Red Snow - A Crimson Peak Inspired Playlist

Just a little audio scrapbook I’m adding to now and then:

**Updated Sept. 2024, new link below :)**

https://open.spotify.com/playlist/3UmqKGYJuDefy2OC8olPzl?si=HPYTHphoTjqgjfp6r500EA

Liebster Award!!

I have been awarded the Liebster Award!
A big Thank You to Little Mothball of the Mothball Fleet blog:
So, as per the rules, here are the questions with my answers, and nominations:

1. When/how/why did you start sewing/costuming/crafting?
    When: I was about 10 or 11 when I began making little clothes for my dollhouse dolls. I had seen some 17th and 18th century dollhouses, at a museum in Amsterdam. When we returned home, I instantly set about trying to turn my own humble colonial style dollhouse into an 18th century manor house. I made tiny stays and panniers, even tall wigs for them from mohair. If only I had pictures!
    How: With anything I could get my hands on; scrap materials, et all. My mother and my grandmother's all sewed, and taught me how to do the basics on a machine later on. I began my sewing with hand sewing the doll clothes, so I already had a good foundation for real clothing construction later on. I would also repair my dress up clothes, which were often vintage 1950s stage costumes, prom dresses or 1970s Gunnie Sax (sp?) dresses from my grandparents estate auction finds. I still have some of these repaired dresses in my vintage clothing collection, only now I've grown into them ;-)
    Why: I'm just going to quote some of this from my website;
I have always loved anything to do with costuming, makeup, dance, art, burlesque/theater history, and music. Along with 15 years of classical and modern dance, I spent countless hours listening to works by composers like Handel, Scarlatti, and fell absolutely head over heels in love with the music of Mozart. When my father and I would travel to Vienna, Austria to visit family I would spend hours wandering Schönbrunn Palace until I knew the maze of gardens by heart.
What does Mozart and the palaces of Austria have to do with my sewing & costuming, you might ask?
It was sort of the key that unlocked my love of history and all its forms of artifice and embellishment.
I poured over old family photographs, and practically devoured books on fashion history and construction starting at a very young age. I attended operas in some of the original opera houses and watched films like Amadeus, Dangerous Liaisons and various BBC productions. It was, and still is, an attraction to an aesthetic from past centuries you simply don't have now. I wanted so badly to go back in time when I was a kid so as I grew up, I continued to sew and experience the past through the historical clothing I recreated and wore.




2. Do you have a favorite era/genre? What is it?
    Like picking one favorite color, this is a tough one. I love many, but my top 3 are;
1. Mid to late 18th century (Georgian)
2. The 1930s Deco Era
3. Victorian natural form (1876-80), and mid (1874-75) to late (1883-86) bustle years.

3. Your favorite piece you've made?
     Currently, I have two favorite pieces.
1. my reproduction of a velvet and fur winter ensemble worn by Empress Elisabeth (Sisi) of Austria.
2. my raspberry silk faille 1880s ballgown, with optional daytime bodice.


4. Best sewing tip(s)?
     Make a mockup first!! Even if you have a pattern.
     Don't give up. Put the project aside for a week or two (maximum) if it's frustrating you, and come back to it with 'a fresh brain' as my grandmother would say.


5. Favorite fabric(s)/material(s) to work with?
     Silk taffeta is number one, silk organza/organdy, cotton, wool, rayon, linen.

6. Favorite color?
    It's always interesting when someone asks me this question. Creative individuals have a hard time just picking one ultimate, unwaveringly favorite color. They usually never pick one and keep it, or if they do, it's their favorite one for that moment. Right now may favorite color is a rich lavender shade, like the kind you see on lilacs. Next month, it may be Tiffany blue ;-)


7. Sewing pet peeve?
     Twisting thread when doing hand sewing, so that it knots up.
My biggest pet peeve right now is too many other obligations (self inflicted, of course) that get in the way of sewing more 18th century items; like a pair of stays.


8. What new project are you working on/planning that you are most excited about?
 My Lagertha costume (from 'Vikings').


9. Going to Costume College this year?
     I never make this event, sadly. This is due to my calender always getting too full to make space for it. I'll also admit that I forget about it, until it's too late to plan for it.
I'd love to try and go to the next one, though! I just need to block out that weekend waaay ahead of time.

10. What do you listen to/watch while you sew/craft?
     Haha! This one might confuse people.
I listen to everything from classical (Mozart, Wagner, Beethoven, Handel, etc), to croony 1930s music from Germany and the UK, to Scandinavian/folk/"Viking" metal bands such as Arkona, TYR, Korpiklaani, Einseferum etc. There might be some Lana Del Rey in there sometimes.

11. Favorite mythical animal?
     I think it's always been mermaids, but dragons are a close second.

  11 random facts about myself:
1. I dyed my hair black for about 10 years, until 6 1/2 years ago.

