May 16, 2024

Making an 1860s Wrapper

“MORNING DRESS—The most suitable dress for breakfast, is a wrapper made to fit the figure loosely, and the material, excepting when the winter weather requires woolen goods, should be of chintz, gingham, brilliante, or muslin" - The Ladies' Book of Etiquette, and Manual of Politeness by Florence Hartley, 1860 

When I give a "Getting Dressed" presentation, I like to travel in style, comfort, and modesty, donning a wrapper to drive my horseless carriage to and from the locations.  (Since we are just meeting, showing up in only a chemise and stockings might be quite scandalous!)  I was in desperate need of a new 1860s wrapper, as this is probably my most popular and frequently booked decade, and this blog post will detail the project. 

I started designing and sewing the wrapper at the end of February, and finished by the beginning of March.  The first occasion I had to wear it was for a more recent "Getting Dressed in the 1860s" presentation in April for the Presbyterian Village at North Church, which is an independent senior living community.  They were a wonderful audience too, asking lots of questions and sharing some of their own fashion memories, especially from the 1950s and '60s.  Special connections like these are why I love doing fashion programs, and historical clothing is such an excellent tool to discuss all kinds of social history - like gender, identity, and self-expression - as well as economic, labor, political, and technological advancements.  I have a couple more 1860s programs lined up this summer, so the wrapper should get some more wear. 

Historical Inspiration

First a definition: what is a wrapper?  A wrapper (also called a morning dress/robe) is a semi-fitted or loose dressing gown that women would wear in the morning or evening, with or without their corset.  Wrappers tended to follow the lines of a fashionable dress, but were considered informal dress - i.e. best worn in the privacy of one's home for breakfast, chores and domestic duties, or lounging around, but not in front of company.  Some wrappers were fastened from the neck to the waist and stitched shut from the waist to the floor, while others were left open through the skirt to reveal a decorative, embroidered petticoat.  Due to their relaxed fit, many had drawstrings at the waist, or could be tied with a belt, making them perfect for maternity wear too. 

Here's another excerpt from The Ladies' Book of Etiquette, and Manual of Politeness by Florence Hartley, 1860, describing the (un)suitability of wrappers for receiving morning calls: 

DRESS FOR MORNING VISITS—A lady should never receive her morning callers in a wrapper, unless they call at an unusually early hour, or some unexpected demand upon her time makes it impossible to change her dress after breakfast…A wrapper made with handsome trimming, open over a pretty white skirt, may be worn with propriety; but the simple dress worn for breakfast, or in the exercise of domestic duties, is not suitable for the parlor when receiving visits of ceremony in the morning. 

The "simple dress" worn "in the exercise of domestic duties" could be made from a more serviceable calico, as opposed to finer wools and silks.  Printed cotton wrappers often featured bolder colors and busy patterns, which made them both easily launderable and helped to hide dirt and stains from household chores.  

When looking at extant examples, I was feeling particularly inspired by those with velvet accents, like collars, cuffs, and patch pockets, and will share a few below.  If you're looking for more examples or other styles, feel free to take a look through my 19th Century Wrappers Pinterest Board

This first example comes from a Pinterest upload, and I would love more information on the garment.  The caption provided only that it was displayed at the Antioch Historical Society, and I assume belongs to a private collection.  I just love the bold print, and the red silk collar and patch pockets, which appear to be trimmed with black ribbon (maybe silk or velvet?) and fringe. 

Display at the Antioch Historical Society
Image source: Pinterest, unidentified owner/collection 

The second example was originally an Ebay auction item, which the seller listed as an "1860s Civil War Era Dress," but it is actually an early-1870s wrapper.  Again, I was responding to the large striped print, with velvet accents, including collar, wide cuffs, patch pockets, buttons, and belt (which should be placed higher, in the gap between the buttons...)

Anyways, here's the description form the Ebay seller: "This elegant antique dress is sewn of the most exquisite wool fabric with paisley pattern fabric…Ever so soft deep chocolate brown silk velvet collar, pockets, sleeve cuffs, belt with matching silk velvet over wooden buttons. The lower dress skirt offers the typical fullness needed for hoop skirts and bustle."

Early 1870s Wrapper, originally an Ebay Listing

And finally, a third example from the MET, described as a "quintessential dressing gown of the period with military-style cuffs, cord belt and paisley pattern:"

Dressing Gown, ca.1875, MET Museum (accession number: 2009.300.124) 

For my own design, I wanted to complement the large striped print with equally bold, velvet cuffs and collar, as well as a wide skirt to accommodate a hoop (if desired).  

