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

Posted on September 1, 2015 by Suzan Lauder

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

Embroidered muslin bodice or spencer, 1800-1810

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

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.

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.

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.

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.

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!

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.

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.

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.

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.

It’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

1815-1820

Modern reproduction.

1815 LACMA

1820-25, 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!

For 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

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. 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.

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!

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.

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!

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Great buys:

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

Total cost: $114.92

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

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

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

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

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

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

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Beyond the basic costume:

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

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

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

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

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Time spent:

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

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

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Problems Encountered:

The learning curve on Regency fashion:

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

Misunderstandings about Regency styles:

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

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Difficulties encountered along the way:

My own culling of items in my closet:

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

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!

Shiny things expose my inner crow!

Posted on June 7, 2015 by Suzan Lauder

I was second last in the gift draw. I took the brown paper bag, reached my hand in, and felt around. Unable to discern by touch what the small items were, I grasped one at random. When I extracted my hand and opened it, I found BIG SPARKLE.

It turned out to be a key chain, roughly four inches long, and gaudy doesn’t begin to communicate its assault on my eyes. About 8 huge plastic gems hung in a cluster from large gold links, and below them dangled a tiny metal purse that would open were it not linked into the rest. When it moved even a tiny bit, it rattled. Yeah, I thought, it should have made the warning sound before I pulled it out of the bag.

I peered at the magnetic post-it grocery list note pad another participant won and felt the world was truly unfair. Yet when I examined the face of every other person, I realized it would not be in good form to say so. No one seemed to think my gift was the most awful, tasteless joke that was ever played upon someone. The sneer twitching at the corner of my lip was held in check, and instead, I said, “Oh, bling!” in an affected tone.

Thing is, I can’t bear to throw the thing away. I keep trying to think of someone to give it to who would appreciate it, or a way to give it some sort of useful employment. It moves from container to container as a “potential” and most recently, wound up in my kit of beads and baubles for my Regency costume. But once again, it’s proven to itself as a useless, gaudy thing. It has a few friends in that bag, but none as sparkly.

Like the crow, we’re all attracted to sparkly, otherwise there would never have been a gold rush or jewel thieves, and MJ’s glove would be boring. Many like to look at beautiful jewelry but don’t wear it. What I choose tends to be simple but unique. When I checked my own stash for potential items for my Regency costume, I found a few items that looked right to me. Then I did my research, and realized they were close, but some needed help. It was not impossible.

Citrine jewelry 1820

Necklace 41.9 cm long, circa 1810.

In addition, I saw things in the period examples that I liked but would not normally consider wearing. Just as I’m not one to wear a hat with feathers, they became desirable when thought of as part of a costume, an act. A sale purchase from Joe Fresh was added to the small group of costume items of my own: a “diamond and freshwater pearl” choker in a floral pattern, as seen at the top of the photo above.

Numerous perusals of discount and second-hand store costume jewelry racks did not offer a suitable pair of ear-bobs to go with it. Anything close was on studs, and in the Regency, stud-backed earrings didn’t exist; they were all hung on wire hooks. I knew a simple way to modify them, and even had the right earring parts—years ago, I made earrings, hence, my experience with cam-shaped circles of metal. But I couldn’t wear the ones in my stash, as they were cheap gold imitations. Like many, I have a nickel allergy, and most inexpensive jewelry contains nickel as a hardener. I can wear costume jewelry for short periods of time, but my skin becomes inflamed easily.

Earrings “The Three Graces” 1810

Last week, I found some lead and nickel free earring parts on a two-for-one sale at a fabric store. Two pairs of earrings I owned were modified using an earring snap hook and a very small split ring. The split ring is like a super-tiny version of a key ring, and similar to work with, but saves using needle-nose pliers and making a cam out of a loop, or accidentally leaving the tiniest gap and then losing the earring, both of which are my constant experience.

I clamped the earring to the split ring, using a plastic back in one case so it was less visible (I’ve left one loose so you can see the construction), and a large back in the other, due to the weight and shape of the earring. I also have a new pair of labradorite and aquamarine earrings on silver hooks, a gift from my husband that I hoped would be appropriate. However, I could not find any examples of a rough-cut stone, so they won’t be part of the Regency costume. No big deal, since they’ll get plenty of showtime on regular days.

