Fun with Reticules: The first half-dozen designs!

Posted on August 17, 2015 by Suzan Lauder

One cushion cover down, two to go! My favourite, the silk with strands of beads about every half inch along the edge, was the one to start with. Recall that it was $1.99 from Women in Need (WiN). A back zipper limited the use with my standard designs, which yield for four reticules from one cushion, two of each of two designs. Instead, I still used the first design, but made two from the wider section, after which I stared at the leftover panel for a while.

Two small square reticules could be made, but the beads were on two sides of each half. I decided on a three-sided reticule with the row of beads at the top, below a ruffle.

Beaded cushion cover reticules: Design #1, Design #2, and “Bonus Reticule,” similar to Design #5 (“The American Girl’s Book” Three-Sided Reticule).

I started by cutting a square piece of newspaper the size of my cushion cover, then folding it on the diagonal and marking the centre. The cushion cover had a zipper about 2/3 of the way across the back, so I cut the pattern to the size of the largest back panel. I realized I’d only get two reticules made from this piece.

Appended to this post are two pdfs: one for the reticules and one for trim. The first has the main patterns for 6 different reticules, the instructions on how to sew the reticules, including special no-sew iron-on tape instructions, and a bonus design for leftover panels. A second pdf describes how to run and trim drawstrings, decorating the reticule body, several ways to line a reticule, and the installation of tassels and other hanging baubles.

This cushion cover made Reticule #1 and Reticule #2 (with exposed lining). I marked the design on my newspaper, cut each pattern out, pinned it on the fabric, cut the fabric, and assembled each according to the instructions.

I added beads to the loops of the drawstrings of Reticule #1 because it was simpler in appearance than the other. You could add a lot more decoration to either if desired.

Suzan Lauder’s Cushion Cover Reticules, Design #1

Suzan Lauder’s Cushion Cover Reticules, Design #2, “The Envelope Reticule.”

I removed the zipper from the leftover panel and cut the fabric into three strips, then opened them up to make panels for the final reticule. The beads that were on the end wound up at the top of the reticule, since the section below them became the body and the section above, the drawstring casing and a ruffle. This is shown as a “Bonus Reticule on the pdf, which has patterns and instructions for Reticules #1 through #6.

In retrospect, I wish I’d left the row of beads halfway down instead of at the top–in other words, shortened the lower portion rather than trimming the upper portion prior to sewing. I could have used the beads cut off from the sides and tucked them under the edge of the drawstring casing for double the beads.

I also had some difficulty with this one since I made it on the fly, where I’d carefully written the instructions for the others first, made them, then updated the instructions for the learning experience. I found it awkward to sew the beads at the base, and next time, I’ll just re-thread them and hand-sew them on at the end.

Note that similar reticules on Etsy start at $15, and cheap-looking bat-wing ones sell in the $25 range!

Bonus Reticule, similar to Reticule #5.

PDFs for this post:
Cushion Cover Reticule Patterns 1 to 6 by Suzan Lauder
Drawstrings, Trim, Linings, and Tassels for Reticules by Suzan Lauder

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Additional reticule designs for the other two cushions will be shown in a few weeks, and two more pdf’s will be added with that post. The main hangup is I don’t like the designs I have for the next two cushions. A paper fill inside the cording of one swelled when I washed it, so the look of the threads has deteriorated where the brown shows through. I can’t use it where I’d planned: Reticule #6. In addition, the woven pattern on its fabric wouldn’t be shown off to its best in a petal reticule. The other has no trim and is a bit bland, but may turn into a pineapple yet! It would be great if I could find one more.

But do I need to make more reticules to test my patterns and show off my designs? I’m running out of time before the Louisville JASNA AGM. Instead of shopping for more for myself, as I need to sew my last items, and Mr. Suze needs a costume! I’ll post about the Gentleman’s Thrift Shop Regency Costume as I progress.