2. I developed a taste for dried seaweed (the sushi kind, seasoned or not) at age 5. I still crave it, maybe for the iron content?

3. My first Disney character (what would now be called cosplay) costume, was the Blue Fairy from Pinocchio, at age 6

4. I taught myself how to use a bullwhip, with no injuries

5. The first 'corset' I ever made was actually a pair of early 18th century stays. Learning experience, but hey were a success.

6. Went to my prom with a big group of friends, all of us dressed as Victorian vampires

7. My first corset was a white satin ribbon corset from Amazon Drygoods' mail order catalog. I was 14 or 15.

8. I'm an Aries but with more Pisces tendencies.

9. I've been doing burlesque for almost 11 years

10. I've sat in what was Mozart's studio window in Vienna, and heard a singing lesson a few windows over. It was a time travel moment.

11. I've performed on stages in Paris, that you can see in famous artworks by the likes of Toulouse-Lautrec

 Now for my nominated bloggers:

Not nominating anyone yet, as I've run out of time today. I'll save that for a follw-up post

xoxo

     Future questions for my soon-to-be nominated bloggers:

.......?

A Fabulous Antique Clothing Reference

Scrolling through Pinterest during lunch today, I stumbled across a great website chronicling a vast collection of historical clothing between the 18th to 20th centuries. Some of you may have already known about this little corner of the web, but it's new to me.
It's all in Italian but navigation is pretty straightforward, especially after you learn a few of the words via Google Translate ;-)
The photos are not the greatest quality and some of the dates on a few items seem off a bit, but it's still a great resource for ideas and inspiration.

Abiti del Passato:  http://www.abitidelpassato.it/contents.aspx

One of the beauties found on the site:

Frozen Fabric Finds: Part II

Well, I was finally able to track down some pretty fantastic fabric for the skirt of my Elsa costume; a metallic-threaded crinkle silk chiffon. Thank you Etsy!
While it's a little lighter in color than I'd like, I have plans to dye it a slightly richer shade as I give it a deeper ombre effect toward the hem. This is someting I was noticing about how Elsa's skirt appeared much of the time during the film. With the right dyes, it's not hard to achieve.

It doesn't need to be as intense an aqua as the above image, but something close to it to mesh with the other pieces well. Some of you might remember the dye job I did on my Valkyrie performance costume; it's sort of a similar process.
Since it's still a sheer fabric, I'll give the skirt a deeper blue lining as well.

Trotting Along The Path Of Inspiration

http://rococoatelier.blogspot.com/2014/01/naval-riding-habit-inspiration.html

As the sewing area settles back into a somewhat usable space, I have been revisiting the list of projects that I'd like to accompish. For once, I'd like to sew something this year that doesn't end up being a rushed job to complete for an event. That may come later in the year, since I'll be attending a convention that is heavy on the costuming  ;-)
Until then, my wish list is long, so I'm really going to need to pick the most-likely-to-finish items from it.

At the top of the list of course, is a new pair of 18th century stays. I'll need these for fitting if I'm going to be making any more 18th century ensembles.

The next item is to finish the red/cream flourish and stripe robe a l'anglaise. I really need the above stays to do this one properly too.

Third on the list may be another new burlesque costume, and a large prop. This might actually take precedence over anything else this year, besides the stays.

Then I stumbled across Sanna K's post over on Rococo Atelier, regarding naval inspired 18th century riding habits. Of course I had to add that to my list as well, and it also seems many other people have too. It looks like we may have a 'Riding Habit-along' on our hands.
I was also reminded that I have a huge amount of trim that is perfect for such a project. This includes boxes of gold or silver antique military trims, buttons and bullion. The trick is to decide on a color and what the cut will be like. Waistcoat, or none? I'm inclined to go without, but I love the look of a pretty ivory silk waistcoat peeking out from the metallic trim of the frock, and the frothy lace of the shirt.
I'd like to go for something around the middle of the 18th century, and the below images are some inspiration.
I'd love a robin's egg/Tiffany blue, or perhaps in a deep forest green, wool with silver trim. Gold would be nice on either one of those, too.

Even if none of this happens this year, it's still on my to-do list. I have a pattern that could work for the tan colored habit shown here, plus the skirt and a men's shirt that can be modified a little for underneath. The waistcoat, if I go that route, I can tailor over my stays from a men's pattern as well.

Those Wonderful Things...

Things of beauty that make your breath catch in your throat for a second or two.