There’s also a leaf-themed barrette and a purple-jewelled elephant that you’ve already seen with turban-making, and they’ve become brooches. The elephant came from a card holder, and is symbolic of the final scene in my latest story (though the blog has been taking my writing time!), Letter from Ramsgate, which will be posted at A Happy Assembly. (If you’ve never been there, it’s a Jane Austen fan site, full of Austen-inspired fiction and discussion threads. Registration is required, but membership is free. Many published authors post their stories there first, and free unedited versions often still remain, alongside many unpublished and often better stories.)

A Magnificent Georgian 0.75ct Old Cut Diamond Snake Ring In 18ct Gold Circa 1800

But what’s with the snake stuff in my collection? This was one of the things that I found amazing and fascinating when I started to pay attention to Regency jewelry. As mentioned before, floral patterns were popular, as were crosses made with elongated stones, astronomical symbolism like moon and star themes, and the serpent. Hands on bracelets were another theme that I found unusual. I’ve selected a few examples for you to compare.

My snakes were $1 for the ring at a thrift store and $12 for the bracelet on sale at a drugstore. I used to have a brooch with the moon and stars that I gave to charity years ago, so maybe you still have one lurking about!

Silver mesh snake bracelet with garnet eyes. French c1800. Tadema Gallery.

A ninenteenth-century carved coral bracelet, formed as a coiled serpent with gold-set emerald eyes; the snake biting its tail is a symbol of eternity.

A Georgian diamond crescent brooch, diameter 4.2cm, circa 1800

Georgian Foil-backed Pink Topaz and Pearl Riviere with Cross Pendant, circa 1820

Gold and coral bracelet, length 185mm, early 19th century.

The square-cut stone with its ring of “diamonds” came from a pair of gloves; one was lost, but this one will clamp over my own modest ring. It was not uncommon to wear costume jewelry. Paste and real stones were seen in many shapes, as were pearls of all types. Turquoise and red coral were also popular, the latter seen in one of the snakes and in many bead necklaces of the time. Multiple strands tied together with stones were an interesting design seen on several pieces.

Faceted table-cut emeralds in borders of brilliant-cut diamonds; briolette emerald drops; open-set in gold and silver, 1806

Gold, enamel, seed pearl, and lapis lazuli parure consisting of comb, three strand necklace, and ear-bobs, circa 1810.

Wealthy women wore more elaborate jewels, and people of more modest means may only wear a pendant on a chain, like the topaz crosses Jane and Cassandra Austen wore, a gift from their sailor brother Charles. In Mansfield Park, Austen included a plot point where Fanny Price is given a similar amber cross from her brother William, and Mary Crawford charms Fanny with a gift of a chain to wear it with. You can read more about it in the article “A Very Pretty Amber Cross.”

Topaz and citrine cross, circa 1820

The costumers for the A&E/BBC Pride and Prejudice series in 1995 had Elizabeth and Jane Bennet wearing crosses like Jane and Cassandra Austen’s, but with red stones that many viewers have imagined as garnet or ruby.

When deciding on your jewelry, make sure you’re not wearing a silk gown with no jewels, or a cotton one along with too many large stones.

Various “lovers eye” pieces of jewelry.

Romantic themes were played out in the “lover’s eye,” a miniature painting set in a brooch, pendant, or ring. If you’re an artist, this would be a cool thing to reproduce on an old brooch, locket, compact, etc.

Pieces containing strands of hair were often worn as a sign of mourning.

Mourning brooch with paste jewels, circa 1800

Georgian-era seed-pearl-surrounded locket with a lock of hair.

Pendants, chokers, bracelets, rings, arm-bands, ear-bobs, as well as hair jewelry like combs, tiaras, or diadems would be part of the essential accessories of the costume.

