interior view of 1914 eyelet corset

Last week I posted pictures of a beautiful 1914 corset. I mentioned that the orange pattern on the fabric was made by basting ribbon to the cotton eyelet. Here is an image of the interior of the corset.

The silk ribbon is very lightweight and doesn't provide any structure to the corset. It was simply basted in place following the lines of the eyelet. If you look closely you can see it's shattering in places. You can also see a dart used to shape the corset. The bone casings are secured at the waist and at the top and bottom of each casing. At the bottom of the image you can see how the casing sits flush at the waist but otherwise floats separately from the fabric.

There is a 1906 patent for a corset made with thin material finished with swiss embroidery. I've always wondered if it was possible to make a corset with such lightweight fabric, and this corset shows that it is. Corsets made with such delicate materials won't hold up to the rigors of daily wear, but sometimes it's nice just to have pretty underthings, not sturdy underthings. 

a teens corset from a single pattern piece

I prepared this lovely corset for the upcoming Kent State University Museum exhibit, The Great War: Women and Fashion in a World at War. 

© Kent State University Museum, KSUM 1983.3.52

Salmon colored ribbon was basted behind cream colored, cotton eyelet to create a striking textile. A double wide strip of the same colored ribbon was basted behind the lace at the top edge. 

© Kent State University Museum, KSUM 1983.3.52

Here is a close up of the fabric and the petticoat hook.

 

© Kent State University Museum, KSUM 1983.3.52

This corset is from 1914 and it epitomizes the long lines of the fashionable silhouette at that time. The center front is 20 inches long. That's long! The skirt reaches to mid thigh. The fabric was shaped with darts rather than cut into separate pieces. The darts have simply been pressed to the side all the way around the body of the corset.

 

© Kent State University Museum, KSUM 1983.3.52

The center back is 22 inches long. So long that darts were needed below the hip line for shaping.

© Kent State University Museum, KSUM 1983.3.52

The waist measurement of this corset is 25 inches. It's mounted with  2 inch lacing gap, so the waist of it displayed on the form is 27 inches. 

There is a wonderful write up about the exhibit at Worn Through. It opens July 24, 2014. If you are in Northeast Ohio be sure to stop by!

It was so fun dressing and photographing this corset. The pattern created by the contrasting salmon ribbon and cream eyelet looks so Weiner Werstätte to me, and I've already mentioned my appreciation of that aesthetic. Also, I'd never seen a corset made from a single pattern piece. Gorgeous, right?

an excuse to wear stays

There aren't many places where one can wear a taffeta petticoat over panniers, stays covered in pearls, and a glittered ship perched on a pompadour and feel underdressed, but the Coney Island Mermaid Parade is one of them.

I did not bring a camera with me. Big mistake. But a talented parade goer shared this beautiful portrait with me, and I found the picture below on Gothamist.

This ensemble felt extravagant when I was getting ready but was nothing compared to the fabulous costumes on display once I arrived at the staging area. Look at these photos at the Village Voice to see some fine costuming. 

My favorite thing about this costume is that I knocked it out without a pattern.  I wasn't worried about perfection, there was none of the regular pattering, fitting, re-patterning that I normally do. I didn't even use a ruler. Fabric was just draped on a dress form then sewn together. The panniers were made first, then the petticoat was draped over them, and the stays were done last. They are reed sandwiched between two layers of linen, and a outer layer of cheap taffeta. They're just three pieces, a front cut on a fold and two sides that wrap around to the back. They work. I felt secure in them and I can easily rip the taffeta off if I need stays for another costume. Which I'm sure I will. Dressing up in 18th century garments is so fun.

I should acknowledge the long absence. I could make excuses, but we're all busy, right? I just couldn't seem to find the time to pattern, sew, and document. But the Corsets and Crinoline corsets aren't going to sew themselves so I have to find a way to make the time. Thank you for your continued interest!

taking the 1911 for a spin

I recently wore the 1911 corset. At the Coney Island Mermaid Parade. I did not dress like a mermaid though, maybe next year. My outfit was so normal that someone pointed at me while I was standing amidst fellow fellow parade goers riding the train to Coney Island and said, "You could wear that to work!" and except for the sailor hat they were right.

Photo by Carlo Allegri/Reuters

Just before this picture was snapped I thought about how I hand't had time to apply red nail polish so I turned my palms out and ended up with weird flipper hands. Brother.

I was surprised that such a long line corset was so wearable. I was concerned the long bones at the center back would get on my nerves, but they didn't. The best thing about this corset is that it doesn't scream corset. Since there is no exaggerated shape it doesn't call attention to itself, it just smoothes. It was 80 degrees, sunny, and humid, but I didn't feel hot and uncomfortable in the corset, though I do think the summer corset is cooler to wear in warm weather. It's been awhile since I've put a corset on and I forgot how when you take one off you still keep standing straight. I really need to do something about my slouching.

A quick word about the parade, if you have the opportunity to see it go! It is such a fun way to spend a day. So many crazy costumes and there is a pleasant, non-judgemental vibe. No one is going to tell you dupioni wasn't historically accurate or look down their nose if your trim is glued on instead of hand stitched. Everyone's costumes are appreciated. Even if it's just a sailor hat and striped shirt.

channeling my inner norah waugh

Can any of you guess what this is?