Construction Details

This was a stash-busting project, meaning that all of the materials came from the stash and that I did not have to buy anything for its making.  For the fashion fabric, I chose the most gorgeous reproduction cotton - called "Red Charlotte Serpentine" by Michelle Yeo (Pattern C8433) from the Penny Rose Designer Fabric Collection (I believe I had ~6 yards) - deep red cotton velvet for accents, and cotton muslin for lining.  I also used vintage gimp trim (passementerie) to mimic the serpentine print. 

For the design, I knew I wanted a fitted back with a full, gauged skirt; and a loosely-fitted, long front with a half lining and two double-pointed ("fisheye") darts on each side to provide gentle shaping.  For the pattern, I used a modified version of my bodice block and coat sleeves, and the front piece references the general shaping in Laughing Moon Pattern #118: Wrapper, Work Dress, or Morning Gown 1840-1860.  The cuffs were drafted off my coat sleeve, and I also patterned a wide collar off the neckline measurements.  I decided I'd leave the wrapper open to hem, in case I made a fancy petticoat; and to close/cinch the waist with a self-fabric belt. 

After patterning and cutting out all of the fashion and lining pieces, as well as the velvet pieces with their facings, I started with assembling the back pieces.  The back was flatlined with cotton muslin, and then I piped the waistline in preparation for the skirt.  The skirt is just two rectangular panels seamed together, gauged, and whipstitched to the back bodice. 

The skirt is made from two panels of fabric, seamed and gauged (cartridge pleated).
The fullness will accommodate a hoop, if desired. 

I also added a 1" twill tape casing for a drawstring, following extant examples I have seen, which will come in handy for keeping the wrapper sitting at the waist when worn over a hoop. 

The finished back, flatlined with muslin - notice the 1" twill tape casing for a drawstring.

Finished back from the outside - notice the piping at the waist.
I also squared the side seams so everything would be on the straight of grain.

With the back finished, I turned my attention to assembling the fronts.  Since my fabric was not wide enough to cut the full front pieces, I pieced two triangular gussets at the sides.  I serged the raw edges for a neat finish, seamed, and pressed them open to combine the two pieces into one.  I also hemmed the half-lining, and then flatlined it with the bodice:

Detail showing both the side piecing and the bottom edge of half-lining.

For some gentle shaping, I marked two double-pointed darts (also called "fisheye" darts) to help contour the fronts.  Double-pointed darts are often used on dresses and jackets that are nipped-in and fitted at the waist, while providing shaping for the bust and hips. 

View of the half-lining and marking the double-pointed or "fisheye" darts.

To ensure smoothly-stitched (no puckers) darts, these must be stitched from the middle to the top point; then, returning to the middle and overlapping the stitching, and sewing to the bottom point.  Avoid backstitching at the points, and instead, much like a standard or single dart, decrease the stitch-length about an inch from the top, and tie off the thread tails.  (Here's an simple, illustrated tutorial on Sewing Darts.)  I also smoothed the curve of my darts and clipped to the centers, so they would lay nicely when pressed over a tailor's ham to the side seams. 

I curved my double-darts to avoid a harsh line; and stitched them from the middle to each point.
Instead of backstitching, I decreased the stitch length at the tops and tied the thread tails.

Here are the double-darts clipped and pressed -
always press darts over a tailor's ham to support the curves and avoid puckers.

View of the darts from the outside - notice contouring for the bust and hips.

Next, I joined the sides, stitching the fronts to the back, and pressing the long seams open: 

Attaching the fronts to the back at the side seams.

Unfortunately, I seemed to stop taking in-progress pictures at this point - so I will just describe the next steps.  To finish the fronts, I folded under the facings and whipstitched them in place, since I intended to leave the front open (in case I want to display a petticoat).  I also tried the wrapper on, measuring and pinning up the hem, which was also finished by hand. 

For the coat sleeves, I lined them with muslin, and piped the armscyes of the bodice.  I added deep velvet cuffs, which were lined with the fashion fabric, and then trimmed with the gimp braid.  I made sure to edgestitch everything to keep the linings from rolling outwards.  Here are the finished coat sleeves, right before setting them into the wrapper: 

Coat sleeves with deep velvet cuffs, trimmed with vintage gimp braid.