I’ll divulge that I’m happy with four purchases for my husband’s costume so far:

New black leather dressage riding boots for $65 via a local “used items for sale by owner” web site. The fellow bought them for over $200 for a very tall daughter, who didn’t like them. DH will spend $40 to have them cut down 2″, rather than risk blisters behind his knees. From what I can see on the Internet, that’s a huge bargain! DH has hard-to-fit feet, and boots will be easier to fit than dance slippers.
Buff-coloured, slim-fitting, fine, faux-suede trousers for $6.99 from The Salvation Army will be made into breeches, with part of a leg used to make the front flap. I already have some nice knee buckles from an old visit to Dressew. They were $1 each.
A dark green, wool, cutaway morning coat for $65 (including shipping) from an online seller of former rental tuxedos on eBay. The front bottom edge will be cut to a Regency line, and the lapels tacked a bit higher if possible.
An ivory, paisley, satin waistcoat from a different online seller of used tuxedos, for $25 (including shipping), which comes with a matching bow tie! All the men’s vests I saw at local thrift stores were wool, and I was even looking at ladies’, just in case. I’ll cut the modern bottom edge straight across and use the extra pieces to make a collar. The buttons will be replaced with self-covered ones, perhaps using that bow tie. I already have two packs of four self-covered button kits, plus brass trim rings, from Dressew for $0.25 a package!

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Next Post: Faking Regency #1, using my spencer and some artwork and museum pieces for ideas.

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RETICULE GIVE-AWAYS! I’ll be giving away one reticule as part of my upcoming guest post on Austen in August, on August 24, 2015. It will be chosen from the two I improved for the “All the Pretty Little Purses” post (below), and perhaps one or more of the cushion cover reticules from today, or any I make before then! Of course, they’re handmade by a non-crafty person, so there are flaws, but I’ve signed each one inside.

The completed green and black reticules. Note that with the black one, I tied the loose ends of the velvet ribbon together firmly, and slid them into the ribbon sleeve, rather than add tassels as on the green cord. (The black ribbon was not long enough.) You could also thread beads and sew them onto the ends instead of tassels.

Suzan Lauder’s Thrift Shop Regency Costume Experiment: The completed green and black reticules.

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

Posted on August 3, 2015 by Suzan Lauder

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

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

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, wool and silk, Scotland, 1815.

Shawl. Silk and wool. England, circa 1815.

1812, 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, LACMA collections.

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

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

1802, Journal des Dames et des Modes

Spitalfields rectangular silk shawl with Chinoiserie borders, c.1810

La Belle Assemblée, February 1811.

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.The 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

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

Posted on July 27, 2015 by Suzan Lauder

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.

In 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.

I 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

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 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

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. (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

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

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.

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.)

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.

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.

A 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.

Book Club Questions for “Alias Thomas Bennet”

Posted on July 19, 2015 by Suzan Lauder

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 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!

What quality of Regency dress do you get for $33.95?

Posted on July 6, 2015 by Suzan Lauder

If it weren’t for that elusive short-puffed-sleeve dress that was only a ribbon from Regency, I could have stopped shopping for a gown in February when I found my wonderful white dress for use as a morning gown.

Why did I continue for four more months? What made me keep seeking out a long gown in a pretty print, or similar in a smooth silk for a ball gown, that needed nothing more than to gather its extra fabric at the back and tie a ribbon about its empire waist? I believed in its existence, that’s why.

Several of the overview web sites listed in the “Cheat Sheet” post implied I’d find it with ease, and I was determined to! I saw many dresses that were close. Too short, too small, too much trouble removing panels of non-Regency trim, and mostly, polyester knit. Drat. Double drat.

In addition, some key accessories were found later on: my shawl was found in May, and the fan, half boots, and better ball slippers in June. I was still trying to find a better fan, a real pagoda parasol, and some better gloves to the last minute of the planned deadline of the end of June!

The quest for Mr. Suze’s outfit started in March as well, so I was searching for tailcoats, poet’s shirts, riding boots, and collared vests beginning in March. (I found three tailcoats that were perfect, except two were too large and one was too small. $35-$65.)