Not for the faint of heart crafter, the Mistress of Disguise shows how to make a Regency diadem from used lamp parts! No sewing necessary, but soldering or hot glue is part of the the process. I’ll pass, but I can look at all the pretty, shiny things!

~~~

NEXT POST: Must-have Regency accessories are gloves, and most ladies want a fan for cooling in a candle- and ton-filled ballroom. To round out that post, because one of my signature expressions is “Parasol in a Ballroom,” I’m including the parasol I purchased, and I’ll try to make all three look Regency. These ones are much harder than some of the others!

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While it has nothing to do with this blog series or the Regency, today I’m giving a shout out to an upcycler from Israel, Urban Raven, who makes jewelry from old phone tokens, computer chips, and many other items.

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I’m looking (cross that out) begging for feedback. If anyone has seen any areas of improvement for this blog series, please forward them to me. As I’ve said on multiple occasions in the past, I’m new to this, and may have mistaken any aspect of the Regency costume based on clues that I misinterpreted. In addition, I may not have communicated something as well as you would have liked. Any help is appreciated!

~~~

I’m officially signed up for the JASNA AGM in Louisville, KY in October! There are still a limited number of registrations left. I’ll have some give-aways to hand out to followers of my blog while I’m there, so pay attention for clues!

Convertibles aren’t just for Road Trips #thriftyregency

Posted on June 1, 2015 by Suzan Lauder

A Regency-costumed event that’s longer than a 21st century afternoon poses a problem: you need at least two gowns! From waking until dinner (at 4pm), you’ll wear a morning gown, which is modest, with full- or three-quarter-length sleeves and a high neckline. As the day wears on, you’ll be allowed short sleeves and a lower neckline, until the ball, when the bodice is brief. This is called “full dress,” as in the lady is fully dressed up in her best!

Sometimes a gown for “later in the day” was worn with a lightweight, white fabric insert or cover at the bodice and/or long sleeves, temporarily sewn under the short sleeves, for a morning gown look.

Chemisettes, Tuckers, and Fichus

A chemisette is similar to a dickey in fine white fabric: it tucks into the gown neckline to make it high cut, and cover the chest, shoulders, and back. It has a collar to suit a morning gown look.

A flat, sheer fabric panel called a lace tucker can be worn to artificially raise the neckline a few inches for an afternoon or dinner gown. It’s like the chemisette without the collar.

Alternatively, a lace triangle like a small shawl or scarf can be worn atop the gown and tied at the centre front, and this is called a fichu.

All of the above were made of light, translucent or sheer fabrics such as fine Regency muslin, cotton, or heavier net. They tended to be white with lace or whitework (white embroidery, drawn thread techniques, or darning) accents, not unlike the lace caps we saw in an earlier post.

Removable long sleeves took care of the other aspect of modesty, and these were often made in the same fabric as the gown.

In the late Regency, there was also a “summer bodice,” which was a high-necked, full bodice with long sleeves. It was super-light muslin, and sometimes had stays incorporated into it.

Re-purposing to make any of these items for yourself is an easy project. Some of the alternatives suggest “sewing,” which can be accomplished by use of no-sew tape.*

Make your own chemisette:

The top of a white, sheer, natural fabric blouse can easily become a chemisette: Excess fabric is cut away to leave a dickey-like garment.

Fabric for the chemisette should not be stretchy or look synthetic. The chest should not be covered with ruffles, and a tuxedo style is not Regency, but fine pin-tucks, sections of smocking or ruching, simple lace, or embroidery on the front are nice. Embroidery designs should be reasonable for Regency. Silver or white are the best colours, with natural or simple geometric patterns. Please, no psychedelic stuff!

The blouse should have a collar that fits close to the neck. Almost any style but double lapel, drapey cowl, or boat-neck will be fine, and ruffled collars were common on chemisettes. If there is no collar, add some lace to achieve the look.

To make your chemisette, put the blouse on under the gown, mark the neckline in a wash-out product. Trace a parallel line to the neckline about 1 ½-2” wider on each side and cut off excess. Finish the cut edges.**

Disguise or replace modern-looking buttons and button holes on the blouse.*** Remove zippers and, if necessary, replace with ties, easily made from a pair of matching narrow ribbons about 6” long, tacked at the edge of the opening. Hand sewing is recommended for this. Make sure visible stitches look neat. Note one of the examples uses ties to hold the chemisette in place, too.

Lace Tucker, 1820’s, French

Make your own lace tucker:

This is like a chemisette, but simple, collarless, and flat. The fabric should be similar to the caps we saw in a previous post: white-on-white super-fine cotton or linen, so it’s sheer.

A lower kitchen or bathroom curtain with a nice lace design will be more than enough fabric. Remove any flounce. As in all areas of the Thrift Shop Regency Costume Experiment, if you use polyester, it must be of good enough quality to appear as if it is fine cotton, linen, or silk.

