The Dress Diaries

A sneak preview for 2012

2012-01-18T06:14:00.002-05:00

Hello and Happy 2012!
I hope everyone's new year is off to a dazzling start!

I wanted to share a new [ad]venture with you! This year I am branching out a bit- breaking out of the historical clothing mold and trying something new!

I am working on a bridal collection! I am so inspired! My sketchbooks are overflowing!
Here is a sneak peak of the first gown:

Never fear! I am by no means giving up on historical clothing! Business was fantastic last year and I was fortunate enough to hire two additional seamstresses! It has truly been a blessing for all involved! And, this leaves me time to develop new projects!

May you too find great inspiration this year (in all creative outlets you pursue!)

Bring on the figgy pudding!

2011-12-21T13:50:00.000-05:00

May the joys of Christmas find their way to your home this season!

HAPPY HOLIDAYS!

And the winner is....

2011-12-07T16:59:00.002-05:00

And the winner of the holiday giveaway is......

BOTH Laura AND Sharon!

I hand made two of these cameos so why draw a number between the two of you!

Ladies, please send me an email with your shipping address at your earliest convenience!

Happy Holidays to all of you from Maggie May's Historic Clothing!

In the spirit of the holidays... a giveaway!

2011-11-30T14:25:00.000-05:00

Hello gentle readers!
In the spirit of the recent season of thanksgiving and the upcoming Christmas holiday, I would like to take a moment to do something I have not yet done here at The Dress Diaries!

A giveaway!

Wuthering Heights and Lady of the Moor inspired cameo

As a genuine thank you for your kind readership, please feel free to leave a comment under this posting as your way of entering the drawing for this lovely cameo.

In your comment, please tell us why you love historical clothing and your most memorable historical clothing experience.

On Wednesday, December 7th I'll pull a computer generated number "out of the hat" and post the name of the winner. Followers abroad, don't hesitate to enter too!

New Historically Accurate, Authentic, Reproduction Fabric!

2011-11-18T15:43:00.001-05:00

Attention Historic Seamstresses! I am really excited to announce I have begun working with an American fabric distributor who carries an extensive line of high quality reproduction cotton prints! I am going to do my best to be competitive on pricing. Many of the designs are straight out of Eileen Trestain's Dating Fabrics: A Color Guide 1800-1960. If you have a particular color or style you have been looking for, please let me know and I will see if I can locate it for you!

Here is a quick glimpse of what I have to offer right now.

As of right now, I have approximately 15 yards of each print listed in my Etsy shop.

Inside an extant bustle era gown

2011-11-07T15:59:00.003-05:00

Maybe someday somewhere someone will publish a book documenting the inside of period garments- the parts that get overlooked- the parts that are so very valuable to historical seamstresses everywhere. A book something akin to Fashion in Detail except it will feature detailed images of seams, stitch techniques, and structural applications. But alas, until then, one will only gain this knowledge by examining original garments in person- making mental notes or sketching it out in a notebook.

In the past, I have been fortunate enough to have been allowed to view small collections around the South. Garments ranged from the early 19th century to the 1920s. And whenever possible, I have acquired extant garments for my own personal collection.

Recently I purchased a bustle era gown from Past Perfect Vintage in Kentucky. It most likely dates to the 1880s and was definitely reworked about 10-15 years later to reflect the silhouette of the fin de siecle.

When looking for period pieces, I am drawn to everyday garments- pieces that were worn on a day to day basis. To me, these garments tell me the most about the past.

Fully lined bodice with no boning

The bodice of the gown was originally hand sewn. There are approximately 5 different type of stitch applications and threads used throughout this gown. This tells me not only was this gown reworked but also repaired (and possibly sized down) over the years.

Repair work

Curious thick red threads hanging at side seams

Hand stitched button holes

The hand sewing on this gown is impeccable. Whoever made this (original) gown was a very talented and meticulous seamstress. Not only are the button holes flawless but all the hand stitching is uniformly applied. The inside seams are whip stitched with the tiniest little stitches- one almost needs a magnifying glass to see them.

Sleeves may have possibly been reworked at a later date.
The armscye has a hand sewn binding.

However, whoever reworked this dress was not quite so fastidious. Most of the restyling was done to the skirt. And it has a lot of issues.

Very crudely cut edge

A variety of machine stitches on the reworked skirt

More possible repair work

Combination of hand and machine gathers

Definite machine sewing

The skirt length was let down- meaning, the original skirt was probably 2" shorter than it is now. This is consistent with the preference for shorter hemlines in the 1880s. One can see the original hand sewn hem and the line where it originally was.

Comparison of the original hem

I estimate whoever wore this gown was probably 5'7" or so based upon the current skirt length. I inquired about the provenance of this gown and the owner of Past Perfect Vintage stated the original owner of this gown purchased it in 1994 from the Bunker Hill Trading Post (near Connersville, IN). Connersville is a small city in rural SE Indiana, about mid way between Indianapolis and Cincinnati. So it is most likely a southeastern Indiana or possibly southern Ohio piece.

Wherever this dress originated, it was definitely meant to be worn- and it was... for many years! A great example of how "old" garments were restyled and refashioned as silhouettes changed.

An extant 1880s cotton bustle gown

2011-10-25T08:01:00.002-04:00

I found this gown at Past Perfect Vintage via the Vintage Fashion Guild's blog. Past Perfect Vintage is a purveyor of antique fashions and a source I have used in my Costume History Pages.

Here are the details:
Antique 1880s Victorian Bustle Print Cotton Dress
This 2 pc dress is c. 1885 - 88. The fabric? A lovely brown on ochre cotton print with an overall leaf pattern. The fitted bodice is darted with a 23 button front closure and all the buttons are amazingly present. The bodice has a stand collar, self fabric reveres, and pleated tails. The skirt ha a left side front opening, three tucks across the front and gathers at the back waist to accommodate a bustle. We show this over a wire frame and a petticoat. It would look bets with a smaller bustle pad, or a shorter frame. The skirt may have been restyle ca. 1891 to a slimmer line. The skirt is slightly faded compared to the bodice.

Labels: none

Size: Bodice: Bust: 32"
Waist: 24"
Shoulders: 13"
Sleeves: 23"
CB Neck to Waist: 14 ¾”
Skirt: Waist: 26”
Waist to Hem Center Front: 41”

Condition: Very good, and strong. There is a scattering of small spots on the left shoulder as shown in close-up, and there are light areas and a water stain on the back of the skirt a shown. The skirt has not closures, it was possibly pinned. There is an odd piecing at the waist that is covered by the bodice. This has not been laundered, being cotton it would be possible with care.

All images/details courtesy Past Perfect Vintage.

I purchased this dress through their Etsy shop. I look forward to studying this gown more closely in person!

Time for Elegance

2011-10-19T12:35:00.003-04:00

One of my favorite freelance costumers now has a website! If you are not yet familiar with Fanny Wilk- owner of Temps d' Elegance, her costuming is absolutely exquisite.

