Inside & Out: Regency Bodiced Petticoat

"'Yes, and her petticoat; I hope you saw her petticoat, 

six inches deep in mud, I am absolutely certain'" 

- Pride & Prejudice, Chapter VIII

Last week on Facebook, I posted a few teaser shots of my most recently completed project - a bodiced petticoat appropriate for the Regency Era - and, as promised, today's blog post will detail its construction. 

A Regency Era Bodiced Petticoat

Having wrestled with my fair share of strapped petticoats in the past (and the struggles of sloped shoulders for straps to fall off all day long), I decided that it was time for an upgrade to a bodiced petticoat.  Not only does it solve the fiddly strap problem, but the additional bodice helps smooth the front, disguising the line from stays or the support garment, and doubles as a lining under sheer dresses.  The style makes for a simple, yet essential undergarment for the columnar silhouette of the Regency Period, and here's how I made mine!


Construction Details

As with any project intended for historical wear, I first looked to period examples for inspiration.  I felt particularly drawn to this early-19th century petticoat from the Museum of Fine Arts (MFA) collection, which is described as a "white high-waisted underdress, [with] drawstrings at neck and waist, narrow shoulder straps, [and] back tie closure" -

Woman's Underdress, Early 19th-Century
Source: Museum of Fine Arts, Boston (Accession Number 49.876)

From looking at this extant example along with several others, I decided to drape a short, front-opening bodice.  Once I had a basic pattern, I made a quick mock-up in scrap muslin to check the fit, pinned any adjustments (mostly in the bust area because of the dress form I have to work on), and then transferred the corrections to paper.  

After draping, I test the pattern in scrap muslin to check the fit.
If there's anything I've learned - don't skip the mock-up!

Once I was satisfied with my pattern, I cut the bodice pieces out twice - once in a crisp muslin for the outer layer, and again in a lightweight, cotton batiste for the inner layer: 

After correcting the pattern, I cut the bodice pieces twice -
both in cotton muslin (outer layer) and in a lightweight batiste (inner layer)

The outer bodice and inner lining were assembled separately.  To reduce bulk, I clipped and graded the seams, using pinking shears to prevent future fraying of the finer batiste.  Then, the two layers were stitched together along the front edges and neckline, clipped, turned right-sides-out, and pressed in place, rolling the seam towards the inside.   

The lining and outer bodice were assembled separately,
then joined together along the front edges and neckline.

Clipping and grading the seams reduced bulk,
and pinking prevents fraying of the finer batiste fabric

To finish the armscyes, I pressed the seam allowances to the inside, again making sure to roll the lining edge under slightly (so the seam won't show on the outside), and securely whip stitched them closed.  I also pressed along the bottom edge of the lining, which will eventually cover the join of the skirt. 

Pressing, clipping and rolling the seam allowances

Whip stitching both the layers to finish the armsyces 

Next, I tackled the skirt:  I measured and ripped two panels of the muslin, stitched the side seams, and flat-felled them to finish.  I added three 1/2" tucks to add body to the skirt (which helps prevent the fabric from tangling around the wearer's legs) and a wide hem.  To create an opening at the center front, I cut and narrow hemmed a 14" slit, reinforcing the bottom with a strong, button hole stitch:

The skirt before attaching, please excuse the wrinkles!

With the bodice and skirt now assembled, it was time to join them together!  I opted for a flat front, 1/2" deep directional knife pleats at the sides, and 3/4" deep pleats in the back, meeting at the center with an inverse box pleat.  (I like that this sounds incredibly technical, when in reality, it was based on the "divide and conquer" method and the math just worked out this time!)  I tend to pin and hand baste pleats before machine stitching to prevent any slipping:

Flat in the front, 1/2" pleats at the sides, and 3/4" pleats in the back.

I hand-baste pleats before machine stitching to prevent any slipping - works like a charm!
(As my costume tech professor always says: "a baste is never a waste!")

