Riding into the 20’s

I recently completed an early 20s outfit. Before the dropped waists of what we commonly think of higher waists and blousier tops were en Vogue. Using an original 1920s Butterick dress pattern for the top and Wearing History’s new Riding Pants pattern for this look. When buttoned the pants look like the typical skirt of the era when unbuttoned they turn into a more daring look.

Sears Catalog 1920

Early 20th Century Pantaloon Skirt source: Atlas Obscura

I decided to use a lot of period techniques on my trusty 1947 Singer Featherweight. Including keyhole buttonholes and machine stitched eyes (I only broke 2 needles). The pants, or skants as I like to call them are made from a light weight wool.

True to the original the pattern did not include a placket. I had no problem doing it on my own. By cutting an 11” x 4” piece of self fabric will result in a 10” x 1 1/2” finished placket. I then bias bound the raw edge with the skirt to clean finish it.

The center back has a large inverted box pleat which gives the appearance of a skirt from the back.

The inverted pleat is mirrored in the blouse. I finished off the top of the pleat with a crows foot tack that I found in a 1921 Butterick sewing book with a little help from the Stitchlings Community at Foundations Revealed .

I’m such a fancy finishing girl it was nice to machine sew a hem up for once. All my seams were also pressed and stitched open at 1/8″. I did sandwich my front panel in the seam. What I did for constructing mine is sewing two panels together along the top bottom and lefts side making sure that my hem was the correct length at the fully finished bottom edge. Placing 22 buttons was a real task. I wanted to use heavy buttonhole twist to match all my other buttons but my machine was just not cooperating so I needed to use regular thread.

And bam your skirt becomes pants! Go ride a horse astride or a bicycle in comfort like the modern women in 1920.

Bonus blouse close ups

Foundations Revealed 2019: Architecture

The intriguing mix of Neo-Gothic Art Deco at Architect Milton B. Medary‘s Singing Tower inspired the creation of tea gown with matching under gown and overbust corset. Bok Tower Gardens was the dream of Edward W. Bok the editor of Ladies’ Home Journal from 1889-1919. The sprawling grounds were designed by Frederick Law Olmsted Jr. the son of the renowned designer of the Great Colombian Exhibition in Chicago.

I took inspiration from the repeated arches and strong graphic lines of the Tower. The of pink Etowah marble and gray Creole marble inspired my choice of textile. The main silhouette was taken from Edwardian home wear, Bok is credited with the invention of the idea of the modern living room. The tea town was an informal garment worm when entertaining in the home. The corset would never show of course but I was going for historically inspired not historically accurate. Overall I wanted the final look to reflect the Southern Gothic gardens.

My pictures were taken on the 90th anniversary of the Singing Tower February 1st 1929. Edward W. Bok was laid to rest at the foot of the Singing Tower January 9th 1930.

My main fabrics are hot rolled rayon/cotton moiré. I used a synthetic chiffon for the under dress. The corset pieces are fused to washed cotton coutil using wonder under. To pattern the corset I used a basic corset block that fit me well and cut all the pieces out of stiff brown paper with no seam allowance. I carefully taped the pieces together to create one half corset. I then sketched out my lines to mimic the arched forms on the Singing Tower. Once the pieces were cut out I traced them on the fresh paper and trued my curves adding 1/4″ seam allowance. The corset self was then sewn together on my trust Singer Featherweight 221. The tricky part was making a corset with no visible boning. The lining has 16 bones placed in between the layers. I then flatted the lining to the self at the top and bottom edge after setting in my busk placket and clean finishing my center back. Once the two layer were secured I stitched in the ditch in all my seams starting and stoping after each bone. There are still some wrinkles but the smooth effect was worth it. There is one visible stitch line behind the grommets that was a necessary concession. The tea gown was made using a heavily altered Truly Victorian pattern. I drafted the sleeves, belt, and the collar and cuffs to match the Watteau pleats. The matching underdress was made from 2 layers of French seamed chiffon and has interior elastic to keep it snug to the body but not visibly fitted. The construction was all about using hidden elements to support the visible design.

See more photos below.

