1837-41 Morning Dress Patterns of Fashion 1 – Highly Commended Award

In this post I’m going to go over my process for my entry into the 2020 Costume Society Patterns of Fashion Award. This will cover my planning, research, toiling, fabric selection, construction, styling, final judging and a reflection on my experiences.

Deadlines for the competition were as follows,

7th of December 2019 – Deadline for application form
This application form registers your interest in the award, it is essential to do if you plan to participate.

30th of January 2020 – Deadline for submitting a slideshow containing images of the finished garment both interior and exterior, toile process and any other relevant information
Note that normally the Costume Society Conference would take place later in the year for final judging where (if selected as a finalist) you would bring your finished garment, a research file, work book, copies of the pattern/relevant POF book pages and any other material you felt necessary to judging. Because of this the powerpoint does not need to be overloaded with information just key details of your process.

Unfortunately due to the Covid-19 pandemic the Costume Society Conference could not take place this year and judging happened online via video chat. 


Planning

Planning for the competition began at the end of my second year, one of my tutors organised for any interested students to come to a meeting after our final hand in to discuss the competition, look over the garments we were interested in and discuss our decision.  This wasn’t a final decision, there was all of summer to reconsider but having the discussion then would allow for research and planning to be done over the holidays.

I had narrowed my choices down to three dresses,
1837-41 Morning dress, 1827-9 wedding dress and the 1745-60 jacket and petticoat (All from Janet Arnold Patterns of Fashion 1)

My biggest consideration when selecting a dress was that I wanted it to be hand sewn, hand sewing a dress was seen as a bit of a taboo in the 3rd year studio as everything is so time critical. My tutor did attempt to dissuade me from choosing a hand sewn dress, citing a previous student hand sewing a dress and how much time it took them and the stress it put them under.
But I was pretty determined, I knew that a completely hand sewn dress would be a stand out piece of my portfolio it would also allow me to further develop and refine my hand sewing skills, immerse myself in period techniques and engage with primary and secondary resources which is one of my favourite aspects of historical dress.

When it came to selecting a dress I decided on the 1837-41 Morning dress – Gloucester Museum.
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My reasons for selection this dress over the other two were as follows,
It predates the sewing machine fulfilling my hand sewn criteria. I believed it would be achievable to make in 12 weeks, this is due to the simple base cut of the bodice and skirt which are embellished upon with decoration.  Sourcing materials would be straight forward, as I wanted to reproduce the dress in its entirety (The Costume Society does suggest making from calico or other neutral fabrics to reduce costs but this is a just suggestion)  the fabrics used for the original dress would be straightforward to source or find a modern substitute for.
My reason for not following the suggestion of using neutral low cost fabrics is simply because I knew I would be putting a lot of time into the costume, that it would be on display at degree show/in my portfolio and that I had the intention of selling it. I could not justify making it from plain fabrics, I wanted it to have the same grand appearance as the original and stand out in displays and also for it to be profitable.
I understand not wanting to use expensive materials for financial reasons and that is a decision down to each individual.
For perceptive the material costs for this garment was approximately £250.


Research

As mentioned above I wanted to use my summer break to get all of my research done for the dress in time for my return to university. My top priority was enquiring if I could view and examine the original dress, it did take me a while to get in contact with someone at Gloucester Museum to arrange an appointment but I was successful in doing so. At my appointment I met a curator who showed me to the dress which was laid out on a table, I was given a pair of gloves so that I could move smaller elements of the dress on my own and the curator helped me with turning the dress over.
I must have spent three hours looking over the dress and I took hundreds of pictures of everything imaginable. I also took notes as I went over the dress but I really found the pictures to be my best point of reference. While my notes were great sharing the pictures  with my tutors was very helpful when I got stuck. I really recommend taking as many pictures as possible and of everything, even simple things such as the stitching on the hem as it will just give you a visual reassurance even when it seems straight forward.

I do plan to make a separate post containing all of my images I took of the original dress (or maybe a public google album). For now if you would like them please get in contact and I can send them.

In addition to viewing the original dress I also viewed three other dresses from the 1830’s in the National Trust Killerton Estate Textile Archive. I found viewing these dresses really beneficial to my research and it gave me a broader view as to how dresses were constructed during the period. In addition to this each dress had a similar attribute to the 1837-14 Morning Dress, the brown dress had a very similar cut bodice, the plaid dress had similar smocking on the sleeve and the girl’s dress like the morning dress had a lot of piping on the bodice.
Viewing other garments in addition to the original dress (or if the original can not be viewed) is a really great source of construction evidence. For example if you didn’t know exactly how a waistband was attached on the original because the pattern is vague or the waistband is obscured on the original, citing other extant garments as your reasoning for how you approached it is great method of problem solving and shows great investigation skills.
I was praised during judging for examining addition dresses from the period. 

(in order 1830s Brown Dress, 1830 Green Plaid Dress, 1833 Girl’s Green Dress )

The National Trust is defiantly worth looking into for extant garment research (They also hold a few Patterns of Fashion garments). You can search through their online archive using the National Trust Collections Page you can refine the search to Places, Category (costume!) and Date. You can view a maximum of three items and there is a £25 charge for the use of the service. Booking an appointment is easy, email the location, explain your interest/reason for wanting to view the items and include the NT item number for the items you want to view in the email.
The staff at Gloucester Museum and Killerton Estate were extremely helpful and I’m very grateful for the opportunity to view the dresses.
I recommend enquiring about viewing extant garments in advance (this goes for any location, museum or archive) as there is usually a few weeks wait before you can be booked in.

I really stress doing your research over the summer holidays if you can. Doing so gave me a leaping start when I got back to University. I had all of the information, reference and visuals to get started from day one. Had I been chasing museums for appointments it would have put me back weeks and I’m sure I would have made mistakes along the way that would have been time critical or irreversible. This is especially important if you are hand sewing a garment. I averaged eleven and a half hours at university everyday, you need to devote all of your time to being productive. 