She creates period women's clothing from the Renaissance up to the 20th century. Her 18th century work is especially breathtaking.

You can view more of Fanny Wilk's work on her new website, Facebook page, or Blog!

The most beautiful fairy of them all

2011-10-17T10:28:00.001-04:00

One 1880s era sporting dress:

One beautiful Fairy:

With a little Mary Poppins:

And a gorgeous view:

Equals one great time!

It's the most wonderful time of the year!

2011-10-08T21:50:00.001-04:00

Whether or not you choose to participate in the annual candy collecting holiday we here in America call Halloween, let's face it- October is THE MONTH for costumes!

With the cooler weather, fabulous fall foliage (at least around this part of the country), and tons of autumn festivals, no other month offers costume lovers more opportunity to dress in our favorite period attire!

Next weekend, my family and I will be attending the annual Festival of the Jack O' Lanterns at our local nature center. This family oriented festival features old fashioned games, horse drawn carriage rides, nature hikes, animal presentations, s'mores, pumpkin carving, music, and hayrides! And the best part is all the funds go to support the preservation of our native wildlife.

So I decided to whip up something festive for the occasion. I decided upon an 1880s era sporting dress. Specifically, I looked at several extant tennis and croquet gowns from the period. I liked the idea of the shorter skirt and the loose(r) fitting bodice. And- I wanted a cotton gown. Nothing worse than pumpkin guts all over your pretty silk dress! So- here is what I came up with:

I wanted something with a great deal of contrast (trying to break out of my seriously understated and relatively monochromatic design pattern) and come up with something fun, festive, and fall inspired. Thus I chose the dark brown, warm pink, and mint green color scheme.

I will top off the ensemble (quite literally) with a simple straw hat trimmed 1880s style in pink and brown (still in progress).

Happy Fall everyone!

Thank you!

2011-09-28T08:43:00.002-04:00

A great big thank you to the writers over at Favorite PASTimes for featuring Maggie May Fashions as one of May's historical resources of the month!

If you are not yet familiar with this blog, it is an excellent resource on historical writing! Be sure to check it out sometime. A great source itself!

An gown inspired by an 1859 fashion plate

2011-09-13T15:22:00.000-04:00

In between commissions, I have been working on a personal project- recreating a gown from an 1859 fashion plate found in Graham's Magazine (American c. 1840-1858/9).

I was hoping to have this gown completed by last week to wear to a local Civil War Era event. But alas, it just did not get finished in time.

The dress is inspired by the plaid gown featured in the center of the fashion plate. The fabric I have chosen to reproduce the gown is a beautiful semi- transparent common gauze.

The bodice is lined in cotton muslin and the sleeves are left sheer. The sleeve ruffles feature delicate white worked cotton. The bodice will be worn over a chemisette and under sleeves made of dotted swiss.

Although I did not get my gown completed in time, we did attend the local re-enactment for a couple hours on Saturday morning. It was lovely to see old friends and revisit a hobby I once participated in.

While there, I picked up a few treasures from a very kind lady named Jenny at A Timeless Grace sutlery. Here's a peek at what I brought home!

A beautiful mantelet or fichu fashioned from a vintage
hand- crocheted table linen- How clever!

The draping creates gorgeous layering

A petite vintage collar

A lovely hand made neckerchief

With delicate embroidery work

Historical Maternity Wear

2011-08-30T10:30:00.005-04:00

For years, historical maternity wear was something of an obscurity. But now, more and more museums and other historical clothing collections are paying attention to these special garments and making them available for study! Here are few of my findings.

Maternity gown c. 1825

Image courtesy Powerhouse Museum

Two mid 19th century maternity gowns c. 1850-1865.

Images courtesy Augusta Auctions.

Maternity Wrapper c. 1850s

Images courtesy Antique Textile

Maternity Dress c. 1850s

Image courtesy Augusta Auctions

Maternity Bodice c. 1860
Images courtesy Antique Textile

Visiting Gown c. 1870s

Image courtesy Powerhouse Museum

Maternity Gown c. 1880-1890s

Image by Susan Jarrett

Maternity Corset c. 1892

Image courtesy Antique Textile.

Maternity Gown c. 1900-1914

Private owner/Ebay listing

Wool Maternity gown- c. 1880-1900

Private owner/Ebay listing

Sources:

McMillen, Sally G. Motherhood in the Old South: Pregnancy, Childbirth, and Infant Rearing. 1990.

Kennedy, V. Lynn. Born Southern: Childbirth, Motherhood, and Social Networks in the Old South. 2009.

Hoffert, Sylvia D. Private Matters: American Attitudes Toward Childbearing and Infant Nurture in the Urban North 1800-1860 (Women in American History). 1988.

A little housekeeping....

2011-08-25T14:44:00.000-04:00

Photograph by Irving Penn
(The Getty Museum)

If you have visited any of my sites recently, you may have noticed things look a little different.

Over the summer, I completely revamped and updated my Costume History Pages. This is a free historical clothing reference site dedicated to women and children's clothing from 1790-1910.

I also rearranged my blog a bit- deleting some old posts and moving business related stuff to my website. I have decided to keep all business related stuff "in house."

But never fear! I am keeping some of the more popular posts here and offering links to my business blog where you can find old entries in their entirety. I will continue to keep this Blog active with other nonbusiness historical clothing related stuff!

On a final note, I have a story I would like to share.

Last week I was contacted via email by an individual we will call "John" wishing to purchase a few items. "John" owns a business in the EU and requested an invoice be sent to his email. No problem. I do this all the time.

"John" did not want to use my current online e-commerce payment processor and wished to give me his credit card number via email. Again- No problem. This is not something out of the ordinary. Even though I am more comfortable accepting credit card transactions over the phone (for security reasons), seeing how he was in the EU, I was willing to make an exception.

Then it gets strange. Instead of completing the transaction, "John" emails me requesting that I not ship the items to him in the EU but instead he will send a shipping agent to my location to pick the items up. I responded that I do not offer private pick-ups but I would be happy to send the items to his shipping agent. "John" then requested that I charge his credit card double the amount of the merchandise and Western Union the difference to his shipping agent as compensation for his troubles.

????????????????

I responded I do not conduct transactions for third parties and I only process payments for actual merchandise sold including shipping. Therefore, if he was interested in completing the transaction, he needed to logon to my order form and use my current credit card processor to complete the transaction.

"John" sent me a few more desperate emails- which I did not respond to. He never provided a credit card number or completed the transaction- thank goodness because it was probably a stolen credit card number. Essentially, this was a revised version of the Nigerian Money Transfer Scam (also known as the 419 scam) and it is a multibillion dollar industry. (Contrary to the name, The NMTS does not always originate in Africa.)

