Some housekeeping in progress

I've decided to progressively move posts on historic costuming topics to a newly created blog called Camisoles to Bustles in order to tidy up a bit. This blog will eventually contain other costume sewing such as for entertainers and private clients only. I hope that makes for easier reading in the future.

Renovated this blog too !

I decided a change was as good as a holiday, so I've fiddled with some colours and fonts to make this a bit more interesting (I hope!)




Just now I'm doing some alterations to costumes for the Dancing Studio principal's new show. Le Ballet Rock is advertised as being ballet set to classic rock tunes. The show is touring regional NSW and Victoria. Click here for a newsletter with dates and venues. I'm replacing invisible zips in 11 dresses and altering some coats which I made for Davin many years ago, all before full dress rehearsal straight after the long weekend here in NSW on 11th June. So what am I doing sitting at the PC you ask??? Bye !!!

10th Anniversary Show for the Dancing Studio

On Monday 7th December Davin GJ's School of Performing Arts held its 10th Anniversary show at Parramatta Riverside Theatre in Sydney. I've been sewing costumes for Davin and his school since the beginning when my middle daughter was dancing with him. She's returned to the Studio this year after sitting through last year's show in the audience with me. I knew she still had dancing in the blood, she sure didn't get it from me, but I believe her maternal grandmother and great grandmother could dance a little, LOL.
Here are a few of the last batch of some 30 cocktail hats I made for the opening number, very quick shapes covered and trimmed with flowers, net and glitter sticks.


I also made some boys' calypso style shirts, those damned neon frills almost blinded me!


I was making this late at night in the week prior to the show, as usual I put off making these till the last minute because I knew exactly what was required and thought I could run them up quickly ! I didn't count on being ill or the extreme hot conditions being such a problem, did I?
There were also 11 clown dresses and one clown shirt required, with pink net "buttons" on the front.



Nevertheless, I completed all the required work and delivered it on time to the theatre. These costumes joined the other pieces made throughout the year for the Studio, and of course lots of my previous work from the past 10 years was also used throughout the 4 hour marathon show. I felt extremely proud to see all that work up on stage.

April and May sewing

With our house renovations finished in late March it was time to set up the sewing room again and get into the costume sewing. The Dancing Studio booked 4 circus costumes in the Cirque de Soleil style.
A fortune teller,



a strongman



a Pierette clown



and a hooped clown (before oversized beret was made)




were needed for a club circuit talent quest heat in April. I was given fabric and a couple of photos for the clowns, and a brief for the other 2. The costumes were very successful and the group has progressed to the finals.
I don't think house model Bron enjoyed this photo session, it was a bit cold !!.

Then straight after finishing with the Circus, I started the 1870's costumes for a gent and his partner from Bathurst. He owns a restored original Cobb and Co coach, and his partner wished to dress suitably for a Colonial Day display at the end of May. We had a few issues, mostly that the gent is extremely tall, about 6 ft 7 inches tall and the lady has an ample figure and failing eyesight. I chose a Truly Victorian pattern, the polonaise gown for her. It doesn't really need a large bustle, which L. couldn't cope with, and was not so fitted over the front area as some styles. She left it to me to choose fabric and trims. After she approved the colour I decided on black grossgrain trim with some lace bows and a lace neckline trim. I blocked a felt capeline hat for her in proportion with the outfit and her figure, adding some vintage veiling and a pouffed fabric band. Then on the front a white feather and a beaded flower over a lace bow which were also featured on the dress.






R. needed a Victorian style shirt and a waistcoat with watch pocket for his drivers fob watch. He supplied his own Moleskin trousers and brown lace up boots, and a felt hat to complete the outfit. On the day, they were both much admired and had lots of photos taken, and the local newspaper took photos as well I think. L. was very tired by the end of the day, and had to be helped into the car with her bustle and hat because she had forgotten to take a change of clothing. I hope she'll wear it all again soon, but before then I need to make a few minor adjustments to the frill at the neck and add another bow down the front. We only had the one fitting in early May so I think we did quite well. I'm pleased with the resulting photos anyway.


The golf umbrella isn't very 1870's but necessary due to intermittent drizzle on the day.

A rear view showing the bustled polonaise, the petticoat underneath it all



and a final closeup of the very happy lady herself !