WorkLog

Toiling

I began my construction process with scaling up the pattern from Patterns of Fashion 1. This was done using 1” dot and cross paper to ensure accuracy to the scale used in the book. With my complete dress pattern I began the process of toiling to ensure everything lined up, resolve any issues and test procedures and decorations.

 IMG_1058I found the bodice came together nicely, noting that the bust dart required a large amount of ease, I marked the mid point on either side of the dart, this could then be used to match when joining together and easing the fabric between these points.


I sampled sewing the piping onto the vandyke decoration, practicing how the piping would be turned over without visible stitching, this included clipping into and mitering the points. I also realised at this stage that the piping size I was using (size 2) was larger than the size used on the original dress, when constructing the dress I downsized to a size 1 cord.
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I decided to test the smocking on the sleeve, the sleeve pattern features small dashed lines that are used as a guide for how large the stitches should be, I encountered a few issues with this trial.
The first issue was that these dashed lines were far too large to replicate the original smocking on the dress but I acknowledge that they were most likely intended to be used as an indication that the direction of the smocking stitches followed.
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First smocking test.

As I had the opportunity to examine the original dress I knew from looking at the interior of the sleeve that the stitches were tiny, no more than 1-2mm in length. I produced a sample following this smocking stitch size and found that it resulted in a very near match to the original.

The second Issue I found was that the grading for the smocking was slightly uneven (using the marked lowermost line to grade upwards). Grading the smocking evenly up from the lowermost line would cause the top two lines of stitching to wiggle in and out over the edge of the pattern. To fix this issue I applied the measurements that I had taken from the original dress and graded downwards from the sleeve head.
I had measured that the distance between each line of stitching was approximately 8mm and using the start and finish of the smocking stitches on the pattern as a guide I marked this on the sleeve.
While on the original dress I could find no visual indicators that the smocking lines were marked, the smocking did appear to be very consistent from an interior and exterior point of view.

The third issue I found was in the pleating of the skirt, for the purposes of the toile I cut myself a croped length of the skirt so that I could test the pleating and gathering.
The pattern states that the center front of the skirt features a 1” box pleat, with adjacent sides of the skirt 1” knife pleated in the direction of the centre front, the pleating continues until it meets the gathered portion of the skirt at the back of the dress, the centre back is slashed open with gathering 4” either side.

Screen Shot 2020-08-05 at 20.04.10When toiling the knife pleating I soon realised that the pleat depth was too deep which was causing the pleated portion of the skirt to finish at the centre back (well beyond where it was meant to finish), this left no room for the additional 8” of gathering at the centre back.

I decided to sample a shallower pleat depth to see if this would bring the pleats back to where they should be sitting and allow for the 4 inches of gathering before the centre back.
I reduced the pleat depth down to ¾” and the issue was immediately resolved. The pleating finished 4” from the centre back allowing for the remaining fabric to be gathered down.

The final issue I found in pattern was one that I didn’t catch until far too late. In the pattern for the vandyke decoration Janet Arnold draws it with 12 points and I did not  question this. It wasn’t until I had made the decoration up and was attempting to mount it onto the bodice that I came to the realisation that the original decoration only has 11 points. I realised this because I was struggling to get the decoration to lie flat as it does in the original dress but it refused to. I identified that the 7th point (counting up from the bottom) could be pinched (omitting it) and this would cause the vandyke to lay smooth against the bodice rather than puckering. What’s more is that Janet’s illustration of the full dress correctly depicts the vandyke with 11 points, it is her pattern that is incorrect with 12 points.
I believe that had I noticed this earlier, corrected the pattern to remove the 7th point and then redistribute the other points on the pattern my vandyke decorations would have sat flat against the bodice as seen on the original dress.

I do want to note though that I’m not sure changing the pattern would be in accordance with the Patterns of Fashion Award guidelines as you’re supposed to make the garment up as it with no alteration. Within my submission I found issues with the patterns but I manipulated them to work to the best of my ability without making alterations.


Fabric Section

Screen Shot 2020-08-05 at 20.12.20For my reproduction of this dress I decided to select materials to match the original as closely as possible.
In patterns of Fashion 1 Janet Arnold doesn’t specify what kind of silk the dress is made from, in my research examining other day dresses of the period I knew it was likely made from taffeta as this was a common for the period. When examining the original dress I identified it to be a silk taffeta. I had brought along with me a selection of silk swatches (mostly taffetas) in brown shades so that I could best match the original dress.
I decided on a silk taffeta from Silk Baron in the colour ‘Topaz’, this taffeta had a really nice weight to it, ideal for the dress and was a near perfect colour match to the original dress.

The original dress used glazed cotton for the bodice and skirt lining, I struggled to find a supplier for glazed cotton and after a discussion with my tutors about similar fabrics that could be used as a substitute I decided on cotton silesia. I bought white cotton silesia, I cut my bodice pattern pieces from it and cut a strip for the waistband, the remaining silesia was dyed a light brown to match the skirt lining.

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Calico was used to line the sleeves in the original dress, I selected a medium weight calico to replicate this which would help give body to the smocking and further sleeve.

I also used 100% cotton muslin to back the vandykes, I am unsure if the originals were backed but I felt the single layer of silk would need some support, the sleeve bands were also backed using this muslin. I had identified while examining the dress that the sleeve bands were backed with a loose weave fabric but as I could only see a small fragment of this material I was unable to identify the fabric with 100% certainty.

The muslin was dyed a light brown colour.

I also selected a brown 100% silk thread to use to sew the dress together.
I also used brightly coloured polyester threads for basting and tacking, the bright colours made them easy to see/identify and remove at the end of construction.


Construction

I cut out all of my pattern pieces, using a ½” seam allowance on all seams but the centre front which I added a 1” seam allowance to. This was because I noted that these seam allowances were of that size on the original dress.