To finish the neckline, I made a matching velvet collar, also lined with the fashion fabric, and trimmed with the vintage gimp braid.  I used self-fabric bias tape to enclose the seam and raw edges, and act as a narrow neckline facing.  Two metal hooks and thread eyes were added to fasten the wrapper at the collar, and a self-fabric belt was made to accent (and close) the waist.  The belt closes with two metal hooks and thread eyes as well. 

After adding a matching velvet collar and self-fabric belt, the wrapper was done!

Completed Project Pictures

I am still waiting for an occasion to take some nicer pictures in a historical location...but for now, pictures on a dressform will have to do.  I promise the wrapper fits better on me, and was worn over a chemise, drawers, and petticoat for my presentation.  It also fits over a hoop, if desired. 

Finished 1860s wrapper, front detail. 
There are two metal hooks and thread eyes to close at the collar, and a self-fabric belt to cinch the waist. 

1860s wrapper, full-length front views.

1860s wrapper, side views - notice the gores and piecing of the skirt.

1860s wrapper, back views - the skirt is very full at the back to accommodate a hoop.

1860s wrapper, back detail shot.

And that's a wrap to this wrapper post!  Our next sewing project will probably be an 1830s wrapper for another "Getting Dressed" presentation. 

As for the next blogging content, I'll be switching over to Patreon (many thanks to our loyal, patient patrons) to create a two-part series on the making on an 1860s "Bloomer Costume" or reform dress.  I recently completed and sported the look for a living history presentation on the Chinese participants in the American Civil War at the New-York Historical Society - which was the perfect kick-off to Asian American, Native Hawaiian, & Pacific Islander Heritage Month! 

Thank you for reading & special thanks to our generous patrons!

Like what you see here and want to support the creation of future content, historical costumes, and fashion history programming?  Consider joining us over on Patreon with pledges starting at $2/month, and you'll also unlock exclusive content like bonus blog posts and more!  Follow @youngsewphisticate on Facebook & Instagram for regular project updates.

April 29, 2024

Making a Set of Tucked Petticoats

"SKIRTS.  Skirts have generally from two, to two and a half breadths in them, according to the width of the material of which they are made : they are sometimes finished at the bottom with a deep hem, three nails broad, tucks, or worked muslin." - The Workwoman's Guide, 1838 (page 104) 

Back to blogging after an unintended 7-month hiatus!  In this second post for today, I will be documenting how I made a new set of tucked petticoats, and providing a step-by-step tutorial for making your own plain or tucked petticoats, appropriate for 1830s-50s impressions.  

Believe it or not, I have been making do and mending the same set of mid-19th century petticoats since 2015 (see this throw-back post from the blog archive: 1850s Undergarments).  While corsets have come and gone, and my Civil War Era petticoats have already been replaced once, it is past time to refresh the pre-hoop undergarments.  With an upcoming "Getting Dressed in the 1830s" later in May, (and an 1840s version already scheduled for 2025), I definitely needed a new, crisp, and presentable set of tucked petticoats, made from my favorite pimatex cotton (which may last another decade!)

Historical Inspiration

Petticoats (also called "underskirts" or simply "skirts") are often constructed in a similar manner as the outermost or dress' skirt.  Layering multiple petticoats adds fullness and body, supporting the dress and creating a soft bell or dome shape, as was fashionable in the Romantic and Crinoline Eras.  

According to The Workwoman's Guide, published in 1838, petticoats are "made in various ways" and the text continues to offer the following paragraph description on page 104: 

SKIRTS. Skirts have generally from two, to two and a half breadths in them, according to the width of the material of which they are made : they are sometimes finished at the bottom with a deep hem, three nails broad, tucks, or worked muslin. Sometimes they are bought with cotton runners, woven in them at the bottom, six or eight nails deep, which make the dress stand out, and if the gown is of a clinging material, causes it to hang better. Skirts are generally made with the opening behind, but for elderly persons or servants, it is at the sides, the seams being left unsewed for about four nails from the top ; sometimes they are furnished with pockets on one or both sides ; for a description of which, see Pockets. Skirts may be set on to the body, either equally full all round, plain under the arms, and full at the front and back, or with all the fulness behind. Servants frequently wear their petticoats merely set into a tape round the waist, without any body, and with or without tape shoulder-straps, to keep them up. Under or middle petticoats are also made in this manner.

(Aside:  I also found the descriptions of nursing petticoats interesting, on page 105, which is somewhat reminiscent of 18th century petticoat construction.)

