The Making of a Crimson Peak Inspired Ballgown

As mentioned in my previous post, the San Francisco Edwardian Ball is coming up in January.
This gives me plenty of time to make something new just for the occasion, and Crimson Peak is full of inspiring material.
Over the weekend, I was able to track down a lovely synthetic duchess satin that didn't break the bank, at $4.98 per yard. Though I wanted so badly to buy silk, I need to be frugal this year. On the plus side, since it's synthetic it will be easier to wash after an evening of revelry!
The other nifty thing about this particular weave of fabric, is that it behaves like a heavy silk and while slightly springier, it's without the overly shiny surface many polyester or acetate satin fabrics have. I'll just need to really utilize some good shirring and tacking stitches on the bodice to get it laying nicely if I do any pleats or gathers for texture.
Initially I planned on finding a nice pale gold, but the only thing I found that I liked, and was bright enough without being too saturated or dusty, was an expensive silk. So blush it will be...

Indeed, I could just do an all-out cosplay and make a copy of her ballgown, but there are things about it that didn't really woo me. The fit and length of her bodice for one. This gown is the one costume in the film I feel that could have been tailored more appropriately for the era it was set in. Everything else about it was lovely; the minimal straps were fine for the era, including the pearl decoration and that spectacular matching evening cloak.
Additionally, I kind of want to do my own thing with this.

 

After comparing a warm, super pale blush color, to a candlelight ivory (both similar to Edith's ballgown in the film) I decided to go with the ivory.
I also want mine to tell a different story. It's one that follows Edith's dreams after her escape from Crimson Peak; incorporating the stain of blood red on snow and skin, and her waltz with Sir Thomas. How does a person just walk away from a traumatic and heartbreaking experience like that, and start over? Simple answer; you don't, not completely. It haunts you, and like some sage advice given to me once on the subject of grieving and trauma, "You carry it with you. The trick is *how* you carry it".
Edith indeed has a strength and resiliency that we don't see much of in female leads, particularly in historical drama and Gothic romance. But while she will obviously be able to carry on and be happy, how have her dreams changed when she closes her eyes each night?

As you can see in the above on-set images, the color of her dress changes with the light; sometimes almost ivory and other times more pink, it's warmed by the candlelight in the room. Hers was a very soft ivory blush duchess silk satin, and the photo of my blush fabric isn't quite accurate either, and more pink due to lighting.
This is another reason I wanted to go with as pale a color as possible, like the candlelight ivory, to keep me from resembling a walking Valentine's day card. I'm combining it with a rich red velvet, and a few other details I'll divulge later.
Since I don't have a nice evening coat or cape earlier than 1940, I'd like to try and make a version of her cloak, too. Especially with that amazing shirred stand-up collar!

As for the patterns I'm basing this gown off of, I've decided on two by Truly Victorian.
The 1903 trumpet skirt (works for 1901 too) and possibly the 1890s ballgown bodice, the latter of which I'll alter a bit to fit my needs and be more Edwardian. I may not need it at all.
I nearly went with the 1893 Bell Skirt, but after having made that skirt up before, I realized it's a different silhouette than the sylph-like lines I want for this gown.

The paintings by Boldini were a big inspiration for me, and I imagine nearly all the gowns shown in the ballroom scene of Crimson Peak. If you look at more of Boldini's works featuring women, a good portion of them were represented in that one scene in the film. Particularly Edith, and the rival ladies vying for the attention of Sir Thomas. Even works by John Singer Sargent such as this one, acutely resembling the rival's mother.
It's always interesting when life, or in this case film, imitates other types of art in a wonderful way.

XOXO

A Polonaise Continued: Red Silk For A Petticoat

It has arrived!
The Ruby Red silk I ordered from Renaissance Fabrics, landed on my doorstep after I returned home from work today.
As expected, the quality is divine and the color is sumptuous, but soft when compared to most red fabrics of today. Perfect for the 18th century. It leans toward a warm rose color, with a very slight golden undertone.
And of course, it's a perfect match to the polonaise gown fabric.
I'll probably pair this gown with contrasting colors of petticoats in the future, too, as I have a similar one I need to make in a gold silk taffeta (for another project). I can mix-and-match!
I think I just wanted this red color because of the challenge; to find a soft red and hope that it also comes in a lovely silk taffeta for historical sewing. I can happily say this search has proved successful.