Fortunately, I was smart enough to know something just wasn't quite right early on and was on high alert. If I had indeed run "John's" credit card number and Western Unioned the money to the so called "shipping agent," once the credit card number came back stolen, I would have been liable for the entirety of the transaction. And what if I had indeed given "John" a pick up address? Even though no one would have ever shown up, it still frightens me to think those within this criminal network would have access to my location.

In short, please be careful what and how much you post about yourself online. Remember, this is the WORLD WIDE web and there are a lot of crazy and criminal- minded people out there. "John" mentioned that he found my business through a Google image search. Even though you might not be running an e-business, please know that ANYONE and EVERYONE has access to what you post online. Sometimes your info may end up in places you do not want it to be.

So, have fun but be safe. Before you hit "Publish Post," ask yourself if this is something I am comfortable with ANYONE knowing? It may be safe and cozy in your town (like mine), but the world at large is not so trustworthy.

Revisiting an old project

2011-08-22T13:30:00.003-04:00

As we progress in our experience in the art of recreating historical fashions, it is never a bad idea to go back and revisit some of those "firsts"- first gowns, first corsets, first bonnets, etc.

It is amazing to see where it all began and how far we have come. Over the summer, I went back and revisited such a project- my Costume History Pages (www.maggiemayfashions.com/costumehistory.html).

About nine years ago, I developed The Costume History Pages in response to a need for reputable online information regarding the history of Western fashion. These pages were initially designed for educators and students as a place where each could come to gain broader insight into how fashion played a role in history. Over the years, The CHPages have reached a far more diverse audience than I ever could have imagined.

When I first designed this site, I did it in a very short period of time (I think over the course of a two week holiday) and I pulled my information from only 6 scholarly texts. Nine years later, I have gone back and reworked this site completely. I have expanded my bibliography to over 40 scholarly texts.

Within the Costume History Pages, each time period is divided by marked political, social, or economic changes. Each page focusses on a central theme rather a culmination of historical facts. A broad overview of women's, girl's and boy's clothing is presented and supported by extant images from both public and private collections.

If you have not visited The Costume History Pages in a while, please stop by when you have time and see what's new. Whether you are an educator, student, scholar, or historical clothing enthusiast- it is my sincerest hope you will find these pages of assistance in your quest toward gaining a broader understanding of the history of fashion!

An 1860s Era Spoon bonnet- part deux

2011-08-09T14:28:00.001-04:00

See more images of this bonnet

An 1860s Spoon bonnet

2011-08-06T10:23:00.001-04:00

A recently commissioned black spoon bonnet:

See more images of this bonnet

Oliver!

2011-07-29T08:11:00.004-04:00

Photos from the recent production of Oliver at The Georgetown Theater in Kentucky!

MMHC made two costumes for the lead actor in Oliver- the ragged costume and hat (above) and his dress suit (below).

See more images from this production

Those cool and groovy Victorians!

2011-07-26T11:27:00.000-04:00

Came across this Victorian era wrapper on Vintage Textile and just had to share! Reminds me more of the 1960s than the 1860s! Far out!

Images courtesy Vintage Textile

Dressing Mary Todd Lincoln

2011-07-20T15:15:00.007-04:00

I recently had the pleasure to creating a gown for "Mrs. Mary Todd Lincoln." "Mrs. Lincoln's" husband portrays President Abraham Lincoln and together, the two have been bringing history to life across the nation for over 10 years now!

This gown was a joint effort between Mrs. Lincoln and myself. The gown is based upon my 1860s era day dress and loosely inspired by this gown worn by Mrs. Lincoln in this 1860s.

Image courtesy NPS

The fabric along with a variety of trims were selected by Mrs. Lincoln. I constructed the gown and chose which trim to use and where.

The color palette for this gown was inspired by Mary Todd Lincoln's velvet inauguration dress... read more about this project

Adventures in Corsetry!/Follow up

2011-06-18T15:37:00.017-04:00

In January of this year, I wrote about a new adventure I was embarking upon- trying my hand at making a mid 19th century gusseted corset. Until a few years ago, corsetry was something I avoided like the plague. And up until now, I had never made a gusseted corset. Not wanting to attempt to draft a gusseted corset pattern myself, I opted for a commercial pattern instead.

The pattern:

Martha McCain's Simplicity pattern #7215.

The Results:

Here are some of my final thoughts on this project:

The good-

A few of the issues I had when I originally starting building this corset have been resolved. Remember, those minor fitting issues I ran into? (The bottom front of the corset wants to protrude outward a little. This is a result of the flat steel busk not wanting to round itself over the belly area. I think using a spoon busk would correct this, but at this point, I am not willing to take this corset apart and try to insert another busk.)

I fixed this by 1. wearing the corset and allowing it to conform to my body (also known as "breaking the corset in") and 2. gently bending the end of the steel busk inward. I also doubled the amount of grommets down the back of the corset and added additional lacing to increase adjustability in certain areas of the corset.

The bad-

The very back of the corset wants to roll a bit. A friend of mine is a professional corsetier and uses a great deal of poly boning in her work. However, she always uses steel boning at the very back of her corsets. I can understand why. This part of the corset needs more substantial body support than what poly boning can offer (even if you double it). She also suggested that the hip area may be too narrow and might also be causing the center back to roll.

In conclusion, I think in future corsets I will use steel boning at the very back. However, I am still convinced that poly boning works quite well in corset bodies- just not at the center back.

Mid 19th century clothing commissions/follow up

2011-06-13T00:47:00.002-04:00

Recent Museum and Film work:

Images courtesy Island Farm

Images courtesy Dreadful Sorry

Custom commissions for Conner Prairie

2011-06-09T11:59:00.006-04:00

Lady's 1860s era
upper middle class day dress
featured in Journey's film

Last weekend (June 3-4) marked the opening of Conner Prairie's new interactive exhibit entitled 1863 Civil War Journey: Raid on Indiana. As terms of my contract, I was asked to hold off all discussion of this project until it was unveiled.

Now that the exhibit opening is past, I am free to discuss my participation. In addition to advising on appropriate historical attire for this project, I created a total of 13 garments for this exhibit. Two of the dresses I designed are worn by the key actresses in the Journey's film. The third dress I created was a young girl's dress for an animated figure playing a violin. I provided the corsets, chemises, cage crinolines, and petticoats for the both the actresses and the permanent displays as well.

1863 Civil War Journey: Raid on Indiana is based upon General John Hunt Morgan's historical cavalry raid on Indiana. It also explores the roles women and children played and how they supported the troops. For more information about this exhibit, please visit Conner Prairie's website. This program runs from
June 4-October 30, 2011.

1860s era summer day dress for a young lady
about the age of 15 also featured in Journey's film

Discussions on Beauty

2011-05-13T15:38:00.007-04:00

Note: This information is available on my website.

Each year I teach a spring course at the local university, but this past week I had the opportunity to be a guest speaker for a group of high school students- primarily young ladies from the ages 14-18. The topic was beauty- and the extent to which women have gone in aspiration of perfection. I focussed my lecture images on the 18th and 19th century- as this was a time period when reforming and reshaping the human body was in its extreme.

