Photographic Inspiration - An Empress Sissi winter ensemble

When I started this blog, I rather optimistically planned to have all of my completed costumes uploaded within weeks. But life never turns out quite the way you plan and I am now at least a year behind my original schedule!

So, with the nights drawing in and a definite chill in the air, I decided that it was more than time that I shared one of my favourite projects: a winter dress inspired by a photograph of the Empress Sissi of Austria .

Empress Elisabeth - 1865

Ever since I watched the "Sissi" films with Romy Schneider, I have been fascinated with Sissi and especially with her wonderful clothes. There are some truly wonderful portraits of her, but I especially like the photographs as they have a sense of reality that the paintings never quite capture.

When I came across this photograph I was looking for inspiration for a winter ensemble that I could wear for a Victorian Christmas event held in the historic dockyards in Portsmouth. The theme is usually a Dickensian one and so I knew I wanted a crinoline but, with only a few weeks to make the costume, I initially had in mind something simple that could be finished quickly.

However, once I came across this photograph, nothing else would do. So what if was going to take hours to apply the fur trim and the braiding?!

The first thing I did was to try imagine the colour. At first I thought dark green would look good but when I got to the fabric store I didn't like the shades of green and chose a deep burgundy wine red instead. By chance I already had some braiding that was suitable for the front and I sourced some beautiful military brass buttons.

The only barrier remaining was the fur trim... I had chosen a cotton velvet to stay as authentic as possible and wanted to avoid synthetic fur at all costs. However, I knew that I would not be able to afford or easily find pelts so I began look for vintage fur coats that could be salvaged for their parts. I didn't have much luck to be begin with but then I came across a 1950s beaver lamb coat at a vintage fair. At first it wasn't really intended to be cut up - I quite fancied wearing it with some of my 1950s dresses. But after wearing it once or twice I discovered that it was so heavy that I always got backache and there aren't really that many occasions for wearing a fur coat in the UK, especially as I was living in the south of England at the time where it doesn't really get cold enough. And I had after all only paid £10 for the coat...

The coat was therefore sacrificed and in a short but moving ceremony made considerably shorter by cutting strips from the bottom. In the meantime, I started my costume with a simple 1860s bodice that could be worn underneath the paletot. This was inspired by another photograph of Sissi, possibly from the same photography session in which she appears to be wearing the same skirt.

I used Truly Victorian's darted bodice pattern (TV446) and made up in the same burgundy cotton that I bought to line the paletot. The buttons were self cover buttons made up with the paletot velvet and I used some lace that I tatted myself for the collar.

Truly Victorian Darted Bodice Pattern - TV446 (from https://www.trulyvictorian.net/tvxcart/product.php?productid=16)

The tatting - after a few experiments, this was my first full size piece of tatting

Then it was on to the pleating of the skirt. I used Truly Victorian's method which involves pinning the fabric to a waistband on the mannequin and constantly dividing the excess fabric in half until the pleats are small enough to be pinned to the waistband.  I will save the details for another post but it is a great method if you are not working to a pattern and simply have one long tube of material to pleat up. And although it may be time consuming and somewhat dangerous if you consider the number of pins sticking out of the waistband when you take it off of the mannequin, it is simple and effective.

The pleats all ready to be tacked

Finally, the best part of the project...the paletot. For this, I used Past Impressions Pattern 419: 1860's Paletot Overcoat and adapted the sleevs to make them narrower at the wrist.

The paletot was made of the same burgundy velvet as the skirt and lined with the burgundy cotton. I took the collar from the original coat and applied this to the neck of the paletot and applied strips of the fur to the cuffs and hem. And this was the finished result with the gold braid and buttons:

I had great fun wearing this costume at The Portsmouth Festival of Christmas and even made the local news on my Dad's arm. I also proved that a crinoline doesn't stop you from climbing on and off of ships (although I gave climbing through a hatch to get onto the Victory a miss) and riding a small horse but didn't go quite as far a trying to ride a bicycle!!

I wore the ensemble with a matching fur hat that I made specially from scraps of the fur coat. This was made using an original Victorian pattern produced by Ageless Patterns.

Ageless Patterns #1580 1868 Ladies Fur Cap - FIND THIS PATTERN HERE

My version of the cap being modelled by my oil lamp!

And, of course, there was the underwear. As this event was in December I knew it was going to be cold so I opted for an authentic Victorian solution: cosy red flannel. I made up drawers and a chemise and was very glad I did. It was like wearing my favourite pyjamas under my costume and I was warm and toasty all day, even though the weather was very icy and the event finished after dark.