I began my construction with basting all of the bodice silecia layers to the silk layers along the pattern lines to serve as a guide and prevent the two layers from shifting. I also marked any construction lines such as the placement line for the vandykes, the point where the decorative sleeve band crosses over etc.
This same process was used for the silk sleeve and calico lining.

I decided to get the smocking on the sleeves done first as I knew it would be a time consuming element to recreate. I started with grading the smocking onto the calico lining which I had already tested the placement in my toile.
I then started the long process of sewing the smocking stitches into the sleeve, I doubled my silk thread for this as I wanted the lines of stitching to be as durable as possible to prevent the threads from snapping. Because the stitches are so small (1-2mm in length) I found it was much more time effective to use a running stitch and catch the fabric multiple times in one stitch rather than sewing each stitch individually.

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It took 12 hours to sew the smocking stitches onto each sleeve.
After sewing the smocking I decided to make up all of the piping I would need for the dress, I took measurements over the dress and estimated how much piping I would need and also noted what areas required longer/continuous piping.  I cut 1” wides strips of bias from my silk taffeta and made up the piping by tacking the size 1 cording into the folded bias strips.

When the smocking was completed I moved on with making up the rest of the sleeves, I started with the cuffs, tacking the piping to one side of the silk cuffs before taking down the other side of the cuff. The sleeve was prepared, I sewed the sleeve seam up using a back stitch to the notched point on the pattern where the sleeve placket is. I constructed the sleeve  placket by folding both the silk and calico layers inward, leaving a slight step so that the calico was folded a few millimeters back further. This was then fixd down with a bar tack at the top of the placket on the inside to prevent the fabrics from shifting and then the calico was whipped down to the silk with small stitches.
Next two lines of gathering were sewn just above the construction line into the seam allowance between the two notch points indicated on the pattern. The threads of these gathering stitches were then pulled so that the end of the sleeve was reduced down to the width of the cuff.

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The cuffs were then sewn right sides together to the sleeve, catching the lowermost row of piping so it was snug between the sleeve and the cuff. The wrong side of the cuff was then whip stitched down to the calico along the pattern line with the seam allowance folded up on the inside.

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Next I began constructing the bodice, I tacked all of the piping onto one side of the seam before tacking down the other side securing the piping between the two pattern pieces. These seams were then sewn permanently with my silk thread using a back stitch.

Screen Shot 2020-08-05 at 20.45.20I found that the bust darts required easing in order for them to match up, I did this by marking the centre of each side of the darts, matching them up and distributing the ease evenly above and below these points.

The armhole was pipped in preparation for the sleeve to be sewn in but the neckline and lower edge of the bodice was left as these are finished off later in the process.

With my base bodice out together I moved onto making the decorations for the dress.

Starting with the vandykes, I basted the silk layer to the supporting muslin layer. The piping was then sewn on, I had to be carul during this process and precise with my sewing to ensure that when the piping was rolled over none of my stitches would be visible, this was particularly crucial over the zigzaged portion of the vandyke.
The next step was to roll the piping over and secur it to the wrong side, this was a straightforward process on the straight edges of the vandyke as they rolled easily and I secured them with a running back stitch. The zigzagged side had a few more steps involved. In order to get the outer points to turn over cleanly I clipped into and mitered the points, the inner points were also clipped into. Once this was done they were free to roll back to the wrong side where the seam allowance was back stitched down to the muslin layer.
The bottom of the vandyke was left unpiped, this is because it will be caught by the piping applied to the over edge of the bodice later on.

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The vandykes feature small pleated bands which cover the inner points, initially to create these I tried pressing pleats into bias cut strips of taffeta but found the taffeta to be too springy for this and it would not hold the shape. I then decided to experiment with creating a small scale pleating board which could be used to get the tiny knife pleat to sit flat.

Screen Shot 2020-08-05 at 20.47.54Using some thick card paper I created the pleating board y soring the card and folding it into shape, I made two of these boards so that the silk taffeta could sit between them. Using clips I secured the taffeta between the boards and started to steam and press down on my pleating boards. I was very pleased when I had fantastic results straight away.

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Once I had pleated up the fabric I carefully cut out sections to use for the bands on the vandykes.
They were then sewn to the vandykes, right sides together and rolled around to the wrong side where they were whipped down.

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Next I made up the sleeve bands, they were also basted through to the muslin layer and the button placement was thead marked.

Screen Shot 2020-08-05 at 20.51.42When I examined the original dress I measured that the piping sits approximately 1cm away from the edge of the sleeve band, with this in mind I tacked my piping 1cm away from the raw edge with the seam allowances facing outwards. In order for the piping to curve around the pointed ends of the sleeve band I clipped into the piping seamallowence in these areas, this released the piping slightly allowing for it to curve around the points.
I then sewed on a strip of bias cut taffeta, this taffeta strip was sewn on the same stitching line as the piping and would act as binding encasing the raw edge of the sleeve band. As with the piping I had to allow the bias strip to curve around the point of the band, however from examining the original dress I knew that three small pleats were inserted into the strip which allowed it to curve. I applied this technique to the strip and then finished it off but folding it over to the wrong side and whipping it into place.

I then moved onto sewing the sleeve onto the bodice, in order to do this the sleeve had to be smocked down. I took the armhole measurement from the bodice and used this as my guide to smock the sleeve down to fit. This was another long process, I was very nervous about threads snapping so I took it slowly, easing the threads smaller in increments working my way through each row. It took approximately 5 hours to reduce each sleeve. When I was happy with the size and I had tested it fit the armhole I evened out the smocking until I was again happy. The long threads were then tied off to prevent them from loosening.
The sleeve was then inserted into the armhole and back stitched into place.
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I then made covered buttons (1.5cm in diameter) which were sewn directly onto the thread marked position on the sleeve band.