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.

Frozen Fabric Finds

Elsa's snow queen gown;
while I'm still acquiring the perfect fabric to make the skirt from, I found some pretty fantastic options for the other pieces for my version of this gown.

For the bodice base: it looks like a blingy 1970s turquoise disco ball...

But wait....flip it over and voila! The mirrored squares take on an icy look, the perfect base design for the bodice surface texture.

Of course this will get a treatment of fabric paint stenciled in layers of longer triangle shapes, some handmade triangle pallets and a fair share of Swarovski crystal, in various shapes and sizes.

As for the mesh shirt/sleeves; I have found some of the stretch mesh online, and bought 2 yards in two colors, just in case their Aqua is too green:


Baby blue      &      Aqua

For the skirt; so far I've found this shimmer satin (which will also double as the base fabric behind the above disco ball stuff):

It looks like a deeper shade of aqua here, but it's really light in color. Almost too light, and it doesn't have the shimmering linear pattern woven through it like in the film. I've seen something exactly like the fabric in the film in real life, but of course I didn't need any of it at the time :-(
But, this will do for now, since I am also building this for my burlesque (nerdalesque?) routine happening next month, and I won't worry about this getting thrown around on stage.
I've found a metallic crinkle silk chiffon that will be used for the final, more accurate cosplay impression for DragonCon.

Now for the ultimate coup de grâce....

The fabric for the train attached to Elsa's bodice.

I was dozing on the couch late one night, images of possible fabrics dancing in my mind that could work and behave similarly to Elsa's train in the film. It's sheer and delicate, but airy and crisp like a layer of frost.

It floats instead of draping heavily from her back. Chiffon, while sheer, is way too fluid and looks heavy by comparison. But everyone has their own versions, and the work I've seen so far on many Elsa cosplays using chiffon is stunning.

For myself; however, I wanted something very particular.
Shimmer organza? No, not often sheer enough and can reflect as opaque when photographed.

Glimmer tulle? No, way too delicate and will probably tear as soon as I take it out in public, even if I'm careful.
When I thought of the above fabric, I nearly sat up and yelled 'Eureka!'
I couldn't for the life of me remember if there was a special name for this kind of tulle, but I had an image of it seared in my mind from a previous fabric hunt where I'd run across it. I was now on a mission.
I stopped by my local fabric store after work and there it was, staring at me from the 'special occasion' section.
While not as crisp as typical tulle, it's still crisp enough with that airy softness, and the metallic threads offer a little more strength (but I will still be super careful with it, only unfurling it in all it's glory behind me for photos).

Once I get the snowflake pattern applied in a sheer layer of spray glue and plenty of silver glitter, that might give it even more oomph and body for the upper half where it attaches. I may even scatter a *few* Swarovski flatback crystals to this, too.
The cool part though, especially for cosplayers, is that Elsa's costume seems to look a little different in every scene. That gives us a lot more wiggle room when it comes to getting it to look accurate enough.

After this one is complete, I'll start on Elsa's coronation dress and cape.

No rest for the wicked.

Update On The Silk Snafu: Victory!

In a previous post, I had mentioned some strife regarding a certain purveyor of silk taffetas. They seem to be somewhat popular with part of the costuming crowd. Yet there are still a few people out there that have either given them a full thumbs down, or just been annoyed at their lack of customer service and consistency.
Example; what arrived on their doorstep was not the fabric they ordered, and a long drawn out battle ensues.