Finally, the finishing steps were pressing the seam allowances up and whip stitching the lining to enclose the raw edges.  I did this while listening to "costuber" Sarah Woodyard's video - Sewn Stories: Hand Sewing Health with Samantha Bullat

Finishing stitches while listening to
Sarah Woodyard's - Sewn Stories: Hand Sewing Health with Samantha Bullat
Love these two costumers! ❤

Eventually I might add hooks and thread eyes to the front, but for the following completed project pictures, I just pinned the bodiced petticoat shut!

Completed Project Pictures

And here's the completed bodiced petticoat: worn over a shift, 1830s corset (because all three sets of Regency stays are currently back in New York), clocked stockings, and pashmina scarf wrapped as a turban.  Jet necklace is by Kristen of the Victorian Needle, link to her etsy shop, here.  Photos are taken using a new tripod and self-timer feature on my phone.

Front view

Side view

Other side view

Silly side view

Back view

And some images of the bodiced petticoat just by itself:

Front view, flat.

Front view, open to show a completely finished interior.

Back view, flat.
I love crisp, direction pleats that meet in the center!

Now onto the fun part - dreaming of all the Regency dresses, bonnets, and frilly accessories to wear over top!  Oh where to begin...do you have a favorite Regency Era gown or fashion plate?  Feel free to share in the comments below - thanks for reading! 

Double the Ruffles, Double the Fun

Readers, you know me, when it comes to caps - double the ruffles, double the fun!  This post is all about a quick, little, and utilitarian project, which was trimmed with a large bow of a vintage, blue moire ribbon for the previous photo shoot, here: To Walk Is by a Thought to Go - 1810s Photoshoot

A Regency Era cap with double the ruffles for double the fun!

Usually, I'm all about the ribbons and frills, but for this Regency Era cap, I decided to take a "less-is-more" approach and let the two, little ruffles be the stars.  Though, I do think the big, blue bow added just the right finishing touch. 

Per usual, I chose a fine cotton lawn for the material.  I followed the period construction method of finishing each of the pieces - caul, band and ruffles - separately, then joining them together with whip stitches.  The cap is entirely hand-stitched using narrow, 1/16" rolled hems and whipped rolled gathers.

The cap on its side.

From the inside - constructed in the period methods,
each of the pieces are finished separately,
then joined together with whip stitches.

Completed Project Shots

Front view.

3/4 side view.

Side view.

Other side view.

Detail shot of the ruffles with 1/16" rolled hems.

Bonus: just for fun, here are a few shots of the cap in action!  This was back in June, I think, during one of my first days solo weaving at the Humphrey House.  I was actually working in the Dressmaker Shop for a special fashion program, but they were in need of a weaver, so I was happy to make the switch.

Weaving at the Humphrey House.

One of the summer projects I worked on -
A wool shawl, 2/2 twill weave.

My friend Rhonda, the dressmaker, has an adorable, little, double-ruffle cap that she copied from an original in the Susan Greene Costume Collection.  She calls it her "whip cream cap," and I've admired it for years.  It just perfectly frames her face, and the ruffles look so pretty peaking out from beneath a bonnet.  (And Rhonda has quite the bonnet collection!)  

If I ever get my Regency act together, we'll have to plan an outing (or at least an excuse for pictures).  I haven't seen her in a long time, and I miss her...anyways, I might start calling this my whip cream cap in honor of hers:

To Walk Is by a Thought to Go - 1810s Photoshoot

To walk abroad is, not with eyes,

But thoughts, the fields to see and prize;

Else may the silent feet,

Like logs of wood,

Move up and down, and see no good

Nor joy nor glory meet.

- "Walking" by Thomas Traherne 

One of my favorite makes of 2019 was a little, striped, Regency Era half robe or short gown.  It was a seemingly simple project with straightforward construction, yet oh so comfortable and convenient to wear.  I like to think of the early-19th century "short gown" as comparable to today's t-shirt -- a throw-on-and-go staple in a living historian's working class wardrobe.  Plus, the opportunities to pattern mix-n-match and accessorize can't be beat!

In this blog post, I'll be sharing both the details of the garment's construction, as well as the completed project photographs that my sister graciously took last July - thank you, Maria!  So, without further ado, let's get started...