Foundations Revealed Competition 2018 Dress Diary


The return to nature in post-revolution French fashion immediately came to my mind when brainstorming for this gown for the Foundations Revealed 2018 competition. Although stays were still present in controlling the female figure the sheer natural style of dress was incredibly different than what came before it. This style of dress was very short lived much like the sternocera aequisignata beetle that I used as embellishment.  I wanted to create something that was a little  inspired by the form of beetles. When looking through the Neoclassical styles of the Directoire period 1795-1799, I found many beautiful colored fashion plates of white gowns with pops of color. I found two dates on my main inspirational fashion plate from Costume Parisien one of 1799 and one of 1804, although I cannot find the original source (darn you pinterest) I am inclined to think it is the earlier date comparing it to other fashion plates from that year. From that jumping off point I decided to create a sleeveless spencer over a white cotton gown that mimicked the wings of  a beetle. I looked at many different 19th century examples of beetle wing embellishment and jewelry. I decide to not use any jewelry but instead create a laurel wreath inspired crown constructed of beetle wings instead. The hardness of the beetle wing embellishments contrasted nicely with the soft white gown.  The spencer acts as the hard outer wing casings or elytra that covers the sheer hind wings used for flying. The sheer bobbinet also acts as a nice point of contrast with the pleated silk taffeta placed on top. The sleeves of the under gown are really what tied the whole garment together.

Costume Parisien Unconfirmed date 1799 or 1804
Costume Parisien 1797 

The pattern for the under gown was Franken-patterned from several regency patterns from Janet Arnold’s Patterns of Fashion 1 and the guides laid out in the American Duchess Guide to 18th Century Dressmaking by Lauren Stowell and Abby Cox. I then used the bodice pattern from the under gown and altered the neckline to make the pattern for the sleeveless spencer. I draped the peplum on the form out of muslin to get the shape I was after, but once it was made out of silk I was not happy with the overall silhouette so I had to remove it and recut the entire top line. The long stays were made from an altered pre-made pattern from Cynthia Settje of Redthreaded. I ended up taking a bit out of the length because I am rather short waisted.

The sleeveless spencer or over bodice is made from a green silk taffeta shot with gold, lined with with natural unbleached linen and trimmed with hand dyed yellow silk. The under gown is made from a white light weight cotton organdy with English cotton bobbinet trim. Both pieces are trimmed with sternocera aequisignata beetle wings. The bodied petticoat (not pictured) is made of a plain weave cotton. The long stays are made of drab colored English coutil, with a wooden busk, German synthetic whale boning. The chemise is made of white light weight linen. All pieces were stitched using natural fibered thread including cotton, linen, and silk.


The sleeveless spencer was hand sew together using the English Stitch as its main joining seam a technique I have never used but quickly fell in love with. The neckline has channel for a thin cord to give the neckline a smooth fit. All the beetle wings are hand applied in clusters of three. If I could go back again I would not have had the beetle wings pre-drilled, as I found out I could sew right through them with a sharp needle. I filled the tips of all the wings to give them a more manicured smooth shape.


The under gown is made up of a 4 paneled skirt and a 5 paneled bodice with 1 part fitted sleeves. I did cheat and machine sew my long skirt seams that were then hand felled down. The bodice neck and waist also have have channels for a thin cord to keep them snug. My favorite part of this whole project was the sleeves. I traced the sleeve pattern on to a larger piece of cotton organdy. I then placed the the into a large hoop that fit almost the entire sleeve shape. Once the sleeve was taught I draped the cotton bobbinet shoulder swags into place and secured with three beetle wings. The elbow trim was created by using thin strips on silk taffeta with both edges pleated onto the bobbinet base in a scalloped pattern. I then basted the trim to the sleeve base and applied the straight strips of pleating. After all layers were attached I carefully removed the sleeve fabric from underneath the trim. Once the sleeve was cut out I carefully joined the underarm seam to be hidden beneath the pleating and beetle wing to create a continues line.  The sleeves were then set into the armscye using a running back stitch.

The long stays are really deserving of their own future long post. They are constructed from a single layer of coutil using external boning channels. The busk has and interior pocket. The bust line has a drawstring from under arm to center front. The back has hand sewn eyelets and a criss-cross lacing pattern. Although less accurate I wanted stays that were easy for me to tie myself. I added small flossing details to keep the boning in place.  I love the silhouette of this pattern and would highly recommend it.

I would still like to go back and add move beetle wings and bobbinet to the bottom hem of the gown before I wear it at Costume College this July.


Yellow silk dyed by  Athel Artistry

Rosewood marquise parasol, ca 1845-55 was loaned by Brandon Mckinney Parasol Restoration

Hair by Bonnie Belvedere

Photos by Bonnie Belvedere


1780s Gainsborough Hat HSM: #3 The Great Outdoors 

What the item is? A velvet riding hat modeled after Gainborough hats. The hat will accompany my 1787 Redingote for the July fashion plate challenge. This style hat would be worn to outdoor activities in the late 18th century. 

