All for Accessories: A Ruffled Apron- Prepping the Pieces

Now that I've chosen an apron inspiration and have my fabric, I need to determine the pattern to get the pieces cut out and ready for assembly. Angela gave me a good start with some general measurements and ruffle length and then I turned to my inspiration image to extrapolate some more specific numbers.

I'm pretty short, so my petticoats end up being somewhere between 36-38 inches so that I don't trip or get my shoe buckles caught in my hem. To keep things proportionate, I figured out the "scale" of my inspiration image. Pretending the petticoat in the image is 36" long from waist to floor (like mine would be) I divvied up the sections of the petticoat, apron body, and ruffle from the waist down in the image.

My probably illegible to anyone but myself math.

As you can see, I started with the whole length, and then broke the sections down by halves. I was trying to originally use a tape measure, but then I decided to take a nod from the Tailor's handbook and use a piece of paper instead. I cut a piece of paper to the length of the petticoat (pictured underneath the pencil) and folded it in half, half again, half again, etc. to make incremental measures which could later be converted to inches (as seen in my paper measure above the pencil.) This would give me a "key" of sorts with which I could measure the apron.

Close up of ruffle

This was particularly useful when getting to the ruffle detail around the apron, because as you can see in the close up image (and as Julie from the Fat Reenactress pointed out in the original post's comments) the ruffle is not the same size all the way around the apron. It grows from smaller near the waist to largest round the bottom. It's also curved round the corner. So, I needed to figure out the ruffle's width as it progresses round the apron body. Cue handy measurement card.

Using the measurement card to get a general idea of
the ruffle widths.

It starts out at just over 1" wide near the top and progressively grows until it reaches somewhere between 3 3/4" and 4" round the bottom. I'll need to hem both sides of the ruffle with a tiny rolled hem so will need to add a touch of seam allowance. I'll also need to be sure that the varying widths are in the appropriate spots post gathering to the apron. I did some more math and sketched out the pieces, then decided to just cut!

After cutting all of my pieces, I happened to toss one of the cut ruffles on my yellow striped gown (which happened to be nearby).

Oh man. The oyster color of my apron fabric doesn't look so fabulous next to the yellow and white stripe. I am in love with everything about this fabric, though- the stripe, the hand, the weight. But if I'm going to be able to happily wear this apron with that gown I think I need it to be whiter.

Before going crazy, I took a scrap of the striped muslin and did a tester in a light bleach bath. So far so good:

You can see the original oyster colored muslin on top.
Lightly bleached version on the bottom. 

The bath was enough to brighten the fabric from the oyster to a somewhat brighter white (it's not optical white, by any means, and in person there is just a slight difference) but it's enough to make it look less washed out next to the yellow gown. I love how crisp and striking the stripes turned out, also.

I'm currently soaking the apron body in the light bath (I have extra fabric in case it goes horribly awry!) and I'll soak the ruffle pieces next. I've already sewn the ruffle together (because I was impatient) so it just needs hemming... lots of hemming... and I'll be well on my way to my first really fancy, dressy apron.

All's Fair- LBBC Fine Honey Lip Pomatum

After having picked up some pretty promising historical cosmetics from LBCC in February, I decided that it would be kind of cool to, you know, officially review them (now that I've had time to use most of them).

While my husband and I purchased a number of items, I'm going to review them one post at a time so that I can give them my full attention and be detailed without going nuts with the word count.

Up first: 

Fine Honey Lip Pomatum (1747)

Cost: $5.00
Product Description:  .5 oz Tin

This lip salve is made from an 18th century recipe from The Art Of Cookery (1747).
The original recipe calls for "virgin's Wax" (beeswax), Hogs Lard,  Spermaceti ( Sperm Whale's oil), Honey, Almond Oil, Sugar, and Raisins (which seem to be popular in 18th century recipes). Today we use Jojoba oil, which is a comparable replacement for the Spermaceti, Bees Wax, Honey, Almond Oil, and Sugar. I left out the raisins and added spearmint, which was also very popular in the 18th century.
This is also available in a modern label as well. (I purchased the historical label, but if you'd like to see the modern label check out the LBCC etsy page.)

This is what the actual insides look like!

Uses: Well, it's a lip balm. 

