My turn soon?

The Green?Blue?Turquoise?Teal? Mme Pompadour gown painted by Boucher.
So many people have recreated this ensemble, and while they all have their merits, I need to be blatantly honest.
For myself personally, of all the recreations I've seen (those intending to be direct replicas) there is always something amiss.
Now you might be saying to yourself, "well that's rude of you to say. Someone worked very hard on that gown and you don't have the right...".
Wrong (along with the right of free speech), this is not a post to tear anyone down.
It's one to inspire. Each recreation I have seen of this gown has been great in it's own way, and a wonderful homage to it and the woman who wore it.
I merely have my own vision as to how to go about actually *replicating* such a gown, rather than making a version of it.

The ribbon will prove a challenge; taffeta with a spaced multiple satin stripe and pinked edges all around.
Hmmm...
***Ooh, Edit time! After closer inspection, it looks as though the ribbons actually have a picot edge instead of pinking. The ends do have it, with a double scalloped pinked edge. Looks like I'm going to need to get my man to make me some pinking tools...or at least show me how.

The one thing that has stood out the most when it comes to all the versions I've seen from other seamstresses, is the color and fabric choice.
It will vary from light as a pale blue, to a dark forest green, and everything in between.
Likely this is due to all the images available on the internet, many of which have poor color and resolution, and fail at representing the colors of the original.
My guess on the fabric? It was a bluish green silk taffeta, lighter than the dark green shades I've seen it made in, but definitely more on the green side. I can already tell you that I foresee many fabric swatches in my future.

One must see the actual painting to get an idea of what the true color of her gown was,
and even the color of the paint on the canvas will have changed a little over the centuries.
When will I be able to see this painting in person? Who knows, perhaps never.
I've traveled the globe and have seen nearly all Europe has to offer in its museums, but I somehow missed this particular one.
But, I can at least allow myself a few guesses in this project. Realistically, I won't be able to claim it as a perfectly exact replica if I do attempt it. The exact weave of the silk, the exact shade of the pink ribbon, the curves of the tiny petals on each miniscule rose.
There is simply no way, unless I had an unlimited budget to have these things custom woven and created by insane artisans throughout France and Asia.

The hardest part I think, will be the ribbon that adorns the stomacher and sleeves. But if I'm crafty, and I have a few ideas, I'll be able to have this gown quite close to hers.
The other fun part; recreating the set for the photo shoot ;-)

I just needed to put this here...

Photo care of : Lady Victoria on Facebook.

The Ever Sought After Riding Habit

Ever since I saw the film Dangerous Liaisons, the ensemble worn by the Marquis when she arrives to visit Cecile has always intrigued me. Not that I'm too sure I could pull off that color of goldenrod yellow, but I still want it:


Perhaps if I found a richer shade of gold? Bright yellows tend to make me look green :-(
However Glenn Was able to wear it, and she and I have much the same complexion and hair color. Perhaps it's just that I've never really *tried* looking for a yellow that suits me after being given a horrifically wrong lemon yellow sweater as a child. I never got over that. I looked positively ill when I tried it on to appease my relatives. And it wasn't just the look on my face. My own mother realized this instantly, and as soon as The Aunts left, we took it to the Salvation Army.
Maybe it's time to give the golden and yellow shades a try once more?

It's obviously designed from a classic 18th century riding habit, yet used as a visiting gown in this particular scene. There are various sewing patterns available that nearly mimic the one above, yet I think I've been distracted once more...
if I ever want to make a rather, shall we say, unrealistic riding habit...this would be it. Unrealistic meaning that I wouldn't want to dirty it galloping after foxes on the moor. Sitting for a portrait would be more like it:



Oh gods. The trim, the velvet, *swoon*.
I may even have a pattern for the classic riding habit on the Marquis (from Tailor's Guide), or the one in Janet Arnold's book "Patterns of Fashion 1: 1660-1860", that I can alter to resemble the red one above. I've already got the little black tricorn hat ;-)

Oh, and I'll just put this right here (more picture swoon)...http://periodmoviecaps.blogspot.com/search/label/Marie%20Antoinette

What is in a name...

So the spiffy new title for this blog still makes me grin.
I decided to change it to something a little more befitting of my vision and general theme here. And I admit, it's a little tongue in cheek ;-)

"The Austrian Woman" was one of the first titles the French people gave the young Marie Antoinette when she arrived in France from Austria to marry Louis, and later become queen. Some meant it as an insult (said in French, it literally translates to "the bitch"), and some meant it as a compliment. Though France and Austria were at odds, the French still had an intense fascination with the Austrians. The Viennese in particular caught their eye; their style, food, music, royalty, and general happy way of life. I'll just say that the croissant is NOT a French pastry.
The name is also a nod to my own roots; being Austrian and German myself, it's a fitting way to pay homage to my heritage.

It may sound narcissistic, but I also wanted it to convey to people more of what I do as art and living history, rather than a seamstress only making things for other people.
I'm not knocking it, commission work is still artwork, and great when you can get a well paying and easy-to-work-with customer.
I do occasional projects for others, Hence the dirndl dresses recently (and there are a few more on the way). I'm so glad and thankful for the many amazing seamstresses out there that regularly take commission work. I am constantly inspired by them.