Screen Shot 2020-08-05 at 20.55.22I then moved onto sewing the sleeve onto the bodice, in order to do this the sleeve had to be smocked down. I took the armhole measurement from the bodice and used this as my guide to smock the sleeve down to fit. This was another long process, I was very nervous about threads snapping so I took it slowly, easing the threads smaller in increments working my way through each row. It took approximately 5 hours to reduce each sleeve. When I was happy with the size and I had tested it fit the armhole I evened out the smocking until I was again happy. The long threads were then tied off to prevent them from loosening.
The sleeve was then inserted into the armhole and back stitched into place.

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Next I attached the sleeve band, this was a straightforward process as I knew where the band crossed over on itself and where that crossover point sat on the sleeve. I lined these points up and carefully stitched it into place from the inside of the sleeve. I noted during examining the dress that the band appeared to have tacked at the seam on the sleeve and that the points on the bands had also been stitched down securing them in place. Again from the inside of the sleeve I sewed small tacking stitches through the seam of the sleeve and catching the ‘ditch’ of the piping on the sleeve band, securing it. The points of the sleeve band were also secured in the ‘ditch’ of the piping which further helped hide my stitches securing them to the sleeve.

I decided it was time to make up the skirt, I started with the silk taffeta panels, sewing them together using a back stitch, this process was then repeated using a silesia lining layer.
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When complete I had two tubes of silk and silesia. I thread marked the centre front and the centre back on both to ensure I wouldn’t get muddles when it came to bringing the layers together. I then pressed open the seam allowances on both the silk and silecia layers. With the help of a few classmates the silesia layer was inserted inside the silk layer, wrong sides together, it was very difficult to get the two layers to lay flat with one another on my own so the extra hands were appreciated. I then pinned along the top edge of the skirt making sure all of the seams lined up. I then sewed a running stitch down each seam to join the seams together flush and prevent them from separating.

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I then moved onto hemming the skirt, I knew what the drop of the skirt was from waist to floor thanks to the pattern so I was safe to hem the skirt.
The hem was created by folding up 1 ½”, then ½” of silesia was trimmed away, the remaining ½” of silk taffeta was folded down and a small running stitch was sewn securing the hem in place.
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I then measured up from the hem to mark the waistline, I referenced the pattern to ensure I got the subtle gradient. This was then marked by a running stitch all the way around the skirt.

Next I created the centre back opening, the measurement for this is marked on the pattern which I transferred onto the centre back panel of the skirt. The centre back is then slashed open to this point, the silk taffeta and silesia are then turned inwards (same process used on the sleeve plackets) and whip stitched down. I then sewed a bar tack at the bottom of the slash to prevent it from opening any further

Moving onto pleating up the waistband, I transfered where the pleating finishes and the gathering begins onto my skirt panels. I decided it would be easier to sew in my two lines of gathering stitches before pleating up the waistband. I positioned one line just above the waistline and one just below the waistband.

I pleated the skirt on a stand which I had previously padded up to size, I pinned a petersham tape to the stand at the waistline which I would use to pleat onto (this was purely used to help stabilize the pleats on the stand so I had something secure to pleat onto). Starting at the centre front I pleated the skirt fabric onto the waistband alternating from side to side to ensure it would be even. Once I reached the notched point that indicated to stop pleating I went back and checked all of the pleats and made any minor tweeks if needed. When I was happy I tacked the pleats down using a large herringbone stitch, removing the skirt off the petersham tape in the process. When I was happy the pleats were secure with the herringbone stitch I removed it from the stand.
I moved onto gathering the remainder of the skirt, I got out a measuring tape and pulled in my gathering stitches on the waistline until I had reduced the section of fabric down to 4”, I then tied off the long strands of thread. The skirt was now reduced down to the waist size.

Screen Shot 2020-08-05 at 21.03.37At this point I came back to finishing off the bodice, I started with sewing the piping and bias binding onto the neckline, leaving a little bit extra for finishing off the centre back. The bias binding is used to conceal the raw edge of the piping on the neckline.
Next the vandykes had to be sewn on, the smooth side of the vandykes went on with ease as I was following the construction line for this on the pattern. The pointed side of the vandykes was more difficult as explained in my toile process. There is an additional point added to the pattern for the vandykes which makes it impossible to get it to lay flat against the bodice. With a lot of easing I did my best to get both sides to sit evenly but I could not prevent the wrinkling.
The vandyke was then sewn down in the ‘ditch’ of the piping to hide visible stitching.

Next the piping and bias binding were sewn to the lower edge of the bodice, the bottom of the vandyke is caught during this conseaming its raw edge in the process. Like the neckline the bias binding is folded up to conceal the raw edge of the bodice and piping and then whip stitched into place.

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The centre back was finished by adding piping to the edges of the opening, a strip of taffeta cut on the straight 1 ½” wide is then sewn onto this edge with ¼” use as seam allowance, 1” of the strip is then visible and the remaining ¼” is turn inward and whipped down. This finishes off the centre back placket.

Screen Shot 2020-08-05 at 21.05.43Attaching the waistband was my next step, I decided to test Janet Arnold’s instruction for this to ensure the skirt would fall correctly.
On the bodice pattern there is a notch on the side seam side of the dart, this notch indicates that between the notch points the skirt/waistband is not attached to the bodice but that it is sewn through to the bodice on the other sides of the notches.
I tested this by pinning the skirt onto the bodice from the centre back through to the notch points leaving a gap where the skirt was not pinned to the bodice of about 8” across the centre front. The skirt sagged between these points, the white waistband surely would have been visible as it dropped below the centre front point of the bodice.
Unfortunately I didn’t take a picture at this stage so I have drawn on a picture of the dress to help illustrate what I saw.

Because of this I decided to take another look at the pictures I had taken when examining the dress, focusing on the waistband on the front of the bodice.

Screen Shot 2020-08-05 at 21.06.53Taking a closer look there appears to be threads beyond the notch point which may have once held the waistband in place across the centre front. There are also small holes in the lining which line up with the waistband level which could further indicate that it was sewn beyond that point.