Construction Details

The story begins two years ago when I found the perfect, reproduction print fabric at Regency Revisited during GCV's 1812 weekend.  Readers, believe me when I say it was love at first site - my friends and co-workers can attest to this haha!  Unfortunately, there was only about two yards left, but I couldn't resist the indigo stripes and so it came home with me:

The fabric - a historical reproduction printed cotton.

Fast forward to July of 2019, I finally had a project in mind for the fabric!  I wanted a new half robe or short gown, something with maximum arm-movement (i.e. being able to raise my arms above my head, which those who wear mid-19th century clothing with those low-dropped armscyes can relate to), especially necessary while I was weaving.  After a quick mock-up (though the sleeves took two tries), I was ready to cut - and Jack, my best friend's mischievous, one-eyed cat was equally ready to assist:

Jack, always ready to assist!

Special thanks goes to Judy, not only for hosting the sewing day (and for her resident helper), but for the continued encouragement.  Had she not been asking for daily updates, the project might still be languishing in a u.f.o. (unfinished object) bin somewhere...sewing friends to keep you accountable make all the difference!

As for putting it all together, I think it took three or four days of working on and off to finish.  I assembled the fronts, 4-piece back (including the skirt), and lining separately, then seamed them at the shoulders and sides.  I stitched the long seams (and set the sleeves in) by machine to save time, but anything visible from the outside was done by hand.  I did also top stitch the shoulders down by hand though as it's a pretty and period appropriate detail.  

Only the fronts have turned down edges along the top and narrow pieces of bias tape at the underbust for drawstring casings, while the back is fitted with curved seams and pleats for the skirting.  Both the set-in, elbow length sleeves and skirt were finished with bias cut facings, and I turned under or overcast any exposed seam allowances to prevent future unraveling.  

Here's a picture of the interior, which hopefully helps to illustrate the process better:

Interior view.
Please excuse all of the wrinkles.

And here's the finished short gown:  

Full front view.

Side view.

Other side view -
I might try to reduce the height at the cap
for a smoother sleeve set-in next time...

Back view -
featuring directional knife pleats at the side
with an inverted box pleat at the center.

Completed Project Shots

Once again, the beautiful gardens at the George Eastman Museum and historic mansion were chosen for the location of our summer photo shoot.  Maria, my sister and photographer, did her usual, outstanding job of documenting my latest sewing project - and I'm so grateful for her time and talents!

In the following pictures, the short gown is worn with period stockings and pointed tie-shoes, a shift, long stays, strapped cotton petticoat, and linen petticoat.  A beribboned cap and hand-rolled checked kerchief complete the quick and comfy look.  

*All photographs courtesy of Maria M.*   

To walk is by a thought to go;

To move in spirit to and fro;

To mind the good we see;

To taste the sweet;

Observing all the things we meet

How choice and rich they be.

A little child these well perceives,

Who, tumbling in green grass and leaves,

May rich as kings be thought,

But there’s a sight

Which perfect manhood may delight,

To which we shall be brought.

While in those pleasant paths we talk,

’Tis that tow’rds which at last we walk;

For we may by degrees

Wisely proceed

Pleasures of love and praise to heed,

From viewing herbs and trees.

Poem is "Walking" by Thomas Traherne - stanzas 1, 4, 8, and 9.  Follow the link to find the full poem.  Thanks for stopping by! 

Fashion Show at the Bement-Billings Farmstead Museum

My passion is for historical fashions and the study, construction and wearing of them.  So naturally, when Rhonda, my dear friend and the dressmaker, proposed an afternoon of fashions back in February, I jumped at the chance to fulfill a longtime dream.  

Timeline of historical fashions, 1810s-1860s.
(Photographs courtesy of Carrie T.)

Our fashion show took place two Saturdays ago on June 9th as part of the annual tea and quilt turning event hosted by the Newark Valley Historical Society.  This active historical society oversees and cares for two historic sites, including the Bement-Billings Farmstead Museum, and a nature trail in the heart of Newark Valley, northern Tioga County, NY.  For more information or to plan your visit, please see their website here: Newark Valley Historical Society or on Facebook.  

