The Velvet Hussar: Empress Elisabeth At The Great Dickens Fair

This is somewhat of a sneak peek of the gown as it made its maiden voyage this past weekend at The Great Dickens Fair for Royals Day. While I still wish to get a few posed photos of the gown showing the full length standing, there are some lovely shots below. These were taken by Laurie Tavan (who is also one of three lovely ladies this year that play Queen Victoria) and her Husband Jeremy.
Much love and thanks to my dear friend, Laura, who assisted me as Countess Carolyn de Lamberg, lady in waiting to Empress Elisabeth. She created an amazing Miesbacher tracht (tradtional Miesbacher ensemble) to wear for the occasion.

At some point I would like to make another fuller, longer velvet skirt for this ensemble, since this one had to be made to maneuver through a crowded Dickens Fair. Larger hoops are not allowed for good reason, but I have a good sized elliptical hoop hanging in my closet that would do well.
I even have the desire to make her velvet dress with the lace jabot someday. It may have actually been what 'Sisi' was wearing underneath the coat for those photographs, which were taken in the same studio.
It might be worth it to just make that entire gown anyway, if I ever choose to work with that much velvet again.

 An audience with HRH Queen Victoria at the Adventurer's club

 

Mackenzie as Empress Eugiene, Laura Erlich as Countess Carolyn de Lamberg (my lady in waiting) and yours truly; Sisi.

 Leaving The Adventurer's Club

 Lovely ladies (left to right): Laura, me, Amy Lambert as Queen Victoria, Mackenzie, Laurie Tavan

We ended the day with a formal toast at the Adventurer's Club.

The Velvet Hussar: Nearly Complete!

I'm proud to say that as of tonight (or tomorrow evening), my reproduction of Empress Elisabeth's velvet and fur winter ensemble will be done!
Saturday will be its debut as I will be presented to HRH Queen Victoria, at Dickens Fair for Royals Day.
Of course I have no real photos of anything yet since I've been so busy finishing it up, but here is a photo of the matching hat I finished this afternoon during my lunch hour (sorry for the poor image quality):

In the original photograph of 'Sisi' wearing this outfit, her hat was a similar shape and style, with what looks like a little mink fur decoration at one side (away from the camera). Hers had more of an upturned close brim. Frustratingly, I didn't have the time or ability to replicate her hat this year, but was able to make one in the same vein. Instead of at the side, I put a looped velvet bow tipped with little mink pom poms at the center back. The rest of the hat is black sinmay covered with the same black velveteen as the gown in a softly gathered toque style with a little Hungarian flair.

Below is one of the 8 appliques I hand beaded to go on the front of the coat. These are a base for the covered toggles that the cord loops across the front attach to.

From the original set of photographs. You can see the little sprout of fur to the right on her hat:

'Sisi' with Shadow.

The lace collar on the blouse I wore last year will work perfectly for underneath, and I've added some lace frill to the cuffs as well.

In this image, it's easier to make out the daisy-shaped & beaded motifs under the toggles on her bodice.

 My skirt will not be trained long in back. You have no idea how much I wish it could be. But I needed to make it shorter because well, it's the Cow Palace/Dickens Fair. While the ground isn't atrociously dirty with mud etc. (but still pretty heinous) the risk of having my hem accidentally stepped on by patrons and players alike is too risky.

Oh and by the way; I went so far as to *DYE MY HAIR* for this.
Maybe not just for this Sisi project alone, but for fun too. I had to bite the bullet and did it on Tuesday evening before I allowed myself to chicken out. My own blonde locks will be in hiding, gradually making their way back out over the next few months, as I slowly and gently get the darker semi-permanent shade of chestnut out.

Check it!:

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.

The Velvet Hussar Gown: Part II

I made a lot of progress on Sisi's velvet ensemble today.
There was only one near tragedy; I had accidentally cut one of the princess coat panels with the nap of the velvet going up instead of down. So I had to re-cut it and use up more fabric than I had wanted to.
Still, I think I have plenty to go into the lower panels of the skirt. I ordered an extra yard though, just in case.
The bodice to about hip level is flat-lined in a black cotton twill.

Here she is shown over my new hoop petticoat, again with no sleeves yet and not much to look at. I will wrangle the sleeves on tomorrow:

Sisi's "Velvet Hussar" Gown: Mockup Part I

Here is what I have as a muslin mockup for the coat portion of the ensemble, sans sleeves. Pretty good so far! Only a couple of minor adjustments needed; I moved the outer dart down a smidge on the front and took it in a bit more (see darts at left side of bodice). This is because I have a longer torso than the natural waistline of the original bodice pattern I used.

The Velvet Hussar

So I had decided on the fur and velvet Hussar-inspired promenade gown.
I have all my velvet, my fur material in the form of an old mink coat, linings, all the mohair braid and fittings for closures and details. While I may not be able to replicate this ensemble exactly, given the time, I think I will come pretty close.

 Sisi with her beloved dog, Shadow.

As guides, I am using Truly Victorian patterns TV446 and the free petticoat diagram for the skirt.
I have extended the lines of the bodice into a princess 'coat'.
The upper half of the underskirt will be black cotton, with the velvet material attached just under where the hem of the coat ends. There is no way I want to make the entire skirt of velvet, let alone try to pleat it into a waistband! The stuff wasn't cheap either. This was also a typical way people used to save on expensive fabrics, even the wealthy.
I may even build this over my already existing elliptical hoop, since that is what she is wearing in this 1864 photograph. For Dickens I need a regular circular hoop, but should I ever want to do an accurate portrayal of Sisi for a future photo shoot later, I can have the other option of an elliptical.
I have my muslin cut and ready to go, wish me luck.

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 ;-)