The Challenge: The Great Outdoors 

Fabric: Black cotton velveteen, Black buckram, Yellow silk dupioni.

Pattern: none 

Year: late 1780s 

Notions: vintage ostrich feathers, wire, silk and cotton thread.

How historically accurate is it? 75%, it is all hand sewn and natural fibers, although dupioni is not an accurate weave of silk. The buckrum also has modern glue on it. 

Hours to complete: Around 8. 

First worn: For photos. 

Total cost: Under $20. 

The Mode Illustrée Project: Introduction


As it happens in costuming, I stumbled into turn-of-the 20th century completely by accident. I began collecting La Mode Illustrée issues from the 1930s, then the 1920s, and then I got curious about 1910s and eventually 1900s. I would find an issue with a coat that I liked, a skirt that was interesting, and a year later wound up with a shamefully large collection of issues from 1900-1904, a timeframe that I have absolutely no experience in.

For those of you who haven’t heard of La Mode Illustrée before, it was a French-language pattern magazine that ran weekly between the mid-19th century and early 20th century. Most magazines came with a color gravure (illustration) and a large pattern sheet from which to make a selection of styles shown in the magazine. The patterns included womenswear, undergarments, childrens’ outfits, bags, and embroidery layouts. Some of my favorite finds include riding or hunting outfits, Edwardian swimsuits, and shoe bags with little embroidered shoes.

Costume College 2017 is quickly approaching, and I’ve decided that this is the perfect excuse to dive into the deep end and make a 1903 ball gown from the ground up. This page will serve as an index to log each project as they are completed.

I’ll be making the following components from original patterns and directions:
*une chemise de bal (a ball slip/chemise)
*un pantalon élégant (elegant drawers)
*un jupon elegante (an elegant petticoat)
*un jupon en drap (a petticoat made from sheeting)
*une robe de bal (ball gown)

Additionally, I’ll be making these necessities not patterned from La Mode Illustrée:
*an Edwardian Bust Improver
*an Edwardian Hip Improver
*Early 20th century corset

Hope you will follow along and enjoy the process!


La Mode Illustrée Project: Un pantalon élégant, 1901

I’m so excited to share with you part two of my 1900s undergarments set. The pattern for these drawers are from a 1901 issue of La Mode Illustrée that was full of bridal and ball gowns. They are typical special occasion Edwardian drawers, lots of lace, frills, and bows!
pantalon elegant

This kind of super big and frilly pantalon was really common around the turn of the century. You can see that the two legs are only closed by about 3.5″ a the front, and the rest of the crotch seam is left open. However, when you wear them they feel like full coverage because they are full and voluminous!

My version of the 1901 originals
Back View: Note that the crotch seam is completely open and finished with a narrow hem.
Extant examples from MFA Boston (Top, Center, Bottom)

For these, I did not pay attention to sizing and made the pattern exactly as seen on the pattern, as these were closed with a drawstring. I plan to wear these over the chemise de bal and under the corset so they don’t get in the way of the corset garters (I could also use a little extra padding in the hip area, so these may give me the boost I need!). There are photos of undergarments worn both ways, so although I believe it’s more common to wear drawers over the corset, this is also historically accurate.

I dipped my toe in the water of lace insertion for the Edwardian starter kit chemise, but these drawers forced me to dive in. All insertion was handsewn in, and I think the effect came out really beautifully. I will absolutely be trying an abundance of insertion when working on the petticoats!


Sorry this is such a short post, but I will be showing this garment more in-depth when I do a full Edwardian dressing post!

Now the details:

Material: Organic cotton batiste (Grown and woven in USA! Buy yardage here)
Pattern: La Mode Illustrée 1901, Issue #34
Notions: Cotton thread, antique lace, silk ribbons
How historically accurate is it? Close to 100%, though I am not a master of finishing techniques, and my French isn’t fluent.
Hours to complete: 20+ (this was entirely hand-sewn, insertion takes time!)
Total cost: around $60 USD



HSM 2017 #1- an Edwardian starter kit

Right under the wire for the deadline for January’s Firsts and Lasts challenge, but I made it! I present to you my first undergarments for a larger project I will be working on for the next few months: a 1903 ball gown based on original Mode Illustreé patterns. I’ve been obsessively collecting these for about a year now, and I’m challenging myself to actually put them to use.