Some have suggested I spent far too much time shopping when I could have sewn a gown for the same cost.

My reply? Not the same gown, nor anything near as nice for $33.95, and my morning gown would take a substantial amount of time and skill to sew.

Morning dress with matching belt; camisole.

The amount of time spent shopping was not that much by the time I found the white Prairie wedding dress from the ’80’s in late February. Though I started in summer 2014, I only went every three weeks or so for a couple of hours at first, and December, January, and half of February may have been three visits total, due to other commitments and vacation.

It took a while to acclimatize myself, but my early purchases were far more than a gown: the accessories alone made the time spent worthwhile, never mind ribbon, lace, no-sew tape, and items for future gowns. The the final months were not as productive, but by then, few items were remaining.

Matching waistband with Guipure lace.

There is no way anyone could make a gown anywhere close to this quality for less than triple the cost. The photo above shows the generous amount of fabric in the skirt, sleeves, and integral petticoats. There’s the delicate camisole that came with the dress, and the matching belt.

Sleeve detail with lace on cuff and pin-tucks the length of arm.

Bodice with pin-tucking, lace panels, and high collar trimmed with lace.

A great deal of work went into pin-tucking on the bodice and sleeves, and pleats on the cuffs and lace panels on the skirt.

The sheer Swiss dot fabric is so fine, you can see the petticoat lace detail through it.

Petticoats of fine fabric with high-quality Guipure lace edging.

The fabric in this gown would cost $80-$120. The Swiss dot fabric is super-fine, as is the batiste petticoat: like Regency muslin. As mentioned in the previous post, the gown is cool to wear on a hot summer day with a light breeze because of the breath-ability of the delicate fabric.

Two rows of Guipure lace and fine pleats on the skirt.

The lace alone is worth at more than I paid for the dress: at least 8 metres of 1″ wide Guipure bridal lace on the gown and another 3m of ¼” wide scalloped Guipure lace on the bottom of the petticoats. The former would be around $8 a metre, and the latter would be $1 a meter at a discount place like Dressew.

Lace goes over bodice from front waistband to back, and forms a gathered ruffle at top of sleeve.

The rest of the costume is shown below, since you couldn’t see a few of them in the previous post.

Everything else worn at the Jane Austen tea, except knee high stockings. Photographer forgot them!

Because the dress had a gathered front, it would be pre- or early Regency. I thought about modifying it, but it would require sewing.

Instead, I chose the sage shoes since they have a slightly pointy toe from the same period. To coordinate with the shoes, green ribbon was used in the trim for the pantalets and lace cap (hastily machine-sewn the morning of the event, but more on that in a later post!) and for the waist ribbon on the gown.

In conclusion, those who’ve suggested the dress was not worth it should consider that the entire costume was the cost of a simple dress with lesser-quality fabric and no lace, and petticoats would be extra. If my time prior to the purchase of this dress was split between all the items, the effort would be no more than the time to make a dress of the level of detail I purchased.

But that was not the point of the Experiment! What’s more, it would fly in the face of the guidelines I shared when we started.

My learning experience was crafted not to get the best deal on a gown, but to get the best gown I could for a good price, without making it.

The intention was to share this experience, warts and all, so others might feel empowered to wear that Regency costume they’ve dreamed about for the next Austen-related event, and to let them know they have options. We should all be able to feel pretty and pretend we’re in another time in history!

Isn’t my dress exquisite? I’m so proud to wear it!

I feel lucky to have found it, even if the ball gown proved to be difficult so far. But I’ll probably peek at the dresses every time I pop into a thrift store to see if they have a medium-sized tailcoat! You never know!

Hypothesis challenged, testing complete, final report now available

Posted on June 29, 2015 by Suzan Lauder

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.

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.

The 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!Sorry 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!

~~~

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!

~~~

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!

~~~

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.

~~~

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.

~~~

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!

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.

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!

~~~

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!

~~~

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.

~~~

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!

I’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!

road trips with the redhead

a blog by Suzan Lauder

Tag Archives: Suzan Lauder

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