I’m staring and staring, and I really think there are 2 full layers of black lace that go all the way up to the waistband. There are falling lines, folds, indicating drape in the lower, longer tier that show *under* the shorter layer. You can see the longer layer of black lace folded under the
I started my skirt this weekend, but I have a bunch of probably dumb questions… First, any recommendations for pleating into the waistband? I have a lot of fabric (maybe too much — about 5 yards, iirc) and several layers. Cartridge-pleating, box pleating, knife pleating? Other? Combo? Also, should the waistband be shaped somehow (dip
Katherine and Kendra, thanks for both of your opinions! I do like the shape of the petticoat — hard to tell in the fabrics picture, but when I floofed it all around, the skirt looked like it will have a really good shape, well-domed, true enough to the period, imo. Which was the whole point
I’ve actually sewed something! But it causes more problems than it’s worth 😉 Since my hoop is an ugly generic black bridal hoop, I made a ruffled petticoat to go over it, lest the cheezy boning show through. I suspect this is of highly questionable historical accuracy since the extant hoops have lots of closely
Add to questions about historical accuracy: Trystan’s hoop is store-bought and corset is general Victorian, not specific to the year, so take that as you will (but I did make it myself, Laughing Moon pattern, y’all know the one). I haven’t contacted the Masquerade Directors yet (Shelley Monson and Ellie Farrell, btw), been totally distracted
At the Doubletree Hotel in San Jose.
Here’s the completed gown as I wore it to 12th Night.
Didn’t someone suggest that the shorties (like, ehem, Sarah and me) wear a little bit of a heel? If so, I have simple black pumps with louie heels that would work. I’ll also keep trolling my thriftstore for white that I can dye to match my gown, but there’s enough black lace on mine that
I bit the bullet and commissioned the lovely and talented Sarah to make this gown for me! She took my concept, tweaked the pattern she and Bridget made for my 1580s doublet, and *ta-da*, created a fabulous ensemble for 12th Night. She rocks and a half 🙂 All I made was that beaded girdle I’d
This one’s been on my mind for a while. In fact, this portrait was one of my early inspirations for what became the 1580s gown. I love the stripes, of course, and I really love the high, closed doublet front (and I did go for that style in the other gown too). The little ruffs,
Seriously, why do you costumer folk love her? Nice books, but she made diagrams of clothing worn by mutant pygmies. Im-freakin’-possible to scale up from for real people, unless you enjoy frustration or are some kind of architectural genius. I was seduced into thinking I might use those books for genuine costuming applications (as opposed
Photos from Kendra at Costume College 2007.
I should be doing something productive, but instead, I’m fantasizing about costume … the costume is the zone-bodice 18th-century gown, because some delightful pale blue silk twill I ordered from Fashion Fabrics Club arrived last night (before I went out to dinner for my stepdad’s birthday). It’ll be the perfect contrast for the black embroidered
I’m really hankering to work on 18th-century stuff. No event in the immediate future, just a bunch of fabric calling my name. Specifically, it’s the blue caraco. And I’m wanting to make it a zone bodice now. Would a caraco jacket be zone-fronted? I couldn’t find any examples in Kendra’s real women’s clothing links (actually,
Wore the apron at Costume College on Saturday, when I took the light-saber making class. Very practical apron, yet also a nifty costume at the same time. I wore it with a white button-down shirt, a black tie printed in silver with machinery gears from Cyberoptix on Etsy, a black knee-length knit skirt, black-and-white stripey