I began with a question: What is beauty? This is a difficult question to answer- thus my reasoning for asking it. I asked a few more leading questions: Who is beautiful? What are the characteristics of someone who is beautiful? Why do we believe these people are beautiful? Can everyone be beautiful?

Once the room started to open up, I was impressed with these young ladies answers. While they could not give me specifics on what they personally deem to be beautiful, they did all agree that everyone can be beautiful "in their own way." Interestingly enough, when I asked them what society defines beauty as, the room roared with response.

I told them there is one woman who is defined as the most beautiful woman in the world. Her image is immediately recognizable. Everyone knows who she is. Everyone recognizes her face. I asked them if they would like to see a picture of her. Of course, they said "Yes."

So, I showed them her image:

La Joconde (or Portrait of Mona Lisa)
Leonardo DaVinci, 1479-1528
Le Louvre, Paris

I asked the young ladies if they thought Lisa del Gioconda was beautiful. Some said yes, and others said No. I proceeded to discuss the ideals of the 16th century and how it was considered beautiful to have an extremely high forehead (achieved by plucking the first few inches of the hairline away). I discussed the intentional removal of the eyebrows via waxing or plucking. And, I used her plump rounded hands to discuss body weight. I explained in the 16th century (and even up to the 19th century) being plump signified wealth- an abundance of food- the ability to obtain large amounts of goods.

I went on to further my argument for Mona Lisa's unrivaled mark on the world of female beauty by showing them multiple images of present day celebrities (those they would immediately recognize) posed and portrayed as the Mona Lisa herself. (Just do an image search for La Jaconde on the internet and you will see what I am referring to.) I asked them, "Why would these celebrities want to be portrayed as the Mona Lisa? What is about her that makes her so famous?"

After this, I showed them a variety of 18th century corsets, panniers, pocket hoops, and discussed how the ideal shape of the 18th century was that of an inverted triangle on top of a rectangle. I asked if they would be comfortable wearing these garments on a daily basis, and there was a resounding "No."

I discussed 18th century hair and make-up practices. We discussed the origin of beauty marks and the cloth and leather face patches fashionable during this period (used to cover small pock scars). And we discussed the use of toxic materials in 18th century cosmetics.

Portrait of a Lady in Blue
Thomas Gainsborough, 1779-81
The Hermitage Museum
Image intended for educational purposes only

We then discussed the rebellion of the corset and the free flowing gowns of the Napoleanic period. We talked about how ladies of this period often literally caught their death during the winter months by wearing too few layers of clothing because it was "unfashionable." I asked if any of them had gone out wearing things that were not appropriate for the weather because they wanted to be fashionable. Some nodded their heads, "Yes."

The Three Graces in High Wind
James Gillray, 1810

We discussed the reimergence of the corset in the 19th century and the development of the cage crinoline. I jokingly remarked, "During this period, it was fashionable to put ladies in cages....."

Image courtesy The Metropolitan Museum of Art
Image intended for educational purposes only

We moved on to the bustle and the extremely tight fitting corsets of the latter part of the 19th century. We discussed the health implications of tight lacing and how it effected the development of the internal organs. I also discussed the development of an article of clothing that afflicted women wore to keep their internal female organs from slipping outward.

I discussed the alteration of photographs in the 1890s to display the much sought after wasp-waist. I discussed Cathie Jung, who has made it her life mission to achieve the smallest waist in the world but now has to forever wear a corset because her midsection can no longer support her upper body weight.

Altered photo c. 1890s
Source Unkown/Image pulled from the V&A

I reminded them that every photo that comes across their desk, every image they see on television has been altered in one way or another.

I showed them images of rail thin runway models who earn triple digit incomes because they are anomolies of nature. I showed them images of plastic surgeon's marks on girls as young as 14. I asked them if they thought if these girls were beautiful and allowed them time to discuss their thoughts.

Finally, I showed them an image of Dominic Philbert's reprise of the Mona Lisa (created for Safarir magazine). And, then I showed them this image (pulled from a French blog/origin unknown):

This altered version of Philbert's La Jaconde reads, "The Mona Lisa after being in the United States for one year.... Before.... After." I asked them, if they thought the "after" version was beautiful. I asked them why they thought people outside the United States thought we would revise the Mona Lisa in this way?

Many of the students thought this image was making fun of Americans and got rather angry. I asked the young ladies what they thought this image said about our culture and if there was any truth to it?

After a great deal of discussion, I concluded with one final question: In 100 years, what will people say our definition of beauty was? This is a question we all must stop and ponder. Do we allow the media to dictate our perceptions of beauty? How about the fashion world? Today, just as it was 200 years ago, it is an ideal that is ever present and constantly changing.

Marie Antoinette movie gown/Finished!

2011-05-04T21:38:00.005-04:00

For those of you who have been keeping up with my most recent commission- an 18th century robe a la polonaise inspired by the film Marie Antoinette, the dress is now complete!

And for those of you just popping by to visit, here is a recap of the dress details.

This completed gown is a merging of two 18th century costumes from the award winning film, Marie Antoinette. The gown design is based upon the pale blue robe a la polonaise shown below on the film's star, Kirsten Dunst.

Read more about this project at http://www.maggiemayfashions.com/blogapril2011.html

Marie Antoinette movie gown/Bodice construction

2011-04-26T16:56:00.002-04:00

Here are a few snapshots of the progress being made on the Marie Antoinette gown's bodice. I have chosen to line the bodice with a very pale peach cotton broadcloth. For this gown, I used a heavier weight broadcloth because I wanted a lining that would hold its shape underneath the satin taffeta. I also applied some very light boning as shown in Janet Arnold's Patterns of Fashion.

Beginnings of the Marie Antoinette film gown's final bodice:
Front

Read more about this project at http://www.maggiemayfashions.com/blogapril2011.html

Marie Antoinette movie gown/initial muslin

2011-04-21T15:11:00.003-04:00

The first step in the construction of the Marie Antoinette gown is complete. After reviewing a variety of historical images, I devised a pattern that will be most appropriate for recreating the blue polonaise gown from Sophia Coppola's film Marie Antoinette.

Read more about this project at http://www.maggiemayfashions.com/blogapril2011.html

Choosing your 1860s Era Crinoline Size

2011-04-19T21:47:00.018-04:00

Note: This post is also published on my website

Mid 19th century satirical fashion cartoon depicting the ridiculously oversized crinoline

When it comes to the crinolines of the 1860s, bigger is not always better. Contrary to popular belief, the crinolines worn by women of this period were not as wide as folklore (or Scarlett O'Hara) wants us to believe. While the largest period crinoline I have found documented measures a wopping 225" in circumference, the majority of extant cages only measure between 90-105" in circumference.