With this information in mind I decided to proceed with attaching the waistband across the centre front of the bodice.

I attached the waistband by first folding the top of the skirt along the waistline (folded so the lining was folded in on itself). This fold was then matched up with the lower edge of the bodice so that the fold lined up over top of the piping. The skirt was then sewn onto the bodice through the piping ditch being sure to catch the fold while doing so. At the notch points I stopped and tied off my threads and then continued from the other notch point round to the centre back. I then lightly pressed down the fold and whip stitched it down to the lining in order to keep it flush with the body and not add extra bulk.

The waistband is then sewn on, the waistband is made from a strip of silesia cut on the straight ¾” wide (2cm). I noted on the original that the waistband folds in on itself so there is now raw top or lower edge. Because of this I cut mine 4cm wide and ironed up 1cm on the lower and top edge.

Screen Shot 2020-08-05 at 21.08.22The waistband strip is then applied evenly over the skirt and bodice join, a running back stitch is then used to sew it onto place along the top and lower edge of the waistband. Between the notch points across the centre front I pinned the waistband to the skirt though the bodice following the straight direction of the waistband before the notch points. This lifted the skirt and fixed it in place preventing it from falling down like in my trial. The waistband is sewn across these points.
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To finish the dress off fastenings were sewn. The original dress closes with metal hooks and hand work loops down the centre back with one single metal loop sitting on the waistline. I replicated this assortment of hand worked loops, metal hooks and single metal bar. The sleeve cuffs are also closed using two metal hooks and two hand worked loops.


Styling

Styling is one of the elements your judged on for the competition, this focuses on how you display the garment when submitting final pictures and displaying it at the conference. You can style your garment as little or as much as you want but the basic expectation is to achieve a period silhouette through period foundation garments. In addition you could create a chemisette, under sleeves, a hat or any sort of clothing or accessory item that complements the garment.
I believe styling items do not need to be sewn in accordance to the period of the main garment, neither of my two styling items were hand sewn and I wasn’t questioned if they were or not. This makes sense as it is the main garment you’re being judged on with the styling items just being used to assist the appearance of your garment.

I used two items to style my my dress, I used the 1830s petticoat I made in second year to give the skirt its full shape, you can read about how I made my 1830s Petticoat Here. I also made a small corded bustle from The Workwoman’s Guide Page 54 Plate 11 fig 31, you can view the book for free online using Google Books Here (Workwoman’s Guide 1838). There is also a copy of the book in the Wimbledon College of Arts Library for my fellow Wimbledon Students!
Admittedly the bustle did not kick out the skirt as much as it should have an I really should have made another that had more volume, this was the only negative feedback I got during judging but I will talk about that more in a bit.

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I displayed my dress on a stand (I worked on this stand throughout construction), I decided not to make a pair of stays for the dress as I felt I achieved a good shape without through padding the stand.
You could also take pictures of the garment on a live model and or in a scenic location but for detail shots I really recommend taking pictures on a stand in a controlled environment to best display your workmanship.



Final Judging

While I can’t speak from personal experience what judging would be like at The Costume Society Conference (though the guidelines do give you a good idea) I can speak from experience what judging is like during a pandemic should that situation arise again!

After being contacted about being selected as a finalist (27th of March 2020) we was told that they planned for judging to go ahead in some physical form but they weren’t sure how, along the way suggesting it could be postponed to as late as September/October 2020.
As lockdown continued we were told that judging would go ahead on the 26th of June 2020 via Microsoft Teams with Michele Clapton on the judging panel. As there was no physical judging, the original powerpoint we sent in would be used for judging and we were told to create an addition three slides on our research to accompany it.

If its not already clear three slides for research is not enough.  I had prepared so much to bring with me for final judging, the full workbook you’ve just read, research notes on the four dresses I viewed, a sample book containing each technique used on the dress in addition to the requested print of the appropriate POF book pages and my patterns. 
I was so, so disappointed that the judging had been condensed down like that in addition to not being able to see the dress in person.
I 100% understand the reasoning behind it but I just felt so deflated by it.

On the 26th of June 2020 judging took place, we each had an allocated time to join the MS Teams call where we would speak face to face (via video) to Michele Clapton for fifteen minutes while Joanna Jarvis and Louise Chapman (members of The Costume Society) listened.
Michele asked all sorts of questions to do with the pattern, issues, examining the dress, time management, fabric selection and the underpinnings.
I was overwhelmed with the incredible positive feedback and it was truly such an honour to hear it come from Michele. She said many lovely things including,
That I evidenced throughout and had an excellent understanding the process… the dress was made with great confidence… that I had excellent time management… I had a key attention to detail…the photography and presentation was excellent and evidenced your methods and final outcomes very well. The only natural feedback I got was regarding the bustle at the back and how it didn’t quite lift the skirt as much as it does in Janet Arnold’s illustration of the dress, which is fair enough and I agree (silently kicking myself).
I was so pleased with myself coming away from the video call, later that day we were emailed the results.

I was awarded The Highly Commended Award (2nd place) and a cash prize of £400. I feel truly honoured to have my work recognised at such a high level.



Post Award Reflection

A few weeks later I received my cheque and certificate in the mail which for me nicely tied a bow on the competition and I could finally call it finished.
I’m really thankful I made the decision to enter the competition, it gave me the opportunity to really push myself and my skill set to create something truly spectacular. I’ve learnt so much about period sewing, my hand sewing skills have greatly improved in both speed and precision. This was also a fantastic research based project too and I’m glad I made contact with Gloucester Museum about examining the dress as it had a huge impact on how I reproduced the dress. It also gave me a good experience in time management as I juggled all of my deadlines in third year. I would come into the studio at 8:30am and leave most days at 8:30pm having worked on the dress all day and somehow managing to write my dissertation along side it.
I am disappointed that The Costume Society Conference could not go ahead for physical judging as I feel that would have really enhanced the experience.