This style of petticoat - with a full skirt cut from rectangular panels, set onto a waistband, closing at the center back, and finished at the bottom with a deep hem and/or tucks - continues to be worn throughout the mid-19th century until gored skirts return (~1864).  I rarely see tapes or shoulder-straps by the late 1840s, which could have to do with the return of the natural waist.  Here are two extant examples, one plain and one with tucks, from the Costume Institute's collections at the Metropolitan Museum of Art: 

Left: Petticoat, 1850s. MET Museum, accession number: C.I.60.11.2
Right: Petticoat, ca.1860. MET Museum, accession number: C.I.37.46.103

Construction Details

Now for a tutorial and step-by-step instructions on making your own plain or tucked petticoats for 1830s-1850s impressions, using my own as the examples (see italics): 

Step One: Measurements & Materials 

When it comes to choosing materials, I like to use a tightly woven cotton like pimatex because it's crisp, smooth, and durable for many years of wear.  Otherwise, look for a quality bleached cotton or linen, while others recommend stiffer materials like cotton organdy.  For this project, I ordered 10 yards of 45" wide cotton pimatex from Dharma Trading Co, and then machine washed (to shrink and remove factory sizing), dried on high heat, and pressed the fabric. 

For measurements, there are several considerations:  first, determine the finished length.  Ideally, you'll want your petticoat to fall between lower calf-length to above the ankle, and should be 1"-2" shorter than your dress.  Measure from waist to hem at your center front, sides, and center back over any addition supports/padding that you plan to wear with your petticoats.  You may find that the back length is several inches longer than the front.  Use the longest measurement for the next step 

To your longest length, add the following allowances: 

  • Hem allowance: 1/2" turn under + 1"-5" for a deep hem
  • Decorative tucks (optional): each tuck will take up twice as much length; for instance, a 1/2" tuck will take 1" of fabric.  So, calculate your number of tucks, and multiply times two. 
  • Waistline allowance: if you are enclosing the top of the petticoat, add 1/2" seam allowance.  If you are planning to fold over the edge to gauge (cartridge pleat), add 1"-2" allowance. 
Together, these will be the cut length.  For my 5-tuck petticoat, I wanted the finished lengths to be 35" at the center front, and 36" at the center back.  Subtracting 1.5" for the waistband from 36", my skirt length would be 34.5".  To that, I added 1" for the top, 3.5" for the hem, and 5" (for 5 tucks @ 1/2"deep), making my cut length 44" total. 

Next, you'll want to calculate the width of your petticoat.  For the 1830s-50s, the fullness should be between 120"-140".  (Check out Kenna's fabulous hem study here: Hem Circumference Resource).  I like to work selvedge to selvedge whenever possible, so I used 3 lengths of the 45" pimatex cotton, for a total ~135" hem. 

Step Two: Cut & Seam Panels

I chose to seam my panels by machine for speed, though straight seams are great for practicing hand-stitching.  Finish the seams as you please, which could include flat-felling, overcasting by hand, or serging to prevent raveling.  Since I am using the selvages, I just pressed my seams open. 

Leave at least 12"-15" free at the center back seam for an opening (to help get the petticoat on).  If your center back is on a seam, finish the sides with a 1/4" double-folded hem, and reinforce the end of the stitching with a bar tack. 

Otherwise, you will need to cut the 12"-15" slit, and finish the raw edges with binding, placket, or turning a double-folded hem and reinforcing the end.  I used the later method, and finished the bottom with a button hole stitch and thread bar, so the slit would not continue to rip.  The Lady's Guide to Plain Sewing (page 27) has excellent directions for this "binding slits" technique: 

The Lady's Guide to Plain Sewing (page 27)
[Click on image to enlarge]

Step Three: Hemming 

Fold-over and press 1/2", then measure, pin, and stitch your hem.  My hem was 3" deep, and stitched by machine.  I save the hand-hemming for skirt hems, or anything that would show from the outside.  

Step Four: Stitch Tucks 

Tucks are essentially just folds stitched in fabric, which can be as tiny or deep, and spaced as close or far apart as you please.  When added to the hem of a petticoat, they serve both a decorative and functional purpose - adding visual interest and helping hold skirts out (so they don’t tangle around the wearer’s legs). 

Measuring from the hem, I pinned and pressed a fold for the first tuck.  I was using 1/2” tucks, placed 4” above the hem - which means measuring 5” up from the hem. 

Measuring the first tuck.

Next, stitch a 1/2” away from the folded edge for a 1/2” tuck.  Once stitched, press the fold down towards the hem, completing the first tuck.