Luckily the Empress did not attend the event, thus avoiding any "she's wearing my dress" embarrassment!!

An 1858 Walking Dress

Photograph by Jenny Edmiston

My second ever costume was this 1850s walking dress. It's was all very well having a beautiful ballgown, but it's of little use during daylight hours! So, as the festival I was attending lasted over a week with lots of outdoor events during the day, I wanted to be able to make the most of these opportunities to dress in costume.

I would have liked to have a few more changes in my wardrobe, but I only had very limited time to get my dresses finished and by the time the ballgown was complete I only had a few days to come up with some suitable daytime attire.

I went for the quickest and simplest option with the skirt by cutting three rectangles from the full width of my fabric and pleating them directly onto my dress form as per Truly Victorian's instructions on the ballgown pattern. This method is rather prickly as it involves a lot of pins but I have used it since and find it works quickly and effectively every time.

Then for the jacket I used Simplicity's Civil War Pattern (3727).

Simplicity 3727
Image from sew'n'sew patterns on ebay

I absolutely loved the pagoda sleeves on this pattern and also based my trimming on the fringe you can see in the picture. I flat-lined the jacket (but not the sleeves) with stiff cream cotton curtain lining and hand-stitched steel boning from Vena Cava Design to the seams. The collar and the engageantes were made separately, trimmed with a broderie anglais edging and tacked to the sleeves and neckline.

I found that the jacket went together really quickly and I enjoyed working with the flat-lined pieces which are very easy to handle. The hard work was the trim which I sewed on by hand - I think this probably took longer than the rest of the sewing put together! Not helped by the fact that I baulked at the price of velvet ribbon and economised by buying cotton velvet fabric instead and cutting it into strips myself.

But I think the result was worth it:

I accessorised the dress with a black lace parasol and fan from Vena Cava Design, white cotton gloves and a bonnet that I made by cutting a small section out of the back of an ordinary cheap straw sunhat and decorating with ribbon and artificial flowers.

I love wearing this dress because the fabric is actually very light and it moves beautifully. It also makes my laugh because my brothers call it the "cowgirl jacket" on account of all the fringe!

Unfortunately I don't have a good picture of the sides or the back but the peplum is shaped into lovely points like the ones at the front.

Photograph by Jenny Edmiston

An 1858 ballgown with petal skirt, part III (more pictures)

And here are some more pictures of the dress at the festival. As I only had the one evening gown, I wore it to two balls.

I also entered it into one of the best dressed competitions (Costume Cavalcade for Original Costumes and Reproductions from authentic patterns) and was delighted to be awarded first prize.

However, as a result of wearing the gown outdoors in the midday sun for the competition (which a well-mannered Victorian lady would never do!) I ended up with a lovely sunburn in the exact shape of the neckline, complete with petals from the roses on the shoulders. Not very authentic at all, but in the pictures from the second ball I have a decidedly rosy glow!

One of my "official" portraits from the ball - unfortunately I hadn't realised how creased the skirt was until I saw the photograph. However the sepia tone does disguise my sunburn!
Photograph by: Jenny Edmiston

First and Second Place in the best dressed competition. I think we make a lovely pair and I was so pleased with my tiny trophy. It was really lovely to be chosen as the winner especially as this was my first ever costume.

On the steps - this is here for no other reason than the fact that I love the shape of the skirt in this picture. I enjoy the feeling of going down steps in a crinoline too - it feels so elegant.

And finally... in the line up for the competition. I'm not quite sure why I look like I'm giving a speech though!

An 1858 Ballgown with petal skirt, part II

Having chosen my patterns it was time for a little research - if you can  really call drooling over fashion plates research!

I also looked at a few extant garments and was delighted to find that, although my fabric wasn't silk, the colour at least was very authentic.

An 1860s pink dress in almost exactly the same shade as my fabric! And it even has the moiré effect.

Pink seems to have been very popular, especially for evening gowns, and after looking at a number of fashion plates I noticed that pink combined with white and a touch of green seemed to be a common combination.

Flowers also seemed to be a recurring feature, so I went with a flower garden theme that fitted well with the petal effect of the skirt pattern.

This was my design sketch:

A quick pencil sketch of my design, looking a bit worse for wear after being shoved into various bags for trips to the fabric shop! I had quite a few of these on various bits of paper and the corners of notebook pages. I was so excited about making the dress that any time I had a moment spare I would make a little sketch of it!