If you can’t find a nicer curtain panel, a scrap of fine, sheer fabric with a lace insert, or a panel of a sheer silk scarf with an interesting design can be made into a tucker if trimmed, hemmed, and remade into a shape like in the photo above.

The second pillowcase from the set of two for $1.99 (lower right in photo; the other was to be made into my cap) will be my tucker. If the outside edge of the lace pattern is wide enough, I can cut right up to it, and the heaviness of the Battenberg tape will suffice for an edge, otherwise I’ll have to leave a hemmed panel to tuck in.

It’s up to the wearer to decide the coverage, i.e., depending on preference, the neckline can be looser about your neck. For a morning gown look, it should be close to your neck, so I would need to add a back slit with ribbon ties on mine. Otherwise, a bigger hole is required to fit my head after hemming. Finish cut edges as needed.**

Make yourself a Regency fichu:

A light shawl-type garment, the basic design of a fichu is a white or light-coloured lace triangle in natural fibres. Its size can vary, but it must wrap over the shoulders to cover any the back to the neckline, then tie or tuck at the centre front neckline: in most cases 30 inches on the long side will suffice. Either an all-over lace design or something special on the two short sides of the triangle is desirable. It should be white on white, or at most, minimal pale or silver embroidery.

A square silk scarf with an intricate border, folded or cut in half on the diagonal;** a sheer triangular evening shawl; or similar garment will work.

The corner of a lace or sheer curtain panel or tablecloth with a wider embroidered, lace, or applique edge is a good choice, if you can find one where the fabric looks natural and not plastic. I had no luck there, but I know I’ve seen them.

Another option is a doily or lace table runner. The rectangular doily at top centre in the photo is 16 inches on the long side. It can be cut on the diagonal, then the pieces moved and the short edges attached so it makes a triangle. Similar to the Regency cap I made, this lace is a bit heavier than true Regency, and I suggest working to find something lighter weight.

Fake sleeves:

Dress with long sleeves removed, 1818, Metropolitan Museum of Art

Matching detachable sleeves from gown of 1818, Metropolitan Museum of Art

In the same vein, it was not uncommon for a gown to have removable sleeves to create a morning gown from an evening gown. They fit over or under the short, puffed sleeves. Sometimes, they were made in the same fabric as the gown.

Basic sewing skills are recommended for making a convertible gown by removing long, puffed sleeves from a thrift shop gown and remaking both sleeves, or making new sleeves to be added.

If you choose to cut a long sleeve off, co-ordinating fabric will be needed for the cuff of a new short sleeve. It may be possible to steal it from elsewhere on the dress: a wide hem, a too-long skirt, moving a seam, the cuff of the long sleeve, etc. If you’re lucky, you might find a scrap elsewhere in the same colour and texture—but unless you made the original dress, that’s almost impossible. Cuffs were narrow, so it’s not a lot of fabric, but it should co-ordinate well, and match any cuff on the long sleeve.

If a match proves difficult, a complimentary fabric that’s obviously unmatched can enhance your gown if you use it elsewhere, for example, make the cuff from the same complimentary ribbon at the gown’s high waist or new trim you’ve added at the neckline or on the skirt hem. Another alternative is to put coordinating flat lace over the cuff to disguise a slight mismatch.

If the original long sleeve was puffed, the part you cut off should be narrowed a bit, and the end to be tucked under the new short sleeve should be finished with matching bias tape so you can keep as much length as possible, yet have a sturdy edge to whip-stitch inside when needed. Don’t make the cuff or new long sleeve too tight!

If you’re making new sleeves, keep in mind that Regency long sleeves tended to be very long and close-fitted. Take advantage of making them new, and have them go from inside the cuff of your short sleeve to your fingertips, flared a bit to go over your hand. Wear them slightly tugged up along your arms.

New sheer long sleeves can be added over a puffed sleeve, too, as in the example from this article in Jane Austen’s World.

When you want to wear the long sleeves, you baste or whip stitch the tops of them inside the cuffs of the short sleeves.

My cool idea for an alternate!

An interesting additional option makes it super-simple to create a convertible gown: A very lightweight, white, sheer or lace, long- or three-quarter-sleeve blouse with a high neckline and collar, in cotton, silk, or similar fabrics, can be worn under or over the corset of a ball gown!