(From top to bottom)Mid 19th century crinoline, 1862-1863 Era Crinoline- Royal Worcester Corset Company, Crinoline c. 1860(images courtesy The Metropolitan Museum of Art)

The cage crinoline was quite democratic as women of all social standings chose to adopt it as part of their wardrobe. When the cage crinoline was first introduced in the late 1850s, it was round in shape. But throughout the 1860s, the cage crinoline began to shift its hoops backwards- becoming elliptical in shape. By the 1870s, the cage crinoline had morphed completely into a conical shaped bustle.

There is photographic documentation amongst the upper class and European nobility's continued preference for the larger cage crinoline during the 1860s. However, numerous 1860s era photographs support the idea that the average middle class European and American woman of this period chose to include the the more modest sized crinoline in her wardrobe (see extant images below).

(Images c. 1860s/courtesy The Lady's Resource)

To determine what size crinoline you need for your 1860s era middle class impression, I have devised a simple algebraic equation. The average waist size in the 1860s was around 26". Let's use the smaller extant crinoline circumference for our equation. Take your waist measurement and plug it into the following equation:

26/90=Waist/X

Here's how it works: Let's say you have a 32" waist. Plug 32 in the equation where it says Waist. Now do the math: 90x32=2880. Divide 2880 by 26. The answer is 110.76. So that means you would need a 111" circumference crinoline (or there-abouts).

19th century fashion icon, Empress Eugenie of France, c. 1865
sporting the larger elliptical shaped crinoline

Mid 19th century elliptical crinoline
courtesy The Metropolitan Museum of Art

Marie Antoinette movie gown/pocket hoops

2011-04-08T13:59:00.005-04:00

And sew it begins! The first stage of the Marie Antoinette [film] inspiration gown is complete! Here are a few images of the completed pocket hoops. They are made of 100% white cotton with 3 rows of buckram/steel wire boning. The waistband closes at the back with a button.

18th century pocket hoops

Read more about this project at http://www.maggiemayfashions.com/blogapril2011.html

1820-1840 Era American Frontier Clothing Notes

2011-03-31T14:13:00.020-04:00

Trapper's Bride by
ALFRED JACOB MILLER, 1840s
Hunter Museum of Art

Note: This is a reprint from my website.

I recently responded to an inquiry regarding the clothing of the early American West (1820-1840). The inquiry is as follows:

My research is concentrated on what a family, consisting of a mother, father, young son and daughter, living in the wilderness of Midwestern America, circa 1820 – 40 would wear. What would these clothes look like, especially how different would they be to the examples on your website? How would they make them (hand-stitch? Purchase?)? What are your favorite sources for information on this subject?

I thought I would post my response because this is not the first time I have had inquiries regarding this topic.

There is much documentation of what men wore during this period (see image at left) but not a great deal of research on women's clothing. I suspect this is because early American frontier women and children (of European decent) did not prominently serve as trappers, land surveyors, or explorers. Instead, they made history quietly by building communal ties in what was then the wild and unruly wilderness. What I do know about the clothing on this region I have pieced together from a variety of different historical texts- specifically those relating to the historical and cultural heritage of Southern Appalachia.

The early 19th century was a great time of influx and expansion across America. In 1803, the United States acquired the Louisiana territory from France, doubling the size of the country overnight. Individuals and families began pushing westward from the already settled regions of Virginia, the Carolinas, and Pennsylvania. By 1800, over 150,000 European settlers had emigrated into the Appalachian region alone.

In the 1820s, gold was discovered in Georgia- bringing a rush of spectators into the mountains. F rom 1830-1838 (against the ruling of the American Supreme Court), Andrew Jackson forcibly removed all remaining Native Americans from their homelands east of the Mississippi to areas known as the New Indian Territories (what is now present day Oklahoma and Kansas). As a result, what was previously deemed as "unsafe Indian territory" was now open to white settlement.

With the opportunity for large plots of open land, many frontier families sold their smaller parcels in Kentucky and Tennessee and moved farther west into Missouri. From 1820-1840, immigration to America was rapidly increasing and the concept of manifest destiny was sweeping the nation. Thus, the massive emigration west pushed white settlement even farther into the the American wilderness. (See maps below)

US territories- 1800

US territories- 1820 (Images courtesy National Atlas)

American clothing in during this period was still very much regional. In Pennsylvania and Tennessee, the Quakers brought about fashionable period styles coupled with simplicity of adornment. In New Orleans, French fashions were still very much en vogue. In New York, clothing amongst the immigrant population was both a sign of cultural heritage and religion. Immigrants held onto much of their traditional dress. It provided a sense of belonging and a sense of community. But clothing also denoted social status. And, only in America could the poor have the chance to achieve a better life. For these people, clothing was an outward expression of the American dream.

Woman Holding a Hymn Book by Ammi Phillips, circa 1826
(The Hunter Museum of American Art)

The Immigrants by C. F. Blauvelt, circa 1850
(The Hunter Museum of American Art)

But in the untamed American wilderness, things were a bit different. While European settlers took with them a combination of their traditional garb and their new American styles, these types of garments were not always conducive to the untamed terrain and their new living conditions. Thus, these new settlers had to adapt their clothing to the demands of the region. Many incorporated traditional Native American materials into their wardrobe- using things like buckskin, fur, and other types of wilderness materials to make European- style shoes, breeches, and outerwear. Women made their own coarsely woven fabrics- something we now refer to as homespun and linsey-woolsey. Once near an established market town, families could visit the general store and purchase finer cloth. But it was pricey and in a world where money was scarce, purchasing (or in most cases- trading for) fabric would have only been for very special occasions.

Across the Prairie
A. Bierstadt, 1864
Hunter Museum of American Art

Sadly, there is little remaining evidence of clothing worn by the settlers of this period. Because cloth is a perishable good, clothing that was no longer mendable, patchable, or usable was recycled into quilts, bonnets, and dress linings. Most documentation of surviving fibers and prints from this period indeed come from old quilts. What we know of how the clothing looked comes from period sketches and frontier diaries.

It is known that the garments of these early settlers typically followed the silhouette of the period. However, practicality and functionality mattered more than style. A frontier family's day was filled with hard labor and long hours. Winters were bitterly cold and summers were unbearably hot. For women, skirt lengths were shorter, necklines were higher, and sleeves were long and narrow. Both women and children wore large sunbonnets or woven hats to protect their skin from the sun. Aprons and smocks were always worn to protect clothing from the laborious chores of frontier life.

Clothing was primarily wool or linen- and later mixed with cotton. Dyes were natural and came from nut shells, berries, and the bark of trees. Clothing of the American frontier was completely hand woven and hand stitched. And, except for the occasional specialty item, all garments (including shoes) were made by the frontier families themselves.

A recently completed interpretation of a rural American dress for the 1850s-1860s.
Although the the time period is later than discussed, one can still get the feel of what early wilderness dress might have looked like.