Pros: I really like that it's a historical receipt and it's not tinted, so guys can use it, too! The spearmint is a pleasant touch as it adds a nice scent to the balm. It's not overwhelming, though. I can't use the regular Burt's Bees lip balm because the minty-ness is too much for my lips (yea- I'm super sensitive to that stuff). However, I can use this balm with no burning tingles.It actually lasts a long time- so if you're thinking $5.00 for lip balm? You're crazy! On average we spend $3-$4 per 0.15 oz tube of Burt's Bees.

Also, I know what's in it and from whence it came. That's important to me.

Cons: The biggest con for me is that when I have greasy fry fingers I can't get my tin open! LOL! I guess in reality it's good that the lid doesn't just pop off willy nilly (and my husband never seems to have this problem- so maybe my lady fingers are just not brawny enough?) but there it is... take it for what you will. Oh, and because it's not a stick like modern lip balms you use your fingers for application. Not necessarily a con, just something to keep in mind.

How well does it work: Pretty well. I actually started using this instead of my "modern" lip balms. But, to go the extra step check out the picture below. I stopped using my pomatum for a few days and took a picture of my "naked" lips. Then I took another photo directly after I applied the pomatum. Then I waited about an hour and took another photo of what my lips looked like at that point. I may post a follow up with a photo after long term use again, but I thought this would at least give you an idea of the effectiveness of the product. (P.S.- sorry for the creepy lip pictures. If you can believe it, it was kind of creepier when I left in more of my face so I just cropped it down to my mouth!)

My lips before, shortly after, and a bit later after application of the pomatum.

As you can see, my lips are noticeably less dry and chapped looking after application and the effect of the product lasts a couple of hours before I felt like I wanted to reapply.

Modern Counterpart: I have used Burt's Bees lip balm before, but I have to say that this pomatum makes my lips feel more like when I use the MK Satin Lips lip balm. It's very soft and silky and not as "waxy" feeling as some of the BB's products. I feel like it absorbs better because of that and leaves me feeling like I need to reapply less often. I also don't feel like I get that coating on my lips that some lip balms leave- you know when some of the skin peels in kind of a mushy white weirdness. (Maybe that's just me?...Moving along...)

Recommended for: Everyone. Whether you're into historical cosmetics or not this is just a nice lip balm. Even better if you're needing something for your living history events so you don't have to hide the tube of shame! (Just kidding- but we've all been there, right? Cold, windy, event and your lips are chapped and you have to huddle in a corner to pull out your chapstick tube and apply quickly so nobody sees what you're doing... and then you realize that the "corner" you're hiding in isn't a corner at all and thirty people just took a picture of you applying product from a plastic tube and you just know it's going to be on some "reenactors caught red handed" facebook page or something. Wait...is this also just me?)

In Conclusion: A good product for your money in any period. It's nice when some products can do double duty and work in both my modern life and my historical one. This is happily one of those products.


Stay tuned for more historical cosmetic reviews, including the 1772 Rose Balm Lip Salve, 1889 Bay Rum After Shave, and the Ancient Insect Repellent!

All for Accessories, Accessories for All: A Ruffled Apron- Preliminary Research

Happy Easter! Spring seems to finally be peeking its head out in Northern Illinois, which means event season is upon us. With events, come my desire for new items in my wardrobe. While I am plucking away at a new pair of stays not only for myself, but for three lovely friends, as well, I want to make something beautiful that will actually be seen by someone other than myself! (You know the feeling, right?)

Inspired by Sarah Woodyard's Morning Ramble ensemble (view it here at Two Nerdy History Girls or check out the project as they progressed via the Margaret Hunter Shop on Facebook), I decided to attempt an apron unlike any apron I've made before: one that's dressy and with ruffles!

While surviving aprons accessible via the internet aren't exactly abundant, there are a few aprons done in whitework that are documented, as well as silk with a combination of embroidery and lace. There are also a couple aprons out there that represent the lower sort (but that's a post for another day/another apron.) There are probably way more in collections that aren't view-able online, but because I'd like to start my apron this weekend for now I'm limited to what I can get my hands on via the web. Even though we may not have a ton of extant aprons online, perusing the collection at the Bunka Gakuen Library, I found this lovely lady:

Check out her apron- Ruffly love!

That's kind of the effect I'd like to get. Luckily for me, when I was at my last workshop I picked up some sheer striped muslin with a fancy apron in mind. Angela helped me figure out how much to get and gave me a rough idea of measurements. I didn't even think to ask for more detail regarding construction- doh! Oh, well. Live and learn, right?