For second tuck, I used the stitch line from the first tuck as my guide (rather than measuring from the hem again).  I wanted a second 1/2" tuck spaced 1" from the first, so, my next fold line was 2” above the stitch line.  Using a ruler, press and pin the next tuck; then stitch another 1/2” from the folded edge.

Adding a second tuck.

Repeat the process until all of your tucks are stitched.  I put three, 1/2" tucks on one petticoat, and five, 1/2" tucks on the other. 

Adding more tucks.

Finished 3" hem with five (1/2") tucks.

Step Five: Balance the Waistline 

To balance the top edge of the skirt, measure from the hem to waistline, and mark your center front length, sides, and back lengths.  For me, this was 35" at the center front, 35.5" at the sides, and 36" at the center back for the longer, 5-tuck petticoat; and 34" CF, 34.5" SS, and 35" CB for the 3-tuck petticoat.  Using a fabric marking tool, connect these measurements with a smooth line, and either cut (if you are planning to enclose the raw edges), or fold along this line (if you are gauging/cartridge pleating). 

While the skirt is still flat, I like to finish the top edges with either hand overcasting or serging to prevent raveling.  It can also be helpful to divide and mark the skirt into quarters or eights. 

Step Six: Gather or Gauge (Cartridge Pleat)

To gauge (cartridge pleat), use a strong thread like button twist (I use 6-strand embroidery floss), and stitch two, parallel lines of gathers.  You will be sewing through two layers of fabric, and want to start the first row of gathers about 1/4" from the folded, top edge.  The second line of gathers should be 1/4" - 3/8" below the first line of stitches. 

Gauging (cartridge pleating) requires two lines of parallel gathering stiches.

Step Seven: Prepare Waistband

To make the waistband, you will want to measure your waist over your stays or corset, and then add 1" for overlapping closures, and 1" for seam allowances - this is the total length.  For a 1" wide band, cut 3" (including 1/2" seam allowance; for a 1.5" wide band, cut 4" (including 1/2" SA).  Fold the waistband in half, right sides together, and stitch around the edges.  Turn right sides out, press flat, and stitch the waistband closed. 

Step Eight: Attach the Skirt

Begin by pinning your skirt to the waistband.  I like to mark quarters (and eights) on the waistband to line up with the skirt markings.  Evenly distribute the gathers across the waistband. 

Gathers evenly distributed and pinned to the waistband.

Pinning gathers, detail.

Stitch through each pleat's fold, securing the skirt to the waistband.  Every inch or so, I like to do a double stitch through a pleat for extra security.  Tie off the gathering threads when finished. 

To attach the skirt, stitch through the fold of each pleat, whipping it to the waistband.

Helpful illustration from The Lady's Guide to Plain Sewing Book II (page 22)

Gauged skirt, outside.

Gauged skirt, inside.  

Finished petticoat!

Step Nine: Button & Button Hole Closure 

Add a button and button hole closure (or ties) to finish your petticoat. 

Pro tip: if you machine stitch your button holes, I like to apply a little fray check around the button hole to prevent fraying, in case I cut threads!  I also find this binds the stitching (like glue), and is less prone to stretching over time. 

Button & button hole closures

Enjoy your new tucked petticoat - or in my case, set of tucked petticoats! 

Completed Project Pictures

Here's the 3-tuck petticoat: 

Here's the 5-tuck petticoat overtop:

Tucks at the hem, detail.

Have you ever made a tucked petticoat?  Share your petticoat project, or if you have any questions on the process, in the comments below!

Button closure, detail.

Thank you for reading & special thanks to our generous patrons!

Like what you see here and want to support the creation of future content, historical costumes, and fashion history programming?  Consider joining us over on Patreon with pledges starting at $2/month, and you'll also unlock exclusive content like bonus blog posts and more!  Follow @youngsewphisticate on Facebook & Instagram for regular project updates.

Trimming a Straw Regency Bonnet

 My goodness, it has been a month of Sundays since my last blog post!  Fear not, the blog has not been entirely abandoned, as I do still believe long-form content to have its place and value - especially for teaching new sewists and even as a reference for those with decade(s) of experience.  Though, I confess my updates will continue to be more regular over on my Instagram @youngsewphisticate and Facebook Page - so if you don't already, you might consider following there to stay up to date with the latest adventures and projects.