I really recommend doing this competition, it addresses so many disciplines as a costume interpreter and executing them all with precision will undoubtedly reward you with a stand out portfolio piece. It shows research based skills, pattern toiling skills and period construction skills all of which are highly valued.

I’m not going to go in to any detail at this stage but I believe this competition has already opened doors for me within the film industry. I’ve also potentially found a temporary home for the dress before it’s sold. Things are looking good, I’m just waiting for lockdown restrictions to ease more for the film industry to get moving again so I can get to work!


Big thank you to all of the costume staff at Wimbledon College of Arts, my friends for their support (and tea breaks!), my class mates (sorry for taking up an entire cutting table for a term!), Gloucester Museum, National Trust Killerton and all of the lovely support I received online along the way.

If you would like to view images of my dress you can find a collection on my instagram @nivera.costumes
If you’re interested in hiring me please do get in touch using my email address nivera.costumes@gmail.com

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Ana (Overwatch) Work-log 3 FINAL

Hi everyone! I’m back with the final construction post for my Ana Amari cosplay from Overwatch!! If you follow me on social media or read my last post you’ll know I finished this cosplay over three weeks ago but I’m only getting round to completing my work logs now.. Whoops!


I started on the Biotic grenades, at first I wasn’t sure how I’d make the the middle sphere but remember we had a bunch of old Christmas decoration left over in a box to be binned and after rummaging through there I found two baubles which were the perfect size. They had some sort of silk covering on them but this was super easy to remove with the help of my craft knife.

Next I made four tubes which were capped at the top. This was my first time using contact cement and I was still getting used to waiting for it to ‘dry’ before adhering it to its self. This made things difficult as I kept trying to adhere the glue to itself while it was still wet, failing miserably. I did get there in the end!
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They looked a little something like this when done!
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Next I started on Ana’s shoes
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WHAT ARE THOSE ?!?!
I decided to simplify the design down a bit because at this point I had a week to make this costume and time was running out!
I bought a pair of skuffs from Primark for £3.
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Which I painted black all over, not including the soles.
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I then painted the sides of them brown.cFtLw4gA.jpg-large
I then patterned the top grey piece and glued that on with contact cement and my feet were good to to! The shoe pattern was really simple and curved over the band perfectly, the inner curves of the dremeled inwards to give a slanted look to them. You can see that in the following pictures.
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The below pic was taken after con so they look a little battle worn..!
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Next was Ana’s knee pads. When I first looked at these I thought I was going to mess them up so bad.
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I started by wrapping my knee in plastic wrap and duct tape and drawing the design/shape on. I cut this out and made a few adjustments like evening things out and making things smoother. As I had only patterned half the kneee pad I put the plastic wrap/tape pattern on a piece of paper folded and cut the pattern out.

I tested it as a mock up and the size and shape was great so I went ahead and cut it from 5mm foam and dremeled the tops of each piece at and angle. I then glued the two pieces together cut some smaller detail pieces out from 2mm foam and glued those on and it was done! After painting of course.

I really love how these came out! They look very accurate when worn and the shape and size is just perfect!

The shoulder armour was a pain to make, I tried to make them twice before I was successful on the third time.
The first time I was using a yoga mat as a base, this was before I switched over to the dense foam from CosplayShop. The yoga mat was just too thin and was damaged easily because there was nothing to it. I literally found I couldn’t firmly hold it or my fingerprints would imprint on the foam…
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They looked terrible!!! But to be fair my pattern wasn’t the best.
The second Attempt was made from CosplayShop foam with a slightly altered previous pattern. I mostly made them larger but kept the split (fold) the same.
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I did end up painting them but I just hated them, they were too big and the shape was all wrong again. These got binned and I started on my third and final attempt.

I don’t have progress photos of the third build I think at this point I had three days before con so it was rushed! I have included a photo of what the foam shapes look like as it can be a little difficult to see with paint covering seams.
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I made a stencil to help with painting the Overwatch logo on by printing out a picture scaled to size. I then cut the interior of the OW log out, pinned it to the foam in the position I wanted it and used a paint pen to trace the design onto the foam. From there I painted it a light grey.
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I used industrial velcro on the underside of the shoulder piece just at the top and then along the top seam line connecting the sleeve to the coat.

The Nano Boost was pretty simple to make.
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I decided the easiest way to build it would be starting with the vial and the building up around it. The ‘vial’ is another broom handle the same featured in my Biotic Rifle construction log from B&Q.
Again this was a week before con crunch going on so I only have worn photos and a finished photo.
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Nothing was dremeled for this prop just glued directly onto the broom handle. I did shape the black pieces to be curved before gluing them on but I ended up gluing elastic to each end which curved them anyway. the darker blue piece was clipped to curve the way it does which you can totally see! No gap filler at all… And the silver piece was slapped on top of that. What about the needle I hear you asking? That was made with the end of a paint brush

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It was hot glued into place, contact cement didn’t like it for some reason. Its not in the above picture because it slowly became extremely loose during the con (ITS ACTUALLY SO IMPRACTICAL THOUGH, I HAD TO BE SUPER CARFUL MOVING MY HAND NOT TO KNOCK IT). It did stay on all day, I honestly expected it to come off without me realising and I’d loose it but that didn’t happen. I ended up taking it off on the tube home for safe keeping.
It looked good in photos though!
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That was my first official full test I was so happy!

The shoulder bag was really simple too!
I drew up a simple rectangular box pattern Similar to this one! I didn’t use the tabs instead going for pinched seams. Tabs are for wussies.
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I cut the pattern out of my dark brown cotton fabric and pinch seam sewed it together with whip stitches. I found immediately that it wouldn’t hold its shape and collapsed. Using the template again I cut interfacing for it and send it together using the same technique. I then sewed this into the bag with whip stitches and it finally held its own shape. The interfacing it used was quite think and more on the ‘heavy’ scale of interfacing but if I did it again I’d use curtain interfacing, its like the industrial velcro of interfacing. Amazing.