My birthday gift to myself

On a recent car trip to our nation's capital between Christmas and New Year, we stopped at historic Berrima in the Southern Highlands of NSW. Peppergreen's Antiques is one of those shops a true collector cannot pass by without going in to see what's new. My antique and vintage underwear collection has a few gaps which I hoped to fill from the Peppergreen's inventory. I wandered around for a while before spying a few likely containers of clothing, and since signs everywhere asked us to call an assistant, I did just that.

I sorted through a bin of salmon pink 1920's and 1930's bras and corsets just out of interest, after all they are a little later than my focus area of pre WW 1 back to the Victorian era. Then I asked for the bin labelled pantaloons, where most of the stock was cotton and similar to those already owned. Then in the bottom of another bin some interesting knitted combinations. 2 pairs, one with longer legs and very cute slit gussets for accomodating milady's bosom.







The other pair was shorter, with a lower neckline and the more traditional gussets let into the neckline. Both were in good condition, possibly unworn which is called "new old stock" in the trade. Not really sure of the exact age as they have some chained flatlocking type stitching on the gussets seams inside, but they are divided crotch. This says pre WW1 to me, so until I can prove otherwise with an old advertisement or such, I'm assuming this to be true.






Then in a display case I spied some stockings which were brought out for me to inspect. 3 pairs were mine by the end of the transaction. I'm really spoilt, aren't I? Photos of stockings will appear in my next post, please come back again?

PS Many thanks to House Model DD#3 Bron, I think she enjoyed modelling these more than Pooh, see previous post, LOL.

Is there a Pooh in the house?

Here is a last minute addition to the costumes for the Dancing Studio show which I was asked to make 1 week ago. My DD3 Bron is my fit model as usual, VBG. Don't know how I could manage without her, as my dress mannequin just didn't do this justice, having no legs and all that!!

The Principal of the studio was bidding for a suit on Ebay and was pipped at the post at the last second. He purchased the yellow toy fur and satin as I requested and this is the result. The tummy padding is seperate to the suit, as I find it sits better on different sized dancers that way. I made elastic "braces" crossed in the back to hold it up and left instructions to push it down before closing the front zipper on the suit. The dancer who wore it last night had 2 VERY quick changes, and I noticed she failed to push it down as far as Bron did in my photo. Anyway, it was a dance with 15 under 5 year olds, called the Tiny Tots, so all eyes were on the cute dancers, not the Pooh. I noticed though !!

I also made a Blue Genie from Aladdin, but was not able to put that on my "model" as the dancer was a 10 year old girl and miniscule !! I hope to get some photos when I see her next, for my own records. I copied from an image courtesy of Google as close as possible, and I was quite pleased with the result on stage.

"Narnia" Lion

This photo shows the before and after of a recent Lion's head project.

When I was training in Theatrical Costume at SIT East Sydney no-one told me I would be making historical repro costume one day and animals the next. Talk about variety being the spice of life! This week I turned a child's lion suit into a "Narnia" style lion for the Dancing Studio I frequently work with, using completely recycled or stash materials.

We canibalised a bear suit which I made several years ago, added some fur to the tummy area, and added paws taken from the too-small lion's outift. Next I tackled the too-cute head. It sits on top of the head, so the face needed a "curtain" and the face was far too baby looking. Aslan is an adult Asian lion. I used mr Google for some images, then decided to add patches around the eyes in felt, and some whiskers from 12 pound fishing line. I highlighted the mouth with some braid and felt, then after several unsuccessful shoppping expeditions for long haired fur in a suitable colour, the Studio found some fur vests in their store room. I ripped out the linings, cut through the shoulders and after making a toile in calico I cut a "hood" pattern to suggest a full mane. I made a padded "sausage" like a bum roll and stitched it to the head behind the ears to give some height. The "mane" is quite full and will cover the shoulders of the dancer. The Studio covered some long rods with beige fur fabric as the dancer will be leaning over like the animals in the stage version of the Lion King. The production number is part of the entertainment at a major banking conference, and about 30 dancers will be on stage. I hope to see the number later in the year, as I'd love a photo or two for my albums.

Working class day dress 1820's

It's long been a worry for me that we mostly make glamorous evening dress or court dress when we reconstruct period clothing, possibly with the exception of Viking or early Medieval. I guess we all aspire to being a Lady or a Princess etc. Even most blokes want to be a knight, or a king, or a dandy, or Luke Skywalker, not the lowly townspeople in the tavern in a Star Wars movie.