Wooden button details which the ingenious seamstress

would have carved from her environment

Selected Bibliography:
Appalachia: A History of Mountains and People. PBS Series, 2009.
Bush, F.C. Dorie: Woman of the Mountains. University of Tennessee Press, 1992.
Dunn, Durwood. Cades Cove: The Life and Death of a Southern Appalachian Community. University of Tennessee Press. 1988. Dykeman, Wilma. Tennessee Women. Wakestone Books, 1993.
McCaulley, Margaret. A Cades Cove Childhood. The History Press, 2008.

Marie Antoinette movie gown

2011-03-26T11:41:00.008-04:00

The next commission on my agenda is recreating the pale blue polonaise gown from Sophia Coppola's Marie Antoinette.

The award winning costumes in this film are gorgeous and feminine and the color palette simply delectable! Some of my favorites are the pale blue robe and the zone front gown.

The gown I have been commissioned to make is based upon two Marie Antoinette gowns- a pink closed robe and the pale blue polonaise.

The cut of this dress will be based upon the blue polonaise but the fabric and color selection is based upon the pink closed robe. Thus, the final dress will be a matte pink satin taffeta polonaise.

It will be worn over pocket hoops and a period corset. I am putting together the pocket hoops as well but not the corset. The corset has been commissioned elsewhere.

I am very much looking forward to the challenge of this project. I have not had any 18th century commissions in quite some time and I am excited about revisiting this time period.

I will post updates as the project progresses!

(Marie Antoinette gown images courtesy The Costumer's Guide to movie costumes)

1866 Straw half bonnet

2011-03-24T17:48:00.001-04:00

I was recently contacted by Michael Nelson Studio to complete a straw half bonnet for an upcoming photo shoot. The shoot is for the cover of a novel set in 1866 Missouri. The photo will be a portrait shot of a young lady in her 20s. View images of the completed bonnet.

Regency Era day dress

2011-02-10T13:00:00.002-05:00

Here are a few images of a recently completed Regency era day dress- in the earlier style (around 1800). The fabric and color choices were made by the customer.

Cheers!

Front of gown

Regency Era gown
Back detail

Back of gown

More historical clothing exhibits of interest

2011-02-03T09:05:00.001-05:00

Colonial Williamsburg's virtual museum: Browse their collections online!

-And-

Kent State University's upcoming exhibit commemorating the American Civil War.

September 30, 2011 - August 26, 2012

Click here for the link to the upcoming exhibit.

Also, Kent State University is creating a searchable catalogue of their collection! Exciting!

Ongoing and Upcoming Historical Clothing Exhibits

2011-01-27T14:56:00.003-05:00

The Charleston Museum in Charleston, South Carolina currently has on exhibition clothing and textiles from the Civil War Era.

Exhibit highlights: (From their website)
"This original exhibition offers a peek into the lives of those left on the home front and those battling deprivation and fear while raising their families and protecting their property, as well as those fighting on the front lines. Threads of War will illustrate how, as the 1860s marched on, the war took its toll not only in lives lost but on fashion, supplies, and every aspect of life. Women’s, men’s and children’s clothing, uniforms and accessories, quilts, coverlets and flags, along with magazines, newspapers, daguerreotypes and diaries provide tangible images of mid-nineteenth century Charleston and a lifestyle torn apart by war. The Charleston Museum will offer a wide variety of workshops and programs in conjunction with the exhibit. For more information, please visit www.charlestonmuseum.org or call (843) 722-2996."

Exhibit features include a beautiful brown silk day dress worn... a cream wool challis dress with Zouave-style jacket... Wedding garments, accessories and memoir excerpts from the 1865 wedding of Louisa McCord and Augustine T. Smythe... A home-made palmetto straw hat and hand-crafted turkey feather fans... a magnificent Chinese embroidered shawl... Men’s riding trousers... elegant vests from shortly before the war... 19th century top hat... An intricate woven coverlet made on Towles Plantation... A magnificent Star of Bethlehem quilt... a flowery chintz-appliquéd quilt... a custom-tailored coat of fine wool...
Sounds pretty amazing!

Also, from the FIDM Museum in California:

9^th Annual Art of Motion Picture Costume Design
February 8 – April 30, 2011

"On view will be actual costumes from over 20 movies from 2010."
From their website, it looks like they may have a few of the gowns from The Young Victoria.

Flossing your Corset

2011-01-20T14:13:00.014-05:00

Note: This information is also available on my website.

Whether you make your own corset or choose to purchase one, "flossing" is a beautiful way to add your own personal touch to this garment. "Flossing" is a term used to describe a hand embroidery technique in which heavy floss (traditionally silk or cotton) is top stitched over corset channels to hold corset boning in place.

After looking at over 75 extant American and European corsets dating from 1790- 1890, I primarily see flossing applied to corsets after 1870. As steel boning began to replace baleen (commonly referred to as whalebone) in corsetry, the need for flossing emerged. Essentially, flossing secured the steel boning inside the corset channel and kept it from slipping or twisting when the corset was worn. Flossing was most often applied at both the top and bottom of the boning channels.

In earlier corsets, I see examples of decorative embroidery techniques applied to corsets, but not necessarily flossing. I speculate this is because prior to the 1870s, the primary stiffening agent for corsets was baleen which did not require flossing.

There is no right or wrong way to floss your corset. If you are using synthetic poly boning in your corset, flossing serves primarily as a decorative touch. If you are using steel (especially spiral steel) boning in your corset, it is more important to floss your corset around (and even through) the boning to secure it in place.

There are some lovely hand embroidery technique books out there. Embroidery is an age old art form and one can assume that any of the techniques in these modern books can be applied to historical garments. However, be warned that embroidering your corset will take a great deal of time. Depending upon the technique you use and the amount of floss you intend to apply, it can take as many as 8-10 hours to floss your corset! But once completed, your corset will no doubt be worth all the time you invested in it!

Historical Notes: Mid 19th century Corsets

2011-01-10T21:30:00.007-05:00

Following a post regarding my reproduction mid 19th century corset, I thought it might be helpful to give a little snippet of historical information about corsets from the mid 19th century. From a corset text in my collection, here is a period lithograph of the corset my reproduction is most influenced by.

French Corset c. 1862
Corsets: A Visual History

Prior to 1850, the majority of corsets were made by tailors (a male profession) and if one could not afford a tailored corset, then by oneself. Even into the 1860s, "how-to" instructions for corsets were still being published in ladies magazines... (read more)

Adventures in Corsetry!

2011-01-07T14:23:00.015-05:00

Now that things have slowed down a bit, I have had time to work on a personal project I have been putting off forever. It was one of those projects I cut out, stuck on my cutting table, and waited until I had enough time to work on a project like this.

And here it is! My gusseted corset!

I made it out of a medium weight beige cotton drill. It has a 12" steel busk down the front, lightly corded bust gussets, and entirely too many rows of boning to count (I got a little carried away).