For my few, but dedicated blog followers, today I have two posts planned.  The first is the one you are currently reading on the trimming on a Regency Era straw bonnet, and the second will include a tutorial on making Romantic Era tucked petticoats.  I am attempting to document projects from 2024 at least, which include a few more catch-up posts and some exciting plans ahead.  As always, thanks for reading - and I hope you enjoy today's blog posts: 

I spent this past Easter weekend taking in the sites of New York City - from museums to the Broadway stage with Chelsea - to strolling down Fifth Avenue with Cheyney and her crew during the annual Easter Parade!  While I may not have had time to make a whole new outfit, I absolutely needed an Easter bonnet for the parade, and evening's Easter Egg Strut, hosted by the one and only Dandy Wellington & his band!

Years ago, I had commissioned another friend and straw milliner, Anna Worden, of the blog: If I Had My Own Blue Box and her shop: A Milliner's Whimsy, to reproduce a specific style of Regency Era poke bonnet that I fondly refer to as my "mailbox."  Anna painstakingly handstitched, wired, and blocked this straw beauty - which I newly trimmed for the NYC trip.

Historical Inspiration

Again, I fell in love with this 1810s to early 1820s style poke bonnet, of which there are several extant examples to study, including this one which was sold at auction: 

Poke bonnet, c.1810 - 1815.
Meg Andrews auction website, sold.

While the images are not the best, the accompanying description is a little more helpful: "with deep crown and upturned brim, all in a narrow plaited straw, the brim edge of crin (horsehair) and straw, lined with palest eau de nil silk the brim area covering a card support, the wide ribbons in shades of rose pink with brown and gold plaid, edged with silk tufts, crown 6 3/4 or 7 cm deep; ribbon 6 in or 15 cm."  I followed suit with pleating ivory silk along the brim of mine, and attaching wide ribbon ties inside at ear-level. 

Here's another example of the style, dated 1815 - 1820 from the Snowshill Wade Costume Collection, National Trust:  I just love the curve of the brim, and took note of the ribbon placements as well. 

Poke bonnet, c.1815 - 1820.
Snowshill Wade Costume Collection, National Trust: 1349493

Construction Details

Do you want to know a (not so secret) secret about me?  While I certainly can - and have done millinery in the past, I much prefer to purchase blanks (or completed pieces) pieces from my talented friends, like Anna Worden!  Plus, it's just nice to be able to support their business, and thoroughly enjoy wearing a bespoke original.  I took a few pictures of the straw blank before decorating it to admire its curves - and the way that Anna shapes and stitches straw into beautiful period pieces never ceases to amaze me: 

Hand-sewn straw poke bonnet, made by Anna Worden.
Find her custom historical hats and bonnets at: A Millinery's Whimsy

Anna made the crown very deep to fit over all of my hair -
all of those circular rows of straw are mesmerizing!

And this is where I stopped taking in-progress pictures, unfortunately...the next step was to cover or line the brim.  I pleated and stitched a rectangle of ivory silk taffeta along the brim and a couple inches into the crown to act as a facing.  I might go back and add a full lining too, to keep the straw from snagging on my hair.

Ivory silk taffeta pleated along the brim and interior facing.

With my deadline quickly approaching, there was no time to order new millinery flowers or ribbons, so I decorated with what I could find in the stash.  Starting with a wide, royal purple moiré ribbon, I pleated and tacked a length along the outer crown like the extant examples, and made a few big bows for the sides and center back.  I twisted together a wreath of various vintage silk and velvet flowers, and covered the wire stems with floral tape.  Once everything was secured in place, I added long moiré ribbon ties to the inside.  

All of the trimmings - vintage moiré ribbon and silk and velvet millinery flowers - came from the stash.

Completed Project Pictures

With a full trimmed bonnet, I was ready for the NYC Easter Parade! 

And a few more wearing my bonnet with my Easter OOTD (outfit of the day) - there are lot more pictures on my social media from both events (morning parade and Easter Egg Strutt) too! 

Thanks again, Cheyney, for inviting me along for a truly NYC Easter experience!

My parade look, complete with American Duchess "Emma" boots
& borrowed golden cloak from Cheyney!

My look for the Easter Egg Strut, including new accessories for a favorite Regency dress.
Now that I know the dress code - I want to step it up for next year!

Thank you for reading & special thanks to our generous patrons! 

Like what you see here and want to support the creation of future content, historical costumes, and fashion history programming?  Consider joining us over on Patreon with pledges starting at $2/month, and you'll also unlock exclusive content like bonus blog posts and more!  Follow @youngsewphisticate on Facebook & Instagram for regular project updates!

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