Well I'm happy to say my issue was resolved. Unfortunately I did not get any of the silk I wanted out of it, but I did finally get a refund thanks to Paypal's customer protection team.
Prepare to be gobsmacked by the following exchange between myself and the seller, when they finally did communicate with me about the issue. And this was only after Paypal jabbed them in the ribs:

- From the seller (after I had repeatedly asked for a refund they are still trying to sell me stuff):
"hi,
we have a fantastic satin weave dupion in same color sending you an image would you be intrested
let me know you received image
thx
*******

 - My reply (I was at my wits end):

"No. That will not work. I don't want your fabric, I want my money back. You do not have what I purchased in stock, but took my money anyway.
I have sent you multiple emails and even a Paypal dispute to get a refund of my money.
I am now escalating this to a full claim via Paypal."

~Nicole *****

- From the seller (who lied and actually did accept my money via a Paypal withdrawal):
"but dear nicole
i do not have your money
paypal took it from you immediately
so how can i refund what i do not have
  thx"

- My reply (I was thinking to myself; call me 'dear' again, and I will fly to India to personally rip your head off):

"You accepted the Payapal payment, and you can reverse it. It's not hard to do.
It's all there on Paypal showing that you or someone in your company completed the sale. The money is not in my bank, nor is it in my Paypal account. YOU have it and Paypal has the proof. I have now filed a claim.
~Nicole"

After that, total radio silence for another 3 days. Paypal started bugging them and they were caught in their lie.
I imagine their paypal account had to be frozen for a few days because of it. Good.
Anyways, I received my refund finally.
If I ever do buy from them again, I'll do it via their Ebay page. That is the route I took for previous purchases, and all went smoothly because Ebay will tear you a new one if you screw over a buyer.

And The Wallet Whimpers Again

***Update***
NOPE! Out of stock. Ugh, I hate it when this happens.
Hey Seller, here's an idea; maybe you should update your inventory so your customers don't end up ordering something you DON'T HAVE. Just a thought :-|
And the money is still tied up in Paypal until they refund me...I hope they refund me

(I still need) 10 yards of sapphire blue silk taffeta for my Dickens Fair project.
Renaissance Fabrics has something similar, and probably of better color & quality, but it's an extra $50 after tax and shipping. I may need to go that route though:

The true sapphire blue taffeta at Renaissance Fabrics:

and the other guy's 'light royal' blue taffeta, that is no more:

With this blue kick I'm on, I'm thinking of using a contrast trim of delicate burnished gold or metallic something-or-other. Maybe even silver, in a lightweight metallic fringe or soutache, combined with self ruching from the same silk? Now the question is if I will actually be able to get the darn fabric!

Just Something Pretty...

It's interesting to compare the way we apply ruched trims to reproduction historical garments today, as opposed to how it was once done. Perhaps this is due to the fact many no longer have the same finishing tools readily available, like pinking irons, and edging trims (or the skills to produce them). So we sometimes rely on just putting a deeper gather on our ruching, or more stuff on a gown to fill in the space.

Below as an example, we see that there isn't an excess of stuff gathered to the point of snapping the thread that binds it. Instead it's laid down delicately by hand, with just enough body to give it depth and allow a serpentine curve while laying flat.

Of course for this trim I'm sure a lower profile of ruffle was desired, and it has been flattened a bit over the ages. But even on gowns where more fulness of trimming was needed, there is still a quality of 'less as more'.

The thing I also notice about clothing during the latter half 18th century, is that exquisite framing of space. Weather it's on a frock coat or a Robe a l'Anglaise. The trim and decoration compliment the simplicity and effortless elegance if the textiles used, rather than to cover it up.

Early 1770s silk brocaded jacquard gown. Self made ruching with fly braid at edge.

Plans...

My American Duchess Kensingtons in red, and some cotton print fabric. It may not be a totally accurate 18th century design, but I have 5 yards. That's barely enough for a full Robe a l'Anglaise a la polonaise. Perhaps a pet en l'air if I want to go a little earlier in the century? If I do a red silk petticoat, I'll need it to match the shoes pretty closely. Hmmm... zone front or closed front on the bodice? So many options. This will also be my first time using a JP Ryan pattern, so if anyone out there has any tips, likes or dislikes about using the two particular patterns I mentioned above, please do share

Too Many Options...

So little time.
It's perhaps like having to choose who your favorite child is. You just can't, so you close your eyes, spin around twice, and point at random.