I have always wanted a gusseted corset but corsetry is one of those things I have avoided like the plague. In the past I have made a few lightweight, mid bust, shaped seamed corsets for myself but was never too pleased with the way they fit. When I got married, I purchased a mid bust, steel boned corset to go under my 1870s era wedding gown. I have worn it as my primary corset since. However, it too does not fit properly. It cuts into my hips and smashes my bust. And, it is not comfortable (it has no flex due to the steel boning) when worn for long periods of time.

So, it was time. Time to make a proper corset.

Not even wanting to attempt to draft a pattern for a gusseted corset, I opted for this ready made Simplicity pattern instead.

Using a commercially graded pattern allowed me to and explore construction techniques, study boning placement, and focus on fit.

Before I made this corset, I looked at original gusseted corsets dated from 1855-1865. Most of the corsets from this period use baleen and sometimes combine both cording and boning techniques in their construction. For cording, I used cotton crochet yarn and for boning I chose synthetic poly boning (it is similar in weight and function to baleen).

I chose to use poly boning in this corset because (1.) I had a surplus on hand, (2.) I didn't have to worry about cutting steel, and (3.) the majority of the extant corsets I looked at have practically molded to the body that wore it.

Synthetic Poly Boning 1/4" wide

While poly boning does conform to the body when worn (the heat from your body actually reshapes the boning), it does still provide a great deal of support when properly placed.

I chose to use the Simplicity 7215 pattern because I felt the models on the front of the package had a figure similar to mine (and therefore the pattern would need less "tweaking") and felt this corset pattern created the silhouette I was looking for.

The pattern went together pretty easily. I did not do all the fancy thread work on the gusseted areas before I began putting the pieces together. I will finish that area off with decorative hand stitching later. The cording of the bust gussets is not part of the pattern. I chose to add that myself. The purpose of the cording is to provide additional support to the bust of the corset. I debated whether or not to cord the hip gussets as well (not for support but for aesthetic reasons) and opted not to. I think it was a good decision.

I used the lining pieces as my muslin and made any minor adjustments to it before I put the outer layer of the corset together. This worked well and moved the project along quickly.

I loosely followed this pattern's boning placement specifications, opting to return to images of extant corsets as my primary boning guide. There is a great deal of engineering that goes into corsetry and I experimented with boning placement until I figured out where support would be most beneficial to my particular body shape. I placed additional boning at the bust and waist and tried to leave as much of the hip area as free as possible.

Overall, I am pretty pleased with the completed corset. There are a few minor fitting issues that asserted themselves after the boning and busk were put in. The bottom front of the corset wants to protrude outward a little. This is a result of the flat steel busk not wanting to round itself over the belly area. I think using a spoon busk would correct this, but at this point, I am not willing to take this corset apart and try to insert another busk.

I have not yet tried this corset on over all the proper underpinnings and am anxious to see how that affects any of my minor fitting issues. I intend to finish this corset with some pretty decorative hand stitching (or "flossing") before I call if officially done. I'll share images of the completed corset in a future post!

Exciting Opportunity for 2011

2011-01-06T16:37:00.006-05:00

Image copyright
Colonial Williamsburg

Hello Everyone!
Hope you had a wonderful holiday. Get your sewing machines primed and your sewing needles sharpened because 2011 is already here!

There is much going on this year in the costume world. The Costume Society of America in conjunction with Colonial Williamsburg is holding a Pre 1840s costume symposium March 13-16th on site. It will focus on costume accessories and "scholars from the United States, Canada, and England will present 10 lectures over two and one-half days; a day of hands-on workshops and related behind-the-scenes tours will follow."

Directly after this conference, Colonial Williamsburg will also be hosting A Reconstructed Visitable Past: Recreated Period Attire at Heritage Sites which is drawing in those associated with living history museums as well.

Pretty exciting! From all the blogger buzz, seems like several professional costumers and historic clothing enthusiasts have already booked their tickets! Be sure to check out the links for more information about this great opportunity!

Completed 1830s American dress for day wear

2010-11-21T17:37:00.014-05:00

This post has been moved!

The Tale of the Cursed Crinoline

2010-10-28T14:19:00.003-04:00

Did you ever have one of those pieces that just seemed to be "cursed" from the get go? In the spirit of the season, I will tell you the tale of just such a thing- the cursed cage crinoline.

A dangerous contraption even upon its beginnings, the cage crinoline led to the demise of many a young Victorian lady. Many a damsel caught their foot in the bottom two rows causing them to tumble to the ground spraining ankles in twisted messes. Some high fashion ladies wore their cage crinolines so wide, they were completely unaware when the hems of their gowns caught fire in the burning embers of the fireplace. Yes, a cursed contraption from it's inception, nearly 150 years later, the cage crinoline continues to bring its troubles.

It all started about a week ago when I received a rush order on a cage crinoline. Not having the correct size in stock, it seemed I would have to make one and make one quickly. It had been a while since I had made a cage crinoline and I neglected to realize my stock of materials was low. So off I went to the local shop to pick up some hardware. Much to my dismay, they did not have the type of rivets I use, so I picked up what they did have- not too concerned really. But, they did not fit my rivet setter.

So back to the store I went to get an old fashioned hand tool. This meant setting 100+ rivets by hand. Ten hours later, the cage was almost done! But, several of the rivets did not set and had to be redone! Twelve hours later, the cage was finally complete!

So I packaged it up, addressed the box, and happily took it off to the post! I had completed it just in time to meet my customer's deadline! Or so I thought.

On the day the package was scheduled to arrive at my customer's door, I received an email from her that it had not been delivered. Concerned, I contacted the post office. To make a long story short, the postal worker who took my package entered in the wrong area code on the shipping bar code. Even though the correct zip code was on my mailing label, the cage crinoline is headed off the most remote location they deliver to!

No one knows where the cursed cage crinoline is now. Perhaps it is roaming the countryside looking for its final destination!

Upcoming Historic Clothing Exhibit in Bath

2010-10-26T10:46:00.001-04:00

There is a wonderful new exhibit opening

February 2011 at the Fashion Museum.

Looks to be exciting!
Anyone up for a road trip?

Click here for more information.

What's REALLY under that dress?

2010-10-20T12:59:00.003-04:00

When we visit a museum's costume gallery, do we ever stop and ask what is REALLY under that dress? Take a look at just how much work goes on behind the scenes preparing a period garment for display.

(From the blog of Clarissa Esguerra, Curatorial Assistant, Costume and Textiles- LACMA)

Step 1: Selection of a mannequin

"Before the initial “fitting,” a series of measurements were taken from the garment to determine the positioning of the torso, hips, and legs of the mannequin."