I was so impressed with my first visit to Newark Valley and the historic farmstead.  Rhonda serves as both the curator and costumer at the Bement-Billings House, which preserves the early domestic life and agriculture practices of the region, and was where the event took place.

Front of the Bement-Billings House.

Back of the historic house.

Tea & Quilt Turning 

The tea, arranged by the members of the cooking and guides guild, was set up in the two parlors.  Four types of tea sandwiches, including cream cheese, ham, chicken and egg salad, melt-in-the-mouth lime puffs, coconut macaroons, and maids of honor tarts, my personal favorite, were among the homemade treats served.

The early parlor.

The front parlor.

After the tea and fashion show, the quilt turning, featuring both antique and modern creations with their unique stories, commenced in the reconstructed, Herrick family threshing barn.

Catching the end of the quilt turning.

The ladies made sure that we enjoyed our fill of the delicious tea treats ourselves!  

(Photograph courtesy of Rhonda B.)

Relaxing with company and conversation after the show.

Historic Fashion Show

For our contribution, Rhonda and I had been brainstorming ideas for months.  Finding enough models to do a traditional fashion show was ruled out early, but setting up the three bedrooms and modeling two garments each was the perfect solution and allowed for a complete timeline of fashions.  Together, thanks to large historic wardrobes (as well as some sewing to fill the gaps), we ended up assembling eleven outfits, three eras of undergarments (in addition to those we were wearing) and all of the accessories for our display.

Apparently I've accumulated quite the historic wardrobe over the past few years of sewing...after packing four, overflowing laundry baskets, two bonnet boxes, two dress forms and their stands, and a backseat full of dresses, there was barely any room for us in my car!

The backseat was taken over by two dress forms,
bonnet boxes and dresses!

Wondering if the trunk with four laundry baskets
and other assorted garments resting on top was going to shut...

While Rhonda and I unloaded the car, Carrie, a member of the Newark Valley Historical Society and docent at the Farmstead, arranged each of the bedroom displays.  She then patiently helped us in and out of our outfits and snapped pictures during the fashion show.  I am so grateful to her as we could not have done it without her unwavering support and artistic eye - many, many thanks to you, Carrie! 

The 1810s display was set up in the pink bedroom:  Everything from the proper undergarments, to a morning robe and day dress were laid out on the bed.

1810s fashions.

The 1830s display featured Rhonda's late-30s dress and chemisette on the form, and a complete set of undergarments and working attire on the bed.  

1830s fashions.

Those long, corded stays were finished right before the show!
Blog post to follow...

The last and largest of the rooms held our 1860s display:  When were originally planning the show, fashion and fiction came up as a possible theme.  Perhaps that's Meg March's ballgown on the bed, and Jo's day dress and skating attire on the chair?

1860s fashions.

It was fun to pull all of the red and green themed winter attire!

For the more traditional "fashion show," Rhonda and I modeled four dresses (worn over the proper undergarments and fully accessorized) to show the changes in silhouettes from 1810 to 1860.  I thought our hand lettered cards (made the night before haha) added to our presentation.  As one of us walked through the two parlors conversing with guests about our respective decades, the other dressed upstairs.  Based on the kind words from several of the attendees, our format seemed well received! 

Rhonda in 1810s and me in 1830s before the show.
Please ignore that my eyes are shut LOL
(Photograph courtesy of Carrie T.)

Our hand lettered cards!

Rhonda modeling her purple 1840s dress and bonnet.

Couldn't resist a picture in my new 1860s dress with the 1860s display!
(Photograph courtesy of Rhonda B.)

Before packing up for the day, Rhonda and I had fun taking a few pictures around the Bement-Billings House and grounds: 

Just look at that delightful pineapple wallpaper!!
(Photograph courtesy of Rhonda B.)

I learned that this amazing fireplace cover was designed and hand painted by Carrie!

It was getting dark in the house by the time we finished.
(Photograph by Rhonda B.)

Thank you to Rhonda, Carrie & the Newark Valley Historical Society
 for the wonderful opportunity to present historic fashions!