The striped muslin from B&T. Single
layer on bottom and double near top.

While the apron in the first print isn't striped, I like the idea of a stripe for mine. It's legit for the period, too. (Yep, I just said legit...) Another search of the Lewis Walpole Library Digital Collection returned this studious beauty:

There is a subtle stripe to this apron similar to that
in my fabric. 

Let's not forget checking any advertisements available, either. A cursory search of the Virginia Gazette Archives turned up this little nugget:

"Just imported in the last ships from London, and to be SOLD on reasonable Terms by the Subsciber in Williamsburg, ...striped bordered Muslin Handkerchiefs, flowered and striped Gauze Aprons, plain Gauze, long Lawns..." (emphasis added) Virginia Gazette, October 15, 1772

All things considered, I'm feeling pretty good about this apron. I think it will be a nice addition to my wardrobe and (bonus!) a good chance to practice my rolled hems to prepare for the High Hair and Coquettish Caps workshop coming up this May. Not bad a'tall, if you ask me. =)

The Devil and His Details!

A short while ago I was happy to find myself at yet another Burnley and Trowbridge workshop. I'm kind of a junkie, if you didn't already know. What could be any more awesome than spending a weekend learning 18th century tailoring, mantua making, and millinery with some of the nicest and most informed folks around?

My child size waistcoat front and
back semi-finished from class.

This workshop was entitled Devil in the Details  and focused on coat and waistcoat construction. The magnificent Mark Hutter and his apprentice Michael McCarty were our task masters (erm... instructors...) for the weekend and they did a phenomenal job at giving us so much amazing detail that our brains were near bursting when we left. (Well, at least mine was- I can't speak definitively for everyone else!) 

Near bursting brains aside, it was a blast! Mark has probably forgotten more about 18th century tailoring than I could ever hope to learn, which makes it so much fun to spend a weekend under his tutelage. The goal of this class wasn't so much to complete a coat/waistcoat in a weekend (if it were, as you can see from my picture I would have failed miserably on that count) but rather to learn the more subtle details of the construction of a coat/waistcoat that we are then able to take with us and apply to all of the cool new coats and waistcoats we'll make in the future.

Unknown portrait from our tour.

I attended this class with a friend, and while we missed the Friday portion of class (super bummer!) we worked extra diligently to get all caught up on Saturday. Friday night's homework was pocket flaps, so Saturday we arrived early and got to work. Once we were caught up, we tried to stay on pace with everyone so we wouldn't have a ton of homework Saturday evening. Saturday afternoon, we learned set in pocket bags, applied pocket flaps, put in our buckram and button stands, and were ready to set in the linings for homework. Our diligence paid off.

We finished our homework Saturday evening and had some time left over to be able to go on a ghost tour/investigation at the hotel in which we were staying. The manor house was built in the 1730's and burned down at some point in its history but has been restored. As we were walking through the main hall I saw this portrait and couldn't help but snap a picture. Sadly, the tour guides didn't have any information as to the gentleman in the portrait, but I thought it showed some nice details of his coat and waistcoat.

Michael McCarty switching threads
on an "astral" button.

Even though we missed some of the demo of death's head buttons on Friday, Sunday afternoon Mark and Mike put together a variety of demos for us so that we could pick which things we wanted to try individually. I was really excited that multi-colored death head buttons and basket weave buttons were some of our options! I think buttons seem like such a small thing but can make a really big impact on gentlemen's clothing. I'm working on finishing up a civilian waistcoat for my husband (let's not talk about the new coat he severely needs- or that regimental and small clothes- eek!) so this class was timely for me. Now I will get to apply everything I learned relatively close to the end of class, so hopefully it will stick! 

The end of a workshop weekend is always bittersweet. While it's nice to come home, it's sad to leave. While it's so cool that Angela let's us run a tab for everything we purchase over the weekend, it's always a little painful when I realize how much I spent... okay, just kidding. I budget pretty well for these and I can always justify what I'm purchasing as an investment in my historical wardrobe! This time, I even got a pair of shoes for my husband. =) Behind=covered!