You now have a combination of a chemisette, a set of removable sleeves, and the top of the chemise. You can see the effect under the fuschia under/overdress in the photo of my selections, above.

Add a floor-length half-slip or your version of pantalettes, pop on your ball gown, and you have a morning gown, and you’re ready to make calls!

But watch out—the “morning” didn’t start until 11 am, and a fifteen minute stay was all that was polite unless you were close to the hostess. Of course, you didn’t want to risk offense by making any assumption, so at fourteen minutes, you began to say your farewells! It took more time to travel between calls than was taken chatting!

The AHA Chat Chits could not handle that. At least they would be able to ghost a bit in the carriage. I wonder what priorities in conversation would be chosen if they had to minimize their chat time? Austen’s novels? Novels based on Austen’s work Hot men? Chocolate? Dodgy history topics?

When the night time comes, of course, the add-ons come off and you’re left with the abbreviated bodice again! Roll that top down, honey, it’s a convertible, and it’s time to have fun!

~~~

NEXT POST: I’m running out of time in this series, because I promised to show the whole costume by the end of June, and we still have to do reticules, bling, show the final outfit, and provide the quick checklist. I’m pretty sure reticules will be two posts, unless I can figure out how to show how to make the clever designs without showing the whole process.

Anything I don’t absolutely need for a base costume will be in bonus posts, though: Outerwear (spencer, pelisse, shawl), additional accessories (fan, parasol), ball gown, the “tricks” to fake Regency, In addition, I had an idea for give-away’s in Louisville.

~~~

Notes:

* “No-sew” or hemming tape is a non-woven tape that can be used instead of machine or hand sewing where there is not too much load or stress on the seam. It must not be used alone for such things like setting sleeves, bodice seams, crotch seams, or attaching a skirt. It works well for hemming and finishing cut edges. It comes in two types: iron-on (fusible) or no-iron, which is similar to double-sided tape, but the tape is fabric and not plastic.

** When you adjust the product you buy or salvage at home, you should finish the cut edges by machine or hand stitching, or with ¼” wide hemming or “no-sew” tape. Invisible cut edges can be hemmed with a double fold pressed in before attaching. If the edge is visible, a narrow ribbon, flat lace, or matching narrow bias tape is nice.

*** The Problem of Regency Buttons

Pearl and metal buttons, 1780 to 1820, Luckcock Collection, Birmingham Museum of Art

In what remains of her letters, Jane Austen commented to her sister, Cassandra, that buttons were expensive. Examples from the Regency can be seen in the photo. It’s not easy to find inexpensive buttons to match, and reproductions come with a hefty price tag. There is also the issue of hand-sewing buttonholes or eyelets to be authentic.

The good news is that buttons and laces appear to have been used in only about 20% of gowns: ties were more common, as well as hooks and eyes.

If your chemisette (or gown) has modern buttons, you should replace them. Oyster-shell buttons or kits for self-covered buttons are inexpensive and common in fabric stores. The self-covered button-making kits are easy for the novice. They were common on waistcoats for men.

The craftier costumer may like to try making buttons from cording, such as knot buttons or Dorset buttons. It takes a fair bit of experience on larger sizes to be able to make Dorset buttons well. Small plastic loops in bags of around 20 are inexpensive in draperies departments of fabric stores. Sea Green and Sapphire has a tutorial.

In my old sailing days, I tried making a Monkey’s Fist knot one rainy Saturday, and it took far more time and patience than I had, and I was working with rope large enough to make a knot a little large than the size of a ping-pong or squash ball. This is a bit simpler, and Paracord Knots’ video shows how to make it.

If you’re sensitive that the existing button holes on your chemisette or gown look machine made, either hide or remove the button hole panel, with alternatives as follows:

Remove the button-hole panel, re-hem, and add fine ribbon ties or make loops for the buttons at the neck, plus more locations as needed. The edges do not have to overlap: the layers of other underthings will hide skin!
In front, hide with trim such as a co-ordinating flat lace panel. When you attach this trim, leave gaps to allow access to fasten buttons. Replace buttons with flat ones if they make lumps on the trim panel. For a gown, check out historical pieces with decorative panels on the front of gowns, such as the example.
For back buttons, use period-looking buttons large enough to cover most of the hole.