To create the foundation for an Edwardian silhouette, I needed a lot of  help. I’m naturally pretty small with none of the fashionable voluptuousness of the period, so in addition to a corset I made bust and hip improvers to go under the corset and create the shape. It is necessary to do this first, because sewing patterns from this time period are based on measurements of your created measurements and not your natural measurements (which is why you’ll see so many patterns with a 36″ bust and 24″ waist, rare in real life but abundant on old patterns!) 

For the corset I used a pattern from Atelier Sylphe with a waist size that is about 3″ smaller than my natural waist and bust and hip measurements that were about two inches bigger (I planned to fill this out with my “improvers”). This company does not give dates for the corsets, but I guessed which one was accurate based on a lot of illustrations and extant extant from the turn of the century. I made no alterations to the pattern and it went together beautifully. She gives a ton of photos a detailed construction information, I highly recommend using her patterns if you have the chance! My corset is a bit of an experiment in boning. The last corset I made was 1880s and I boned it with spring steel, which did not give the shape that I wanted and was historically inaccurate. This go around I tried industrial zip ties, but I read conflicting reports of how to use these. Some resources said to use two zip ties per channel, others said you only needed one, so I’m using this as a tester. I inserted a single tie into the channels on wearer’s left, and two per channel on wearer’s right. Without spending a lot of time wearing this, the channels using one tie apiece look better, but I’m curious to see how I feel about it after wearing them for an evening. I’ll keep you posted!!

The corset is made of coutil and busk from Richard the Thread with vintage lace trim and vintage nylon ribbon threading and bow. I will be adding suspenders once I receive the garter clips I ordered!

The base later is a ball chemise from Mode illustreé, with ribbon ties that can be untied and tucked in if the final gown bodice is too skimpy. I used organic cotton batiste from Organic Plus (grown and made in USA! http://organiccottonplus.com/products/batiste-white-60) for the base layer. This turned out to be a little heavier than what I wanted (a special occasion chemise probably would have been much lighter), but it would be great for daily use undergarments. For the lace insertion, I used Wearing History’s e-book  to try a historically accurate technique. The book lists a few different ideas for insertion, I used the whip stitch version. This took some practice and you can definitely tell the difference in quality between the first and last insertion that I did. For the straps I used silk ribbon ties in a royal blue – a pastel color would have been more accurate but my resource for silk ribbons was limited. The poly ribbons that were available were bulky and stiff, and did not have the drape or grace of the illustration. The entire chemise and everything else from here on out was hand sewn as my sewing machine broke while sewing the corset, and unfortunately for me the repair shop is only open during my working hours. 


The bust improver is made from Wearing History’s pattern, I altered it only a little to make it smaller to fit me. I wanted it to match the chemise, so I used the same batiste backed with a medium weight muslin. I trimmed it in modern poly bias tape and vintage lace, stuffed with normal synthetic batting. It’s entirely hand sewn, which is probably not historically accurate but my sewing machine was broken. On a positive note, I’m getting really good at hand sewing.

The hip pad is my own pattern based on a period example. I made this really simply with two layers of muslin and one layer of batting, as I went a little overboard trimming all the other components and almost missed the deadline for this project! Couldn’t resist adding some freehand quilting to give it some shape…

Looking at the photos of this worn, I realize that I could have added a bit more coverage in the side hips- the bottom of the corset looks like it’s gaping. I might update my pad at some point with extra hip flaps to fill in the corset hips even more.

I’m really happy with the way these all came together. Even though this will never be seen by anyone by you, dear readers, it’s a great start to creating the period shape that I wanted! The photo below is my 2017 shape vs. 1903 shape. Note that I’m wearing the “bustle” and bust improver under the corset, and then measured over the top!


The Challenge: #1 Firsts & Lasts – This is the base layer for an ongoing Mode Illustree recreation I’ll be creating this year!


Corset: Coutil, lace, nylon ribbon
Chemise: Batiste, lace, silk ribbon
Bust Improver: Batiste, muslin, lace
Hip Improver: Muslin, twill tape

Pattern: Atelier Sylphe corset, Mode Illustree 1902 chemise, Wearing History’s Edwardian bust improver, self-drafted hip improver.

Year: 1902-03

Notions: cotton/poly threads, busk, synthetic batting, grommets, twill tape, zip ties

How historically accurate is it? The corset may be 90%, as it’s from a pattern taken an original. The chemise almost 100%, it’s made from all period accurate materials, from a period pattern, and 100% hand sewn. The bust and hip improver are maybe 50%? I don’t really have anything accurate to compare them to besides photos, and I used synthetic batting.

Hours to complete: 40+ 

First worn: This evening 1/31, for it’s first photoshoot!