Mostly, though, when I leave a workshop weekend I am inspired to be better and I feel more equipped to do so. I also can't wait to go back. Did I mention I was a junkie? Without meaning to wax poetic, without these workshops and the people who make them possible (Angela and Jim, Mark and Janea, and the rest of the crew of the Margaret Hunter Shop) I wouldn't be where I am now in living history and I'm so thankful for that. 

On that note, and until next post, I'll leave you with our end of workshop photo:

All of our coat fronts as a pretty spring posy. =)

"Spring is the Time of Plans and Projects..."

This last week was spring break for the school district in which I work. Breaks are always a mixed blessing for me. While I love the extra time to sew and clean, I always end up falling into schedule with my husband (who works nights) which makes adjusting when I go back to work difficult.

It also seems I'm ten times busier on break than I am during a normal work week, and this break was no different. Monday, I took a trip with my friend R into Chicago for some massive fabric shopping. I ended up coming home with 49 yards of silk taffeta (29 ivory, 20 striped), 1.5 yds black wool knit, and 7 yds dark blue cotton voile.

Left: Ivory Taffeta
 Right: Seafoamish green with coraly/cream stripes

I have plans for just about everything (the ivory taffeta I've only plans for five yards of the roll. *BUT* I figured-you never know when some ivory taffeta will come in handy, right?)

I've also been helping my friend S to get together a better documented kit for her F&I unit. I'm so excited for her and she's doing such a great job! She's been coming to my house once a month or so for what have been affectionately coined "sweatshop Saturdays."  

We've made a ton of progress, so far, so I wanted to share some of what we've done. S has done most of the actual sewing, I've just done the drafting/draping and sewn some when we've needed to be ready for the next step.

S in her new stays - almost done! I took her measure
using what I learned from my  B&T 18th c. stay making
workshop with M. Hutter and we used the stay pattern
from Costume Close Up p.63. 

We boned her stays with a combination of mostly ash splint, metal at CB and a spot or two elsewhere, and some artificial baleen. S wore her stays not only while I was draping her gown, but also while she cooked supper. She said they were very comfortable and was very happy that they gave the girls a bit of a lift. =)

Draping S's gown. Gown draping was my first B&T class
ever (almost three years ago!) I've grown so much from
their classes and I still reference my notes from Brooke's class
to help me make better historical clothing. =)

We got quite a bit done on her gown yesterday, including getting the bodice fronts ready for fitting and setting the pleats in the back. All we have left is to stitch down the back pleats, fit fronts to back, drape/set sleeves, and attach skirts. All said, not bad for a day's work. 

HSF Challenge #5: Bodice (or my first try at draping a caraco jacket)

Another unconventional challenge entry for me this go 'round. I just haven't had a lot of time for sewing for myself lately. That's okay- things come is seasons and sometimes I get to sew a lot for myself (okay, well, it has happened before at least!) and other times I do a lot of work for friends. Lately I've been putting my B&T workshops to use by draping/drafting for friends.

Anyone who knows me through living history probably knows that I'm trying to set some pretty high standards for myself. I don't always make it, but I'd really like to be the best living historian possible. That doesn't mean that expect everyone else to adopt my goals and standards. (We can still be friends if your petticoat is not 100% hand sewn.)

However, I am more than happy to help when a friend is ready to go that extra step towards authenticity and wants to make the plunge into 18th c. territory. Because of this, I was so happy to help when my friend K needed an assist draping a jacket from an original of which she had photographs. K is so well researched, and is a phenomenal mentor to others in living history and I was honored to be able to try to help out (because we all know how easy it is to drape on ourselves!) This was my first time draping to try to re-create a specific original, but it was a good experience and I hope it turns out well when we finish. =) Enjoy!

We only draped the bodice portion, even though the
has the bodice and skirt cut in one. K wasn't sure how much
fullness for the skirt of the jacket so she'll piece it in on the
muslin to test it out before cutting the final fabric in one.
P.S. please excuse the badly drawn lines on the back-
you couldn't see the pencil lines in the picture so I
had to draw them in with photoshop =P

The Challenge:  Bodice

Fabric: Old bed sheet

Pattern: None. Draping to match look of original.

Year: 1770's

Notions: NA

How historically accurate is it?  To the best of our ability, it's as accurate as we can make it. K portrays a French woman, so I'm draping more to what she wants than anything. My classes have all been centered around English fashion so the French is a little more foreign to me.

Hours to complete: 1hr?