Note that frogs are not the best choice for this type of garment, but are good for outerwear in the Regency.

~~~

I had a good shopping day today. I found satin ballet flats in white and in pink, plus buff-coloured flat, laced ankle boots, with a light sole and heel, for Regency half-boots.

Ribbons were on sale in a craft store, and I got a dozen colours of varying widths. Some will be for the tricks that I’ll show as a bonus post after this series ends the end of June, and some will be used for that Lydia hat.

All this modifying of gowns has made me consider making a simple one or two, and there just happened to be Regency-looking fabric for $7.99 for 2.5m at Value Village. I hope it doesn’t wind up in my closet for 20 years like the last time I said I’d make a dress!

~~~

The Thrifty Regency Hat-trick!

Posted on May 18, 2015 by Suzan Lauder

No rabbits are involved in this type of hat-trick! However, once in cricket, four times in NHL hockey, and twice in rubgy, three hat-tricks, or three sets of three goals scored by the same player, have taken place in a single game. Other games also use the concept of a hat-trick.

Our Thrift Shop Regency Costume Experiment is also doing three tricks with hats this week—well, two are technically bonnets, and you’ll have to wait for them until next post.

You say, “What? You said three hats this week, now it’s only one?”

I reply, “Yes, because the post was a million years long, and your eyes would have glazed over. Instead, I’m doing two posts this week, and the other hats will be in the next one!”

And you say, “Two posts? YAAAAAYYYY! You’re our favourite!”

Of course I am. And every fine lady holds a parasol in a Regency ballroom, too.

~~~

Capote Hat

This is the most common type of hat at Regency costume events, probably because it’s fairly easy to make and is quite cute! It’s not nearly as common in Regency fashion plates or paintings, though; that’s where the poke bonnet shines. The capote is the one that looks like a tea cosy or shower cap over a brim that’s narrow in the back and moderate in the front, or goes about ¾ of the way around. The proper description is “a firm brim with a soft cap.”

I found the perfect shaped brim in a green and natural-coloured straw visor with a mid-weight cotton band and bow. You can see all the fabric and trim options for all my hats above, along with this hat. Some are too bold, others too plain, and some too matchy-matchy.

I’m not using the little green velvet hat, as I love it for everyday modern, and won’t modify it. I may dress it up as a turban, but I like the table-runner turban, which goes well with the gown I like best for the ball at the Louisville JASNA AGM this fall.

I chose one of the pair of 19″ square gold silk dinner napkins as the soft cover for my capote.

I removed the bow from the hat, but not the fabric, choosing instead to turn it up to help support the new fabric.

Here are the steps used to make the cover, with accompanying photos (click on thumbnails to see larger image):

Cut the napkin into a circle (procedure for an easy way to cut a circle is at the end of this post).
Cut a matching circle of your lining material.
Measure distance around hatband level. Cut a length of 1″-1½” wide ribbon about an inch longer.
Place 1½”-2” strips of double sided tape about ½” above where the brim meets the crown of the hat (under where the hatband would sit) in four equal spaces; scrub/burnish with your fingernail to ensure they’re stuck.
Align the grain of the napkin fabric circle front to back and attach to the front and back pieces of tape; burnish with your fingernail. Repeat with the tape at 1/4 marks.
Place another 4 pieces of tape half-way between the first four and press down the centre of the fabric between them. Scrub with your fingernail to make sure tape holds.
Continue putting tape half-way between previous positions and pressing down cover until tape is continuous or gaps are less than ½”.
Fold in half and position fold at front centre, then wrap around to back. Fold one end under and tape underneath to ribbon below it.
Adjust folds in napkin fabric as needed to get the look you like.

My hat was lined under the brim, but it was unattractive. It added stiffness, so I decided to leave it and cover it. A pale gold 3” wide wire-edged ribbon was about the same width as the front of the brim, so I chose to use it, removing the wire edges first. It will be easier if your fabric is wider than the space you want to cover.

Here is how I attached a pleated lining to the underside of the brim:

Mask off the areas you don’t want to glue: masking tape works well for narrow spaces, and paper for others.
- I covered the interior circle of the hat with a loose piece of paper, then made loose arcs of paper about 6 inches wide to tuck under the brim to protect the napkin cover.
- I used 2″ strips of masking tape to cover the edge that matched the top.
Put newspaper on the floor of your work area at least 3 feet square.
Spray glue on the area you wish to cover.
Wait 5 minutes. The glue should be sticky enough to hold fabric in place, but not so sticky that it can’t be peeled back and adjusted: a bit stickier than “Post-it” notes.
Start at the centre front of the underside of the hat brim and fold pleats in opposing directions, with the outside of the pleat slightly wider than that at the crown part (centre). A nice size is finger-width. The stiff net material I worked with kept its fold nicely, so I would recommend a stiff but not heavy fabric.
Continue down each side, aligning the outside edge.
Cut a ribbon the same size as your hatband ribbon and fold in half. (You can also use bias binding tape, a cloth tape with lots of give.)

If you are not lining the hat:

Trim the brim lining to just inside of the hole for your head (inside of headband).
Run double-sided tape along the inside edge of the pleats, just barely on top of the pleats, and continuing past them inside.
Start at the centre front with the middle of the second ribbon or bias binding tape, and attach the outer edge of this ribbon along the edge of the tape just to hide the edge of the pleats.
Ease around curves, that is, slightly compress the short side of the length of the ribbon edge without folding, so the long side can match the curve.
At the end, fold the edge of one end of the ribbon under. Use double-sided tape to attach it over other end for a neat finish.

To line the hat:

Take the circle of lining fabric that was cut the same size as the napkin circle and place pins at each ¼ around the outside edge.
Using the second ribbon or bias tape as above, run double-sided tape along the length of the ribbon along one edge only. Mark ¼ lengths with pins.
Attach the circle of lining fabric to the ribbon about 1/3 of the way up, pinching pleats in along the way. Leave the ends free in case you need to adjust when attached to the hat.
Continue from the third point in the section above. Remove pins.

To add lace or ribbon to the outer edge of the brim:

I wasn’t crazy about the look of the unfinished edge of the pleats, so I decided to add lace.
This can be done from above or below.
Tape the brim edge with double-sided tape the entire width that you expect the lace to cover.
Start the middle of the lace at the center front, similar to how you’ve attached the ribbon in the previous section. Ease in the lace (push edges together slightly but don’t fold) so it does not “roll” over itself.

Final trim:

I used some small bouquets of fabric flowers purchased on sale at a fabric store, a bit of ribbon folded accordion-style, and a stick pin with a petit-point rose in it, made by Grandma Lauder!