I'm sure it won't take many guesses. It's part of a project I'm working on at the Kent State University Museum. I'll give you more details soon!

so i had this little idea ...

It came to me one evening and I submitted it to Kickstarter the next day.

It's already grown beyond my expectations. It looks like I have a few weeks of craziness ahead of me. I'm already knee deep in MFA thesis work so I have to accept there is no way I'm going to be doing any corset building for a while. I will be posting a few images of corsets snapped behind the scenes at the Kent State University Museum so do stayed tuned. Thank you for your patience and thank you for reading!

where to find the deck of fashion history playing cards

I broke out the cards last night and they worked! I've played with decks where the paper stock is too flimsy or the numbers have been difficult to read, but I'm thrilled to report these cards shuffled and played exactly as a deck of cards should. Yea.

Just so you know, even though I designed this deck and work at the museum that produced them I have no financial interest in these cards. I'm just so excited to see such a wonderful collection presented in such a fun way. So then, for those interested in purchasing a deck (or two!) they are available in the Kent State University Museum gift shop. The museum does not have an online store but you can order via email. The cards are $7.95 per deck, plus shipping.

Have fun!

historical costume playing cards

I've been away for way too long. I did make eyelet progress using the eyelet-a-lunch plan. But then my lunch breaks started being used to meet with advisors, or write papers, or work in the studio. The good news is my thesis work is underway and, even though it not is at all corset related, I'll share images once I take some.

I do have something fun to share that is costume related, a deck of playing cards with images from the Kent State University's collection!

This has been a pet project of mine and I'm so happy with the finished deck. Fifty two pictures of beautiful gowns from all eras, details of intricate bead and ribbon work, and a couple of corsets too. When I see my family over the holidays I'm going to force them to play card games with me.

I'm also bringing the 1650s bodice with me so I can make more of a dent in those eyelets. What are your holiday sewing plans?

rebel chic

My enthusiasm for books I've purchased has been documented. So you can image how thrilling it is when I've had some involvement in the production of a book.

Katharine Hepburn: Rebel Chic, written by Jean Druesedow, director of the Kent State University Museum, is being released today. It celebrates the unique style of Katharine Hepburn. In addition to essays contributed by top fashion historians, it also contains never before seen images of her costumes and personal wardrobe. Many photographed by me!

Let me show you my favorite photo in the book.

That is the make up case of some one who was very aware of her appearance, all the while cleverly convincing the public that she couldn't care less. The book is filled with wonderful publicity and behind-the-scenes images. Fans of Katharine Hepburn will of course find plenty to enjoy about the book. But so will those interested in costume design and of course those who love Hollywood's Golden Era.

If I owned a pair of khakis I'd wear them to today to celebrate her sense of style, but I don't. I'm not nearly as sensible as Miss Hepburn.

a beauty from warsaw

I've wanted to share images of this corset since I first saw it in storage at the Kent State University Museum.

KSUM 1983.1.1500 Three quarter front detail

I recently photographed it as part of the preparations for the upcoming Undress exhibit so I have a few nice pictures to post. Yea. The corset was made in Poland in the 1880s from two layers of silk. The exterior is black brocade and the interior is pale blue moire. If you look closely at the picture below you can see black thread is used for the warp and brown thread for the weft resulting in rich background that helps bring the solid black motifs into focus.

KSUM 1983.1.1500 Busk detail

The M Grochovska engraved on the busk loops is the maker's name, it's also woven on the label inside the corset. There is an image of the label and a bit more information about this corset on the museum's blog. But before you click over there let's take a closer look at the flossing.

KSUM 1983.1.1500 Three quarter detail

Wow. And the bow at the center front.

KSUM 1983.1.1500 Bow detail

Now that's a bow. There are two blue elastic suspenders to support stockings placed at the center front. They were my reference for attaching the garters on the 1911 corset I made. This corset is very shapely, but it isn't small. Laced closed on a form it measures bust 40 inches, waist 29 1/2, and hips 44.

KSUM 1983.1.1500 Three quarter front

So pretty! Don't you agree?

paper wigs

It's so fun when craftiness and research come together.

This is a paper wig I made to complete the look for the 18th century gown displayed in the Fashion Timeline exhibit at the Kent State University Museum.  Such a pretty gown deserves pretty hair, right? The wig looked large and over-the-top in the workshop, but when it was put on the dressed mannequin it was missing something. It need a bit more sparkle. So I made a paper feather and bow and as soon I set them on the wig the 'do looked finished. You can see more of the paper wigs on museum's blog!

underpinnings, yeah!

The exhibit "Undress: Shaping Fashion and Private Life" will open this September at the Kent State University Museum. I've been photographing all the pretty things that will be on display.

There are some very nice pieces and I'll share some detailed images of a few in future posts!

the reverse side side of 18th century embroidery

A couple weeks ago I said I should share more of the historical garments I work with. And here one is. Or rather, here is a part of one that you normally don't get to see.