This is how I feel about upcoming sewing projects.
There are things that need to be made, and things I WANT to make (and this time that want is leaning more toward a need).
Once the absolute needs are complete, it's the 'wants' that need to be chosen.

I was looking at my stash of silks (taffetas, duchess satins, etc) and became overwhelmed with ideas.
If that's possible, and I'm trying to avoid my usual reaction of just buying an entirely new load of fabric for an ensemble.


But, I have red shoes coming. It will be a couple of months until they arrive, but oh how I want to make a contrasting powder blue gown to go with them....I'm thinking some vintage arctic fox fur trimming would look nice somewhere on it....Anyway...
Until then, I must finish my other, more pressing projects. This may even give me time to sort out any new ensembles from the 'Want' list in my head, and onto my final design/budget wall.
Plus (!), I still have the Pompadour gown project on the horizon. That one is from the 'Want' list as well.
*sigh*

First things first;
The plum burgundy velveteen 18th century frock coat/breeches and a waistcoat for my gent.
A Georgian gown for me from a lovely stripe silk taffeta, a long time waiting in my stash, that will correspond to his above ensemble.

#&$@#&%@!!!!!

Oh Look, the perfect fabri-HOLY CRAP THAT COSTS HOW MUCH?!

Ok kiddos, I know that silks aren't (usually) that affordable compared to other options in the historical sewing realm. But $64 per yard for a plain-weave solid taffeta is just well, brutal.

The color, or at least how it shows up on my monitor, is perfect(!) for the green/blue-ish Madame Pompadour gown.



Either I start saving my pennies now and hopefully by next year, I'll have enough to buy at least 10 yards, lol! Or, I loom around my local fabric liquidators until something similar shows up for $15 per yard...which could take about as long.
Or I keep searching.

Anyway, I have a funny feeling I'll be finding this fabric soon for a better price. My sewing spidey sense tells me so, and I've learned to trust it.

Possibilities, but...

...and there is always a 'but'.
The search begins for the perfect silk taffeta that will become the Boucher Pompadour gown.
I have not exhausted all my resources yet, this was merely a preliminary search.
So far, this is what I have come up with at www.puresilks.us :

Green (and I mean; holy-crap-we're-not-in-Kansas-anymore-Toto-green!) silk taffeta. This might be way too vivid for what I want, and while vivid colors did happen in 18th century fashion, this just seems too garish. it's one of those I'd need to see in person, in outdoor light as well as indoor. To me, it also seems to have a somewhat warm yellow base tone, whereas I need to stay on the cool side:

And one somewhat 'meh' option is this green shot with light blue. While much softer than it's above cousin, I'm not so sure I want a shot silk for this. Pompadour's gown in the painting does not seem to have a cross-weave color to the silk. At least to me.
Another mark against this particular silk, is the slub that seems to be showing in the photo. Dupioni is a big deal-breaker. Not only to I not like the look of it, I won't go near it for historical projects earlier than the 1950s...and I tend to stay away from the 1950s anyway:

A Random Find...

After years of seeing this mid to late 1780s jacket style bodice through my various books and travels (I've seen it in person), I stumbled across some hi res images of it from the Kyoto digital archives last night.
Then today, while searching for waistcoat fabric for a Dickens Fair ensemble, I stumbled across the perfect fabric for it in Santa Cruz.

I also have very two very similar patterns for this in Norah Waugh's book, The Cut Of Women's Clothes...so while this is one for the back burner, it will get made. I swear!

The original:


A close up of the original fabric:
Note how the wider, colorful stripe is slightly raised.


My fabric:
I will be using the broader stripe on the vertical, like the original. While it's not an exact match to the one above, I have seen late 18th century textiles with the dotted stripe such as here.


I am also drawn to purples and lavenders, so this one naturally caught my eye.
Perhaps I'll pair it with an off white or ivory skirt in a sheer cotton over a solid backing? I'll have to shop my historic resources, which is always fun ;-)

The question of accuracy in fabrics when on a budget...

