Reticule #1.

Reticule, 1818. Glass, silk. Brooklyn Museum Costume Collection.

Reticule, 1818. Glass, silk. Brooklyn Museum Costume Collection.

 

 

 

 

 

A long Petal Reticule or three-sided Reticule #1, with sharp scallops cut in the sides can look like a Pineapple Reticule (right), which were very popular.

 

Construction:

No-sew tape can be used to make the reticules, but some seams should be reinforced with hand stitching and bias tape, and no-sew tape is hard to use on curves. The beginner sewer will find it takes less time and may be easier to sew the short, straight seams.

Square reticule examplesA mock-up is shown for the most straightforward design: the square reticule. The option of tassels or fringe is shown, as well as a geometric design on the side, made with cording. You can see what beads would look like on the drawstrings.

The dahlia and marigolds are from my garden, in one of Grandma Lauder’s pinwheel crystal vases. I was dead-heading and awkwardly lopped off a few fresh flowers, so I kept them!

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There are far more reticule designs in museums, many more complicated than these simple ones, made by up-cycling an item that’s no longer stylish for its original intent!

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NEXT POST: Some examples of assembly of these reticules, and the patterns.