~~~

Total cost for this hat: Under $10!

The visor was $1.99, and the napkin was in a set of two for $1.99, both from Value Village.
Value Village was also the source of the ribbon, in a “grab bag” of more than a dozen bits for $3.99, as well as a 2m piece of cream lining satin for $1.99.
The lace came from the spaghetti straps of a “Frankenstein” dress that was $14.98 and still has about 4m of other types of lace, plus some large panels of embroidery I plan to use on an evening gown.
The little flower sprigs were $.50/each times three.
I used a half package of double-sided tape for $2.99.

~~~

Trimming your hat or bonnet:

Flowers, foliage, feathers, and such are common on the sides, and sometimes on the back or the front of Regency headwear. We can’t tell from photos whether both sides of the hat were trimmed the same, if they were asymmetrical but both trimmed, or if only one side had adornments.

These days, it’s really up to the wearer, as long as you make an effort to have a Regency look. Like gowns, the amount of fussiness and elaborate details increased as the Regency went on.

A little garnish does go a long way, so here are some ideas to whet your appetite.

http://historicalsewing.com/trimming-regency-bonnet-ideas-instructions
http://www.janeausten.co.uk/trim-your-regency-bonnet/
http://www.songsmyth.com/hatsandbonnets.html

~~~

To cut a circle from a square:

Fold into quarters.

Keeping centre point on top and open edges towards you, fold again, twice.

Cut off uneven ends at an angle so two long sides are about the same length from the centre point (top).

Unfold and look where it needs to be trimmed. Refold if it will make it easier to trim. It doesn’t have to be perfect for this situation. Press out the creases before you use it.

~~~

NEXT POST: the Pink Hat goes all bonnet on tTSRCE!

~~~

road trips with the redhead

a blog by Suzan Lauder

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