First worn: Not yet. K is taking the shapes that I draped and going home to put them together. Then we'll set sleeves when we see each other at an early event for our unit. =)

Total cost:  $0  I will say that while I went into this just to help out a friend, said friend is a lace-maker and has hinted that some lace may be in my future. How cool!

HSF '14: Challenge 4- Under it All (or how I made my friends underwear...)

This post is coming unforgivably late for this challenge, even though the items were "completed" on time. I also have regrettably few pictures. To make up for that, however, I have three items for this challenge!

First up, I finally finished a shift for one of my friend Irene that I have been working on (on and off) for some time. I'm also in the middle of completing a pair of stays for her, but (as usual) have stalled out Now that I'm to the binding. It's just not a fun part of the process. Anyhow, here's the down and dirty on the shift:

Pieces cut and ready to be sewn. I used Sharon Burnston's
article on shifts for diagram and directions.

The Challenge: Under it all

Fabric: Lightweight linen I had in the stash

Pattern: Taken from Sharon Burnston's Shift Article

Year: 1770's

Notions: Linen thread from B&T

How historically accurate is it? Full disclosure- I feel great about it's cut. I hand finished the neckline and cuffs. The hem and body seams are done on a machine. Someday I will make her one that is fully hand sewn, but right now we're still trying to get her a solid kit made up somewhat expediently.

Hours to complete: 4-5 hours? I forgot to time clock this one.

First worn: Not yet.

Total cost:  All from the stash. =D And free to my friend. 

The next "undergarments" for this challenge are a little less complete, but still worthy of posting I think. 

Some of our friends in the Illinois Brigade invited us to spend the weekend with them in a cabin. They do this annually and bring along any little projects that need done before the season starts (and because it's nice to see each other before the spring thaw!) 

Eating... which we did a lot of that weekend!

Two of my friends from the Brigade wanted stays, but didn't know where to start. I thought this would be a great way for me to put to use my (somewhat rusty) skills from my amazing B&T class with Marc Hutter on stay making to draft some stay patterns for these two ladies! I'm sold on the idea that stays are so important and well fit stays make you love your stays instead of hate them! I am definitely not as good as MH is (duh!), but he is such a great teacher and I did my best to apply what he taught us. (Shameless plug- if you ever get a chance, go to a B&T workshop. You will not be disappointed. Seriously. Do it. They have grown me so much in my living history journey!) 

Anyhow- I ordered some linen from B&T, grabbed my trusty workshop folder, notes, my copy of Costume Close Up, Corsets and Crinolines,  L'Encyclopedie Diderot et d'Alembert: Arts de l'habillement, my roll of pattern paper, and Nat's head wrap (because I accidentally left my bandeau fabric at home!) and we were off on a stay making adventure.

Taking Miss Julie's Measure. That's Irene's
shift, btw! All done but for the cuff buttonholes.

Nat showing off his project (his musket) while I work on
patterning Liz's stays.

Even though I didn't get the stays finished (or even started, for that matter) I did get through the important first step. Next will be the partial assembly to test fit before I move on to channels. It was so nice to be able to get some practice in because I don't want to lose the info and skills I've learned from class. 

The Challenge: Under it all

Fabric: Pattern paper and coarse linen.

Pattern:  Taken from Costume Close Up and Corsets and Crinolines, then adjusted to measure.

Year: 1750's/1770's

Notions: How about my notes and handouts from class? I couldn't have done this without them!

How historically accurate is it? Pretty darn accurate. I applied the techniques I learned from my workshop and referenced the original patterns in CCU and C&C and my notes/handouts from class.

Hours to complete: Taking the measure was pretty quick (maybe 5-8 minutes?). It seems to me that I remember it taking longer when we did it in class- but we were also going step by step to really understand what we were doing. In fact, I was worried I'd missed a measure or something. Adjusting the patterns to the measure was a little more time consuming. Probably about an hour or so each. Granted, we were chatting, and the second time it went a little more smoothly because I had done it once already, but overall not bad.

First worn: Not yet.

Total cost:  Just the cost of the linen ($12 yd at B&T). Granted, I have to order some of their lovely worsteds for the outer layers, now. Yum!

All in all, while I may not have finished  a lot of wearable items, I did keep the HSF momentum going and got a good start on some solid foundations for some pretty cool cats. I can be satisfied with that.