KSUM 1983.1.1302

This is the underside of an 18th century embroidered waistcoat. What you see here is the bottom edge of the left side. The basting stitches below the embroidery are holding the bottom of the pocket flap in place. Let's take a look from the front.

Look at that perfect satin stitching. Wow. There is a picture of the entire panel, and a bit more information about this object on the museum's blog. Enjoy!

working with the prettiest things

Look what I got to photograph.

© Kent State University Museum, accession number 1983.1.8ab

Wow. This circa 1760 robe a la francaise will be on view as part of the Kent State University Museum's upcoming Fashion Timeline exhibit. While the curator and I were dressing it I snapped a couple pictures of the interior.

The yellow silk faille used for this gown is 49 centimeters wide, or just a bit over 19 inches. The seam allowances are a centimeter wide and the pink and blue selvedges create playful stripes running up the inside of the petticoat and robe. A plain old running stitch was used to assemble the panels of the petticoat and robe, and tiny whip stitches connect the bodice of the robe to the linen lining. Here you can see the stitching at the back of the bodice behind the pleats.

There are more pictures of the gown over at the museum's blog. The museum has such a wonderful collection, I really should to make an effort to share more of the lovely garments I work with. It seems like the least I can do since I have no progress on my corsets to share. Tsk, tsk.

fashion timeline

I had so much fun illustrating fashion silhouettes for an upcoming exhibit at the Kent State University Museum.  Here they are from the 1750s to the 2000s.

I'd like to wear the dress from the 1990s (bottom row, second from the right) and I'd like the dashing 1810 man (top row, far right) to take me out to dinner. What are you favorites?

self portrait

I know, I know. I've been away for too long. Juggling projects means that sometimes corsets have to wait a bit. Boo. Although I have no new corset update I thought I'd share one of the other things I've been working on.

That's me. It reads as plain old black and white, but this self portrait is woven with silver wire and black cotton. It's impossible to capture how the image shimmers and disappears as you view the portrait from different angles. But if you are in the San Jose area between August and October you can see it in person because I just found out this portrait was accepted for the International TECHstyle Biennial. Yea.

I have to clear a few other projects from my work table then I'll get back to the 1844 corset. And the others waiting to be finished.

savoye corset

I was going to post the flossing on the 1911 corset, but after two days of looking I have not found the floss I purchased. I bought it, brought it home, where did I put it? I'm sure once I buy more floss the original bundle will magically appear. In place of flossing I'll share a corset I made a 1905 patent diagram and also wrote about for Foundations Revealed.

Emile Savoye's design has always intrigued me and I learned so much by making a corset using the information found in his patent. Unfortunately, not all corsets turn out perfectly. Sad but true. This one is still pretty good though.

Pros - Decent fit, very interesting pattern, clean construction, pleasing color scheme, the desired silhouette was achieved, learned new ideas about boning and patterning, and I enjoyed learning about the man who designed the corset.

Cons - Wonder Under. You try new techniques, some you like and will use again and some leave you cold. Fusing silk dupioni to cotton with Wonder Under is one of those that left me cold. The resulting fabric had no give and the bias drape is vital for this corset since there are only three pieces per side. Maybe part of the problem was my choice to use dupioni to begin with, it's not a fabric known for it's figure hugging abilities. But the fusible certainly didn't help.

The article is now available for free on the Foundations Revealed site so if you'd like to learn more about this corset pop over and enjoy a read!

A quick word to those working on the sew along corsets, just keep sewing. If that corset is close to being done you're almost there. Slide those bones in, sew that binding on, attach those garters, add some flossing, what ever those last tasks are let's tackle them this weekend. The pictures of finished corsets are coming in on the flickr page and they look wonderful. I am so impressed with all the skilled work! I look forward to adding mine to the bunch!

more hoopla

There's a Hoopla giveaway at Feeling Stitchy!

I made the cross stitch cuckoo clock seen in the book and was so happy to see it mentioned, along with other cool embroidery projects, at Feeling Stitchy. Yea! If you'd like to win a copy of the book run over and comment, but do so soon. Entries close tomorrow night!

possibly the best picture of a crinoline ever

Maybe that's an overstatement, but it is a really nice image. Of course since I took the picture I would think that.

This crinoline is part of the exhibit "On the Home Front: Civil War Fashions and Domestic Life," on view at the Kent State University Museum through August 26, 2012. If you'd like to see more of the Foundations section of the exhibit you can watch this video tour of the exhibit. In fact, there are tours of the entire exhibit available for viewing. If you want to see some crazy Victorian hair jewelry check this one out. Wow.

I'll be back tomorrow with more sew along info. Until then I hope you enjoy the videos!

hoopla: the art of unexpected embroidery

Over a year ago I was working on a project that was keeping me form the 1925 corselet. (Oh corselet, will I ever find you?) The project was for the book Hoopla: The Art of Unexpected Embroidery by Leanne Prain.

My copy arrived this week and it is so exciting to see my work in it's pages.

There are some fun pieces in there and I'm so happy to be a part of it. Hoopla!