Step 2: Physical Manipulation of the Mannequin

"The dresser then cuts out concentric shapes of batting to slowly build out the mannequin to the shape of the garment. Control-top pantyhose were placed on both the torso and lower portion of the mannequin to hold the pieces of batting in place while providing a smooth safe surface for the object to rest upon. If necessary, prop undergarments were made to complete the silhouette. This part of prepping the mannequin can take several days. "

Step 3: Dressing the Mannequin

Step 4: On Display

"Period accessories and a paper wig finish the look of a mannequin, now ready for display.

Dress, France, c. 1855, with Collar, Europe, 1845–50, and Pair of Undersleeves, Europe or United States, c. 1855"

(Photos courtesy Clarissa Esguerra. To see more photos or read her comments, click here.)

Thank you Clarissa for sharing with us this behind the scenes look! And, thanks to you and your staff for all your hard work!

Going GREEN!

2010-09-30T12:25:00.002-04:00

Maggie May's Historic Clothing is proud to announce we will now be offering organic cotton and other eco-friendly fabrics to our customers! Forging a 21st century partnership with eco-conscientious companies, Maggie May's is one of the first in the historic clothing field to help minimize the impact the textile industry is having on our environment!

Studio Friends

2010-09-20T12:33:00.003-04:00

Last fall a groundhog whom I affectionately named Mr. Tiggly Winkles made a home under my studio. In the Spring, Mr. Tiggly Winkles emerged from his winter den and began nibbling on the grass surrounding my studio. Suddenly, another little groundhog appeared... then another... and another. Apparently Mr. Tiggly Winkles was not a MR. but a MRS!

For an entire spring, I watched as these little critters made my trellis into a playground, raced around in the grass, and played peek-a-boo in their den entrances.

Then one summer day, I watched Mrs. Tiggly Winkles move her family across the street into a wooded lot. I thought for sure she would return just as soon as her little Winkles were old enough to fend for themselves. But after nearly a year, I had not seen any sign of her.

It is now fall once again. The air is cooling and the leaves are beginning to fall. This morning, I headed out to the studio. Low and behold, who was there to greet me? Why Mrs. Tiggly Winkles! She was munching on a pear that had fallen off the trees surrounding my studio. Welcome back my little friend!

Insight from an exhibit specialist

2010-09-14T13:00:00.003-04:00

There are a few blogs I keep up with. One of them belongs to a historic clothing exhibit specialist in the UK. Here is what she wrote regarding a Regency Era exhibit she is working on.

The provenance of many of the dresses indicate that the original owners were from the bourgeois and middle classes of society. You can gain more of an insight into the fashion history of a cross section of the population rather than just the clothes of the aristocracy.

These dresses answer many questions about Empire/ Regency fashion and by displaying them in this way you get a sense of how the dress could have been actually worn. On a few occasions when putting a dress on a mannequin we could see there was something not quite right about the way it fitted. Closer examination showed this was due to the use of pins or brooches to fit the bodice. Many of the dresses had evidence of tiny pin holes. On portraits and miniatures of the period you can observe that belts, jewellery and even decorative flowers were used to aid the fit of the bodice, especially in the centre front. Stays of this period had a centre front busk which provided a solid point on which to pin the bodice to stop it riding up from under the bustline.

I have often heard it said that people were smaller in the past. Maybe on average they were, due to factors including health and diet. Many of the women would have been born in the later part of the 18th century and would have been from the 'stayed' generation. Some would have grown up wearing a form of stay or corset and this constriction would have had an effect on the growth of the ribcage. However at least ten of the dresses in the collection were worn by women who were at least 5ft 6inches in height and their dress size would be an English size 10-12, so not so small.

Thanks to Natalie Garbett for the insight into gowns from the Regency Era!

Inside the mind of a costume designer

2010-08-17T12:34:00.002-04:00

While I have not yet seen the PBS film Dolley Madison, I did watch the interview with the costume designer. Great insight into the mind of not only a historical costumer, but a film costumer as well. Shows you the process of how costuming in the film industry works. Very interesting.
Check it out when you have time.

Watch the full episode. See more American Experience.

Mastering the Corded Petticoat

2010-08-04T15:23:00.005-04:00

Like everything we make here at Maggie May's Historic Clothing, it all begins with a "mock up." A mock-up is often referred to as a muslin and made of scrap cloth. It is the "first draft" of a garment. When you are dealing with bodices, jackets, and other fitted garments, this is the time to make alterations to darts, gussets, and seams to ensure a smooth fit BEFORE you cut into that expensive fabric!

However, with the corded petticoat, it is more about trial and error than anything. Finding the right amount of cording, the right type of cording, the space between the corded rows, and height of the cording all determine the shape and success of a corded petticoat.

Here are two corded pettioats (one linen and one cotton) I have made in the past.

A corded petticoat is exactly that- a standard petticoat that has several rows of cording added to the hemline (and body) to create a skirt... (read more)

Taking it to the streets

2010-08-02T14:33:00.002-04:00

Wouldn't it be great to see an 1860s fashion show? Want to try on the minimalistic undergarments of a Regency era lady? Or, find out what it is like to attend a one room school house in the turn of the century South! Well, now you can!

In an effort to bring awareness about the unique aspects of Historical Clothing and the role it plays in history, I am now offering Historical Costume demonstrations and discussions to interested groups. I have designed three programs to start with and hope to add more. Each presentation will last approximately one hour and can be adjusted to the needs of each group. Email me if you are interested in learning more about one of these programs!

Two great opportunities in Historical Clothing

2010-07-28T09:10:00.002-04:00

Here are two great opportunities in the field of historical clothing:

Research Assistant, The Costume Institute at the Metropolitan Museum
The Costume Institute seeks a Research Assistant who will be responsible for the preparation and dressing of mannequins for a photography project. The primary responsibility will be to systematically record costume objects. Successful candidates will have knowledge of costume history, experience with TMS, excellent interpersonal, communication skills and experience with object handling and storage. Demonstrated experience in the care and handling of historic costume and accessories is necessary; ability to dress 18th, 19th and early 20th Century mannequins and prepare objects for photography is desired; sewing and garment construction skills experience are an asset. Knowledge of care and handling principles, materials and techniques used for the dressing and presentation of costume objects is a must. MA degree in Museum Studies preferred.

Who wouldn't love to 1. work for one of the United States' greatest museums and 2. Get to dress life size dolls in original historical clothing all day!!! Great opportunity- just the WRONG time in my life for something like this.

However, this one looks promising:

Come to the Great Smoky Mountains in Asheville, North Carolina for the annual regional symposium, Connecting Threads of History, Cultures, and Creativity. The meeting will be held at the Doubletree Hotel just outside the Biltmore Estate, adjacent to historic Biltmore Village with its many fine galleries, boutiques, and restaurants. Wide ranging presentations on curatorial, conservation, and reenactment-related topics are guaranteed to pique your interests! September 10 at 9:00am - September 12 at 5:00pm.

I am going to try and make this event for sure!

Welcome to Maggie May's first blog posting

2009-08-18T03:10:00.002-04:00

Hello and Welcome to Maggie May Historic Clothing's blog.