I will probably catch some flack for what I'm about to write, but this is just my opinion in a sea of many.
When it comes to sewing historical fashion on a budget, for me personally it's going to require even more research into fabrics used, to make up for lack of discretionary income :-)

So often I see beautiful formal 18th century reproduction gowns at events made of expensive silk in taffetas, velvets, brocade and duchess satins. The keyword here is Formal wear.
Naturally, people who choose to create a formal gown want it to look expensive. Yet more often than not, the materials they desire are too expensive, very rare, or just not available any more...so they choose a modern synthetic range of fabrics in place of actual silk.

I will admit that this can bug me. A lot, but we do what we need to do and use what our wallets will allow. I save my pennies so I can by silks when I find it at a great deal
But, why would it *always* need to be silk or satin in the first place?
Here's an idea; how about cotton?

Cotton prints and wovens during the last 2/3 of the 18th century were in high demand and highly fashionable. They were not only seen in day wear, but often at social functions and dances, even at court(!).
Yet today cottons are overlooked when costumers are on a budget to create a formal ensemble, and instead they end up with a plastic, way-too-shiny acetate or polyester outfit...that I might add, photographs horribly. Seams on poly satin ripple and the fabric doesn't breathe. Acetate can often look too stiff or shiny as well.

That's not to say there aren't some nice blends out there that work quite well, but it's all in how you use it, and being knowledgeable about how the synthetics are going to behave. In drape, fit and texture.

I've used synthetics plenty of times, including the blue gown in the previous post.
That was an acetate cotton blend bengaline (it has a faille texture), and behaved much like a heavy silk. It's sheen wasn't too shiny and the drape was wonderful. I only used this fabric however, because I was familiar with it's content and behavior.

This is a great post about cotton fashion and how it is too often excused as 'casual', or only used later in the century, at another 18th century blog, At The Sign Of The Golden Scissors:
http://thegoldenscissors.blogspot.com/2011/08/cotton-sacque.html

I think one point I should state, is that when the use of synthetic fabrics truly bugs me, is when someone brags about how "perfectly accurate" their polyester ensemble is.....perhaps not for 1782, but 1982?
:-\

Waistcoat fabrics...

Today I was able to find some fabric for a waistcoat.
I thought about going with a gold or cream colored silk taffeta, but instead found this wonderful sage green/taupe shot silk. It looks beautiful with the burgundy velvet I have for the coat and breeches mentioned here.


I also found this flower and diamond patterned damask for another waistcoat; very 1780s. Perhaps not for wear with the cool-toned burgundy velvet, as its color is a bit on the warm side, but it would be nice with a dove grey, cream, or even deep gold coat & breeches.

I hope I have time this weekend to at least get started on the coat!

Hooray for Fabric.com

I was finally able to place an order for some scrumptious cotton velvet the other day for my frockcoat and breeches. yes, I'm starting off with something a bit dressy.



It's a rich burgundy wine shade, and I'm hoping to find a nice silk brocade to use for the waistcoat.
That's the neat thing about waistcoats; even if the fabric you want to use is some $80 per yard silk Lampas brocade, you still only need about 1.5 yards.
I have a seller on Ebay that has some amazing 18th century style silks that I'm currently eyeballing...and a company in Sweden that makes repro 18th century fabrics.

My hatred of synthetic fabrics....

has reached an all-time high.
The swatches I ordered from 800Fabrics.com of a supposed "cotton" velvet for a frockcoat, turned out to be nasty polyester bits of crap not even my grandmother would have used on her couch in 1974.
Yech!
*sigh* back to the drawing board.
A word of warning; if you ever order from the above supplier, or anywhere you don't already trust to have natural fiber fabrics, order swatches.
I'm glad I did.

Fabric mission accomplished

Not only did I find the perfect solid silk taffeta to use with my striped Georgian gown (Striped fabric swatch shown with it)....
I also acquired a silk satin damask I'd been lusting after since seeing it a few months ago.
My love decided to get it for me as a birthday present ;-)
The 8.5 yards of this will go into my Robe a la Francaise, and a waistcoat.
The colors are a gorgeous rich, warm rose color with a gold pattern in a 'Chinoiserie' figural theme. Hugely popular during the middle to late 18th century...