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I then sewed two tabs onto the lip of the bag these snapped down with domed creating a closure. But I was going to be keeping my phone and money in here so for extra security measures I sewed some velcro onto the inside of the lip as well. But I only had the adhesive kind of velcro left over so THAT was a pain in the ass to sew by hand. (I hand sewed it because it wasn’t adhering that well to the cotton) I know you not suppose to sew adhesive velcro but damn the glue they use it thick. If you are in this position and have to use that velcro make sure the needle your using isn’t a nice one. because I had to throw mine out it was covered in that much gunk…

The strap for the bag was also super easy to make and you’ll notice the Biotic grenades attach onto it as well, seamlessly.
Time of poor MS Paint drawings!
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I feel like I have to make a key for this one its not one of my regular masterpieces. The blue lines at the end mean thats where one end is sewn to another so thats the bag being sewn to the other end of the strap which creates a loop to go over you body and will hold in place. For the main strap (light brown) I cut two pieces of fabric out in that shape, I then sewed these pieces together along the top and bottom leaving the ends open. This was so I could flip it inside out and poke the middle chunk out. I then ironed it flat. The four red dots represent where I sewed domes onto the fabric the dome pair was then glued onto the Biotic Grenades which allowed them to to be attached and un attached. This was super helpful for trading as I didn’t want them getting squished.
Heres a close up of the domes I did post this earlier but this will make it a little bit more understandable.
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The eye patch was another really simple part of the costume.
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The light grey is 2mm foam with a large hole cut from the centre of it but leaving enough space for the top black piece to be glued on top. The black piece was made from 5mm foam and had holes dreamed into it, they’re not that well aligned I know! This was mostly covered by her fringe so its okay! One corner was painted blue. The strap is 1cm faux leather vinyl which was painted black and contact cemented into place. It actually stayed on really well, I did plan on using spirt gum to glue it to my face but as it was really hot and from a short distance the slight gap between my eye and the eye patch wasn’t noticeable. For my shoot with this costume I will use spirt gum.

 

Also while you can see it in the above photos, I remade the collar. I used the same pattern I jut made it a little wider in places and put curtain interfacing in it. I also sewed down the top of it to make it curve over and it worked out pretty well. I’m not 100% satisfied with it but its such an improvement on the last tiny, flat one.
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And while we’re looking at this photo lets talk about the little ‘armour’? pieces on her coat.
What are they? What purpose do they serve? We will never know.
The smaller ones (shape like fat squished coffins) were just 2mm foam layered. The centre back on was made from two layers of 5mm foam the top layer had the centre cut out where a smaller shape was glue in place. These were held in place with you guessed it industrial velcro.


Wig and makeup

The wig I used is Amber Classic Pure White (Arda Wigs). Which does have waves though it. I would have bought Buttercup Silky Pure White (Arda Wigs) but it was out of stock at the time and the restock wouldn’t happen in time. Buttercup is a straight wig.

For her Eye of Horus tattoo I used FM Anime Ana Temporary Tattoo I ordered five of these and I was sent six! If you do buy from FM Anime please order in advance, these took three weeks to get to me causing some stress! They are fantastic and are a perfect size, I can’t fault them at all!


And thats everything, I think! If I have missed anything I’ll edit it in later. I was planning a pattern post but as I’ve already found people have taken photos from my blog and re posted them without credit I’m not too keen now 😦 Also the amount of questions/comments I get sent asking about or for something when its clearly stated in either the post they comment on or a related post is getting on my nerves. I don’t spend hours typing this all up just to repeat myself in the comments, if I haven’t explained something as best I could or somethings missing them I’m more than happy to help and answer questions and update my post with that info.
Please read my posts 🙂

I will have another blog post up with photos from MCM at some point so look out for those! I have another convention coming up this month with a new costume for that as for other costumes this we’ll just see what gets done! I’m moving to London in September and starting my course at the end of the month so making things in between then could get hectic. I am slowly making the undergarments for my 1860’s ballgown but I don’t think that will get done before I move… Sorry mum! And because its mid year I’m starting to think about next years projects which doesn’t help with this years projects motivation!

Weekly posts have failed again this year but maybe next year I will complete my dream of running a consistent blog.
I’ll see you guys in the next one~

Thank you for reading
-Nivera

Costume/Cosplay Plans for 2017 Updated

Since I accidentally deleted my last post about my costume/cosplay plans from earlier in the year I decided to make a new one. A few things have changed but have mostly kept the same.

Ana Amari (Overwatch Hero) 

This is Ana’s Classic Skin and has to be my favorite of all of them. I love the style and colors and it would be reasonably comfortable to wear. This costume will be my priority as I have waited so damn long to make her since her release.
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Ana’s weapon is the Biotic Rifle which I plan to make with the cosplay.
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Sailor Pluto (Sailor Moon)

I think I could make this cosplay pretty quickly so its coming second to Ana. I plan to wear this cosplay and duo with my friend Jamilla! To what will be my first convention in the UK. I’m really excited for this and excited to meet Jamilla!!

COSTUMES I WOULD LIKE TO MAKE BUT AREN’T CONFIRMED… 

Ancient One (MCU Doctor Strange)

Okay so I saw this film a few days ago and loved it! It was visually stunning and all of the acting was great. I’ve been a MCU fan since The Avengers (2012). And have wanted to make SOMETHING from the cinematic universe for a long while. And the yellow robes worn by Tilda Swinton’s character the Ancient One really inspired me! I do like the other robes worn by her in the film but I think the yellow ones are just so striking and I love that!
I’m still not sure if I will make this costume, I feel like I should be focusing on more historical costumes. However, I will have a lot of time before I begin University. Another annoying thing at the moment is that there isn’t many images of her yellow costume but this is likely down to the film having just been released.


Nightingale Armour (The Elder Scrolls Skyrim) 

Yes I have already made this cosplay but I feel like my skill has improved so much I really want to remake it. I’m still not decided on what materials I would like to use it’s between faux leather (Which was what I used previously) or 2mm EVA Foam.