1890's Blue Velvet and Gold Embroidered Shoes and matching tights

Detail: Mantua, Stomacher and petticoat, Italy, 1700. LACMA Collections Online

Just a little update,,,

I'm chugging along on the 1850s bodice for Dickens.
The fabric I'm using is an ivory silk taffeta, and is a dream to work with. I've missed using this fabric, it's been a while!
Before you get worried about ivory silk at Dickens fair; not to worry. I'm careful, and I have a shawl.  I can also drape it across me in a bohemian manner while at tea, if I need to ;-)

I'm using the Simplicity mid 1850s pattern #9761 as a guide, but will be doing something else for the sleeves and front.
I may even round out the points of the peplum in front and in back.
As far as commercial patterns go, this one is going together fairly easily, I just wish I'd taken some photos yesterday. I'll post some here when I'm further along on it.

I'm having the hardest time deciding on what sleeve style to do, as there were so many lovely options during the 1850s. I'd love to get away from the typical pagoda style I see everywhere, but still need something that isn't too time consuming.
The bodice front will have faux revers, and little covered buttons all down the front. I'm hoping to use some of the burgundy stripe in the fabric I'll use for the skirt to cover the buttons with. That way I'll have a nice pop of color on top, and it won't look too bridal.
I have some beautiful net lace trim on the way, too, for both the bodice and somewhere on/in the sleeves.

But yes, sleeves.
What style?! The good part is that the sleeves that come with the pattern can easily be tweaked to create any of the following, so at least I have a template that fits the bodice armscye already. The less futzing, the better!
Here are a few concepts rattling around my head as options:

 The tiered sleeves on the gal in blue.

And this plate again, either one of these would be great; puffed or with multiple little cap sleeves.

 And this green dress is just 'effing amazing. Again; puffed sleeves seem to be all the rage, and visually make the waist smaller by contrast.

With the puffed sleeve option, it all depends on how it will look on my frame, so I'll definitely do a quick mock-up first. With the large skirt it could either look fine and balance out, or make me look like a Stay-Puft marshmallow girl.

XOXO

Even More Inspiration

'Perfect' pretty much describes this example in cut and style, regarding the robe a l'anglaise project.
I need to also point out the AMAZING blog & post where I found such beauty, over at Atelier Caraco Canezou: The Marie Antoinette Story.

The stomacher on this example is a bit long, but the shape of it is what I'm after, plus the skirts and even the apron....maybe. Of course I'd want an embroidered one like this, but I'm not sure I can kick that much ass...yet.
This particular cut is from, and will also place my final ensemble, from the very early 1780s.

Example Of My Current Project: A Hopeful Outcome

This is what I'm attempting for my Robe a l'Anglaise, for both the gown and stomacher style. I'm either going for a Super late 1770s or early 1780s, such as these examples show.

And I love this gown in the below portrait. Again with the similar front but with the pinked & scalloped collar.

I have two colors of silk taffeta in my stash that may be going into something similar to this.

One is a sea-foam color, the other a rich gold.

Louise Élisabeth Vigée Le Brun??

Ideas Considered: Color Combo Suggestions Anyone?

The V&A 1874 gown, also the same one from Janet Arnold's 'Patterns Of Fashion II', is one I'd like to take a stab at this year.
This also falls into the Early Bustle category on my 2013 Project list.

Augustintytär's version over at 'Before The Automobile', is stunning in pale blue and navy.
So, as to not be a copycat, I'd like to use different shades than the ones on hers and on the original.
I think that I may have already made my decision on what solid colors I'd like to use for my own version, but I'd love to hear any ideas you all might have.
My current thoughts for a color combo that may just win; a rich creamy ivory to light taupe with black trim, both in silk taffeta.
I'm going for a light color for the major portion of the dress, and darker for the details.

The original at the V&A

Like many others out there I'm sure, this dress is one that has inspired me since I was a kid. Probably one of the only early bustle gowns I ever really loved.
The combination of higher waistlines with larger bustles, paired with endless trimmings, ruffles, pleats and lace (just as much on the upper half as on the lower in some cases) gave me the impression that the dresses were wearing the women. In many of the fashion plates between 1870 to 1874, I swear they resemble escaped wedding cakes as they glide along the promenade.
Don't get me wrong, I LOVE ruffles and pleats. But this one is sleek, elegant and non-frivolous, yet still so feminine within the details.
Seeing it brought to life by the expert skills of Augustintytär and the wondrous 'Green Acres' project by Lauren of American Duchess, gave me all the more reason to finally give in and try an early bustle ensemble.

I love the green gown! You can actually see the lady's figure.

Again, directly from my list of things to make, I'll need that new Victorian corset and the LM trained bustle for this project. The plus side is that after I make this corset, I can also use it for Dickens Fair next year and all the other mid Victorian or early bustle events that may occur.

1873 corset From Nora Waugh's, 'Corsets And Crinolines' book.

 The Laughing Moon trained bustle, or as I like to call it; a place to hide your Dalek.