And, once I had all of the necessary materials assembled, after a few days of very hard work and late nights, this was the final result:

A nice picture of the dress as it appeared at its first ball - and before it got creased!

I was very happy with the way that the dress went together. I found the pattern instructions for drafting the bodice quite easy to follow (with a bit of help from my Mum for the fitting) and I was really pleased with how well the bodice fitted when finished. The different size pieces for back and front was as system I had never come across before but it worked really well for me.

It was also my first attempt at boning. I used finished lengths of steel boning from Vena Cava Design in channels that I stitched from the lining material then attached by hand. It was a bit tricky at first but made a real difference to the smoothness of the bodice and made the whole thing feel very secure when it was on.

The skirt was very heavy to wear due to the weight of all the fabric and the layers and I didn't manage to neaten all of the underside of the petals where the white pleated ruffles were attached before the ball, but that didn't stop me from dancing the whole night long! I had never danced Victorian sequence dances before but I absolutely loved it. I was very glad of the fan though as it got very warm inside there!

I wore the gown with a pair of peach ballerina's demi-pointe shoes, which were the closest shape I could find to 19th century dance slippers, white cotton gloves (the gloves that my Grandma wore to her wedding) and a headdress that consisted of a white lace snood decorated with ribbon to match the dress and artificial white carnations.

All in all, I was very pleased with the final effect and very proud of my very first Victorian costume.

An 1858 Ballgown with petal skirt

Given the choice, I am always attracted to beautiful clothes over the more practical ones and this was no exception. As I was making the costumes to be worn at a festival that lasted over a week, it would have made sense to begin with a gown that could be worn outside in the daytime. But my love of sumptuous evening gowns and the lure of a real Victorian ball was too great to resist. So my first real costume project after the underthings was a ballgown.

When browsing Truly Victorian patterns, I immediately fell in love with their 1850s petal ballgown skirt (TV246) which teamed perfectly with the 1860s Ballgown bodice (TV442).

TV246 Petal Ballgown Skirt
 From: www.trulyvictorian.net

TV442 1860s Ballgown Bodice
 From: www.trulyvictorian.net

These two patterns therefore formed the basis of my inspiration for the design of the dress, along with a roll of salmony peach-coloured fabric with a watered effect to resemble moiré silk that I acquired very cheaply at a closing down sale at a local curtain and fabric store.

To be continued...

The Original Outfits - The Underthings

My first two Victorian gowns were made to attend the Llandrindod Wells Victorian Festival. I only had about three weeks to finish everything so I could only manage one day dress and one ball gown and the necessary underthings.

As I have always loved the silhouette of cage crinoline skirts, I decided on the late 1850s as my time period and started my project by stitching open drawers and a camisole (which I now realise should be a chemise!) from a McCall's costume pattern (3609).

The pattern

It was a pattern that I already owned, having bought it some years previously in a fabric store and it made up very easily. However, I would probably not use it again as I am not entirely convinced by the historical authenticity of the camisole top, even if it does allow one to show off one's drawers! In fact, I expect I bought it because the model on the left looks like the girls in Seven Brides for Seven Brothers when they sing and dance in their underwear. Nevertheless, so far none of my research has found any examples of camisoles replacing the longer chemise under corsets so I suspect that it may be a Hollywood interpretation!

Aren't they sweet!
via: sallycooks.com

Still, I was quite pleased with the finished results and they provided a perfectly acceptable first layer for my costumes.

The fabric and trimmings all ready to go...

The finished camisole

Some very frilly knickers!

Unfortunately, for the next layer I had to cheat a little bit. I had never made a corset before and given the limited time available wasn't sure about attempting one. However, I knew that I would never be able to carry the weight of the cage and skirts without a corset so I had to make do with the closest thing I could find to a Victorian corset. And while it may not be exactly period-correct I have to admit that I do love my What Katie Did corset.

What Katie Did - Storm Overbust Corset

 

The real thing



The next step then was the all important one: the cage crinoline. I chose Truly Victorian's cage crinoline and was amazed at how easy it was to put together. Admittedly, I did need my brother to help me cut the steel boning and to slide all of the bones into the casings but following the instructions carefully it was simple to join everything together and I didn't have to do hardly any adjusting to get the hoops straight.

The kit purchased from Vena Cava Design

Gertrude modelling the finished cage



A nice view of the extra fullness at the back

For the underthings then that only left the petticoats which I made up from Truly Victorian's Free Hoop Petticoat Diagram (sorry - no picture) and I was ready for the next step - the gowns.

Next installment - An 1858 Ball Gown