However, I've come to the conclusion, over the last year especially, that it is not what *I love* to do when it comes to sewing on a regular basis. I do it for the artistic outlet and to live vicariously in another era through clothing.
There is still that dream of running my own deco era clothing line, but I wouldn't want to be the only one sewing :-\ That is going to take a lot of planning, money and time before it ever comes to fruition.
If that dream is ever realized, I'd love to at least outsource much of the sewing here in the USA, not China. One can dream right?

I've just landed myself a new job as well. One that will not only make me a lot less depressed over the behavior of the human race (it's not retail!), but will be making me more money. This means I won't *need* to take commissions as often to supplement my income.
I will have the money and time on weekends to just concentrate on creating couture for myself, and I'm talking some major 18th century stuff, finally!
My historical wardrobe has huge gaps in it. Mainly from living in Seattle most of my life, until over 3 years ago. Then bam, I'm suddenly in California's bay area; one of the epicenters for historical costumed events, including somewhat regular 18th century themes.
Seattle had zero, and is still lacking.
I have one early 1780s gown, and it needs to be replaced or updated in a bad way. Most of my historical wardrobe is based around the Victorian era and WWII.
This will change soon, and I'm so excited :-)

The 1850 Gown

When my gent came home for lunch today, we were able to get a few quick shots in the backyard by the lemon tree.

The fabric I used is a (dare I speak its name) polyester silk blend. I NEVER use polyester in historical sewing, but I decided that due to time and $$ constraints, this would have to do. Blends I generally have no problem with if they have a good hand/drape, the proper crispness if I'm going for a 'silk' look, and if they photograph well (as in, not looking like plastic). My preferred blends if I use them are a silk acetate, or silk cotton.

This one surprised me with how well it worked, but me being the picky type, I still wish I could've used a 100% silk. But I digress....
it's a shot taffeta in a lilac color with black on the cross grain, and has a steely effect. I chose to make the bodice separate from the skirt.
The pattern I based it off of is the Truly Victorian 1845 German Day Dress, which works well for very early 1850-51.
I cut the neckline lower, omitted the reveres, drafted split bell sleeves for it, and left the skirt alone.
Hoops were not worn until around 1855-56, so this has a very fluffy crinoline petticoat underneath.
At Dickens I wore a garibaldi blouse underneath, but left it out for the photos we took. I also made a little detachable fichu collar, to allow the dress a more modest look for daytime and while strolling about the fair.
Otherwise, this is the perfect evening or dinner gown.

The trim is self made from the same fabric, done in the Austrian 'Rosenrusche' style. When the photo viewer opens after you click on an image, right click and 'view image' to see these full size.
Please excuse the sun glare, but it does give an interesting ethereal quality to the images ;-)









With the fichu attached:

A New Year....

and a new title for this blog. I've been wanting something else from the start. the previous name just didn't have it for me, but this does. More on that later, and I also plan on making a better header image. This one is a temp for now, so stay tuned.

Also, some new photos finally.
I wasn't able to get many photos of the dress I finished for Dickens Fair this year, but there are a few obscure ones. Perhaps tomorrow afternoon, I'll get gussied up and get a few if the weather is agreeable.


With my friend Fallon, aka The Scarlett Harlot ;-)...still, not a great shot of the dress, but love the photo.

Wearable Favorites; What's Your Decade?

Of all the eras of fashion I adore, there are some styles which I yearn to wear all the time. This would never be practical however, considering what my daily activities require of me at work. Even at home.

How I long to flounce about in 18th century splendor, decked out in a striped silk Georgian ensemble.
Or glide along the sidewalk in a 1877 promenade gown.



*Le sigh* there are days where these ensembles would be appropriate, but they are sadly few in number.
This is where my love of the 1930s comes in.





As far as "Modern" 20th century fashion is concerned Deco era fashion is still, to this day, ultimately wearable.
While I do love the 1920s, I also love having a defined waistline ;-)
The 40s are great, but my heart really skips a beat then races for the 1930s.
Sure, the 1950s rockabilly retro look is in full swing with some folks these days, who want to capture vintage style. But I'll be honest, it's so "Done". What we see today is a plasticized version of it, thrown in with a more modern tattoo/rock n' roll culture. It's not what it was, although some truly wear it well.

This is why the 1930s styles remain uniquely vintage and a step above the 1950s regurgitation we see today. Designers are constantly drawing inspiration from cuts invented by the likes of Vionnet and Lelong. The idea of sportswear for women may have been invented in the last decade of the 19th century, but it was perfected during the 20s and 30s. And we still return to these concepts today.

But back to the literal wearing of these 30s styles;
If I had to pick a span of 3 years from which I would draw my daily wardrobe, from everyday wear to evening, it would be 1934 to 1937.

For casual cocktails or dinner with friends...


For those blustery days this winter...


For a night at the theater or formal party...