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 :-)

Dickens Fair Sewing - My Dress

I've finished other items that need photos, but here are a few progress shots of the 1850 dress I'm currently working on. Hopefully I will finish it by next weekend.
Please excuse the poor photo quality and messy sewing area, it's been stitching mayhem for the last month and a half.

The fabric is a pale lavender/black shot taffeta. Not the greatest quality (it's a silk blend of some kind) but it's what I had plenty of in a pinch, and it has a nice body to it. I did flat line the skirt with a fine cotton.
Unlike the photos, it looks like a pretty rose grey in person.
I'll not be wearing a hoop with this, since hoops weren't generally worn until after about 1855. I'll be relying on crinoline petticoats for fullness, as ladies would have done during the first half of the 1850s. Corded petticoats were also worn, but I don't have time to make one :-}
If the neckline of the bodice seems too open for daytime, it's going to get a detachable collar, in a kind of fichu style. Something like the one in the image below (pink, top center):



Here is the bodice with the sleeves finally on. I decided to do a bell sleeve. The shoulder seam will get some hand pleated trim...


Here's a (horrible) shot with the skirt nearly complete, the bodice edge will also get piping, and the shoulder trim will get a little more treatment into what is fast becoming a signature trimming style of mine...

Oh, ok yeah....

Sure, I'd love to go check out that little fabric store in Arroyo Grande they might have some stuff-OMG RIBBONS!!
$60 later plus a 1 1/3 yard remnant of silk taffeta...

When the hours drag...

Some of you that follow me on Facebook may have already seen my posts about this, but I thought I'd mention is here as well.

Uaually, I'm not one for the 'Dollz' or avatar makers.
This one however, caught my eye over at Fuchsia's 18th Century Dress blog.

After a few really slow days at the shoe boutique, this fun little dress up doll made the time waiting for customers fly by.
While still very cartoony, these gals have some pretty accurate designs in their wardrobe. I especially like the zone front bodice ;-)
Here are a couple (of many) that I made...

...my only complaint really, is you can't change their pose.





http://www.dolldivine.com/marie-antoinette.php

More on the "Inspiration Board"...

To elaborate on the earlier post;
What was just a frame I'd taken a fancy to at Ikea, that ended up sitting in a corner between moves, turned into a fun project.

Virtually any fancy frame can be turned into a great collage/idea board for a craft or sewing area. It also ends up being functional wall art.

Thrift stores, garage sales, flea markets and antique shops can yield a bounty of gorgeous art and picture frames, often at a low price.

Mine came with glass when I bought it new. I didn't have a use for it, so I gave it to a friend that needed an oval cut of glass.
I considered using cork sheeting for the center, against the heavy cardboard it came with. I discovered cork is pricey, and either came in sheets to small, or way more than I needed.
Instead, I opted for poster board, the kind with the foam core, just over 1/8 of an inch thick.
This is a great option, because not only is it much more affordable, it comes in colors! I opted for a slate grey print that almost resembles granite, but I was tempted to buy some in pink, or Tiffany blue...and I may at a later date ;-)
I also found some old fashioned map tacs to use to pin my ideas to said board.


Using the cardboard back that came with the frame, I traced out the shape on my poster board with a pencil, then carefully cut it out (on a cutting mat!) with an exacto knife.
If your frame has no backing board, or nesting groove (where the art and/or glass sits) you can trace, measure the inside size of the frame, and add about 1/2 inch to all sides.
You'll also want to cut a piece of heavy duty cardboard for a backing to the exterior surface you'll be tacking things to.

My frame has little metal tabs that can be bent up and down to hold these in place.
If your frame doesn't have these, they can be purchased at a frame shop or art supply store. They are usually nailed in with a few taps from a hammer.
If your frame isn't wood, and has no options for these tabs, duct tape is your friend ;-)
Same goes for hanging your frame on the wall; most frames have a little spot or a metal hook so it can hang from a nail in the wall, but if not, you can also buy this hardware at the above mentioned sources.

All in all, it's pretty easy.
If you live in an older house with plaster walls, the lighter the frame the better. Or, invest in a stud finder so you can anchor a nail into your wall securely.
The last thing you want is to have your pretty frame, with the lovely collage you worked so diligently on come crashing down, leaving a gaping hole in the wall.

Another option besides using tacks; Ribbons.
You can take narrow ribbon, up to 1/4 inch wide, and run them across the board surface, tacking them with tape in back, to make a diamond pattern.
This way, you can tuck your found images and fabric swatches between the ribbon and board, for a pretty effect.
This is a great tutorial over at 7 Layer Studio, with photos (!), that I sadly do not have of my own board's progress.
Enjoy ;-)
xoxo

My inspiration board

I just put this up today. The frame came from ikea ages ago, but I finally got around to putting the foam-core in it, to tack things to. Pictures, lists, material swatches, the possibilities are endless ;-)