I’m more leaning towards the 2mm foam option because I would like to complete another foam based armour set before I move onto worbla builds again (this is excluding Ana). I really love Piece Of Cake Cosplay’s  set. Their set is made from eva foam covered in faux leather. Which is something else I would like to look into.
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I really would like to do one ‘last’ Skyrim cosplay before The Elder Scrolls 6 (Which won’t be for years Ha.ha) so I think it would be awesome to re-make my first Skyrim cosplay but better! Hopefully!  Jamilla and I have also thrown around ideas of doing a Skyrim duo at some point next year so this would be my cosplay of choice.

Tribunal Robes (Skyrim mod by Zairaam and Natterforme)

This wouldn’t be a costume plan/list/possibilities post without the ridiculously impossible idea now would it? But hey at the beginning of the year I thought my dress ensemble would be impossible but I pulled through, somehow.
Recently I’ve been looking into fabric manipulation and creating unique silhouettes with fabric and remember this really beautiful design from  Skyrim mod I downloaded a year or so ago.
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Its just so gorgeous!!! Probably won’t ever happen but I can dream! And I would defiantly go with this colourway…

19th Century Ball gown

I really should make a historical costume next year. I’m currently taken by the beauty of 19th century ball gowns they’re just gorgeous! I would like to make an original historical recreation but for now I’m taking inspiration from these beautiful blue ones.
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And below is a painting of Princess Albert De Broglie.
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I think from memory one of Janet Arnold’s books has a similar shape and style to these dresses so I’m hoping to use that are reference, if not I’ll wing it with many mockups!


It’s been around two months since I last worked on a costume and I am so bored with living in an empty house with nothing to do. As soon as we have moved into our new house I’ll be playing with my new sewing machine and ordering fabrics for Ana and Pluto.
With only 18 days left in New Zealand things are really beginning to sink in. We’ve started saying final goodbyes to our friends and I know I’ll be a mess at our local airport.
So here’s to my next 18 days of Kiwi life~

Thank you for reading
-Nivera

Young Girl’s Loose Gown Bodice Construction Part 2

Finally some top layer fabric action!!

After inserting the quilt batting into the bust of the bodice I placed the top layer fabric out (Top facing down) and then placed the base bodice over that with the denim layer touching the wrong side of the top fabric. I then sewed a basting stitch 1/4 of and inch away from the raw edge of the base layer. This stitch attaches the base layer to the top layer and makes the next steps much easier. I don’t have photos of this step but it explains itself in the next photos.

Next I turned the bottom edge up by about half and inch and clipped the curves where necessary.
Basting bottom edge 1I then ran a whip stitch along the bottom edge securing the fabric in place. These stitches are to secure the fabrics together but the stitch should not poke through to the top layer. This took me a while to master and I had to check every stitch I made to make sure it didn’t poke through the top layer. I pretty good at it now!
I’d also like to mention that I later whip stitched the clipped edges down too as I missed them when I initially whip stitched the bottom edge into place. Yes, they would have been covered with lining later but they were annoying me and I had time to spare!

Next I sewed the neck and arm facings onto the bodice with a straight stitch on the sewing machine about 1/4 of an inch from the edge.
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Okay I can’t remember what this technique is called so I’ll just describe it for now and hopefully I remember it layer! Basically the facing is flexed back into the position the neck facing is in seen above and then pined into place like so. Then a line of stitching is sewn just off the seam that was sewn attaching the facing and the bodice. This line of stitching is suppose to sew over the clipped curves which makes turning over the facing that little bit easier. Because my clipped curves on my bodice were half a centimeter wide as best in places I sewed this line about 3mm off the seam. Confused ?  Me too, but it worked! So lets move along…
basting stitch insideI then sewed down the facing with a basting stitch, this process is repeated with the arm opening facings as well.
I also did a mock fit test of the bodice and I really like the shape and the silhouette it makes. Have I mentions how proud of myself I am with this project for a first time complex historical costume!
Mock fit test

Fast forward to today. Its currently school holidays and my textiles teacher was having an open class day where her year 12 students could come in and work on their (now overdue) projects. I decided to come in too so that I could cut out my skirt panels and sew them together if I had time. Luckily I had a lot of time and got both of those things done.
Once my skirt patterns were cut out I sewed them together with french seams. This was my first time sewing french seams and a few times I found myself puzzled having to sew the fabric together with the wrong sides together.But it all worked out really well and I had now issues what so ever! I also made the decision that I will sew a waist band onto the skirt which will be whip stitched onto the bodice, I’ll go into more detail with this in the next post.
After today I am feeling so much more confident with this project, I am certain that I will have this finished by the 16th of September along with the french hood and gown.


In other news I have ordered some buttons to embellish the neckline of the bodice. I wanted to replicate the embellishment design seen on Queen Jane Seymour’s neckline in the well-known portrait by Hans Hoblein.
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The simple design looked easy enough to replicate but I wanted a little more added to the design. Luckily I found the most amazing woman (who I unfortunately can’t source as all the images I have found of her are re-post images) who made a recreation of the dress seen in the painting and she took some artistic liberty with the design and added some square pendants into the embellish mix which I think is a great look.
QJS recreation
So I hopped online to Etsy and found these Square Rose gold+Blue/White/Black Rhinestones which obviously aren’t 100% historically accurate but they look the part!
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They look pretty similar right! I opted for the black version and bought 24 of them in total. I estimated I would need 18 but decided over buying was better than under buying. I only just hope that is enough!
Including shipping the whole package cost me just over $30 NZD.

 

And that’s all for this post! I’ll make a start on the gown mock up these holidays as well as drawing up the patterns for the french hood. I have so many projects going at the moment that I can’t really say what my next post will be about, hopefully it will be a little more lengthy than this one!

Thank you for reading
-Nivera