I'm researching Australian convict women's clothing at the moment, for an exhibition in August in Parramatta which will be touring around Australia. So I'm looking for images and drawings of everyday clothing worn by the working class.

On Saturday I volunteered at Hambledon Cottage Parramatta and wore a dress I sewed up on Friday. I had pulled out my Regency evening dress to wear on Thursday, but then had a change of heart. The temperature was predicted to be very warm and that dress is silk taffeta, so I thought it might be a bit warm to wear all day. I thought it was high time the working class was represented, so I graded up the pattern I made for Elizabeth Farm guides' costumes, changed a few details, pulled out some pre-washed 100% cotton fabric and started stitching!

The photos show the front bodice in detail, and the back bodice and sleeves. The seams are piped and there are small imitation mother of pearl buttons down the back. I may change the buttons and work over the buttonholes by hand in the future, but you understand that this dress was produced on a strict timetable, LOL. I tried to keep the visible machine stitching to a minimum, but the seams are overlocked internally. I wore my 1825 chemisette with collar (from Jean Hunisett's excellent Theatrical Costume for Stage and Screen) under the dress, a calico petticoat with a long frill on the bottom, and an 1820's cotton cap. I did cheat with the cap a little, since I have short straight hair. I slicked back my fringe with hair spray and sewed a small plastic comb at the top of the band to hold the cap on my head at the required place. It didn't move all day, and I got quite a few compliments on the outfit. The photo at the house was taken by a visitor, sorry about the quality, LOL.

Australian Costumers Guild "picnic"

We planned a lovely picnic in Parramatta park but as rain and storms were on the forecast for the weekend, we moved the picnic to Linnwood, see link on sidebar. We had 9 guests for a "tour" and indoor picnic lunch and it was very nice to put faces to forum names at last. I chose to wear (carefully) a vintage Victorian/Edwardian nightgown and made a broderie anglaise sleep bonnet to go with it. I carried a vintage china candlestick (think wee willie winkie!) to complete the look. Here is a photo taken on the day, I must comment on how tired I look, must have been those 2am sessions finishing the Springtime for Hitler costumes, see below, catching up.

One project finished

Now I can show you the costume I've just completed using the plate of sausages, see post below. Not real ones of course, phew, but dog toy sausages. These 4 "show girls" will be on stage next Monday evening at the regional theatre in Parramatta where the Performing Arts Studio is staging their huge end-of-year show. These costumes are made on a limited budget, but I'm fairly happy with them. The Sausage Lady was a real challenge since the hula hoops needed to be completely covered in a fabric before I could work with them, and they were full of water (I guess for balance?) which of course I had to drain out so I could balance my sausages. The skirt must weigh about 5 kg (that's more than 10 pounds for non-metric readers) because the waistband just kept on stretching with the weight. I should have realised earlier and made a buckram belt or such, but with deadline looming (that's the joy of theatre work!) I had to make do with tucks in the elastic all around. The fully hand sequined leotards under the costumes were made in Thailand I believe while the Principal was on holidays there, and are used frequently. Therefore all the costumes had to be built independent of the leotard. That explains the waistbands and neckbands on the model, my very slim daughter B. She's moved out from home by choice, but I think she needs to visit more often for a hearty meal by the look of these photos.

The second photo shows the Pretzel Lady, and comprises a frilly apron and large net bow with tails mounted on a waistband, separate elasticated puff sleeves, a pretzel on a neckband and of course the pretzel headpiece.

Next comes the German Opera singer. A gold lurex stretch fabric short tunic with an elastic waist also defined by a wooden beaded belt, a sword tucked into it, a neckband with a wooden bead on the front and a horned helmet. I heavily decorated the helmet with braid and ribbon, and paint. The long plaits on the tinsel wig were a Christmas tree tinsel fringe which I sewed into the wig and then plaited and tied with red bows. The red drape follows the colour scheme.

Finally the Beer Stein lady. A quick and dirty underbust corset with ribbon lacing on the back and poppers through the left side seam for quick change. A "table top" skirt in red and white checked fabric on a single hula hoop "crinoline" style, a couple of beer steins on the corset front in metallic stretch vinyl fused to vilene and then padded with wadding. Wadding "foam" over the busom, and a 3D beer stein in the same materials on a red and white checked buckram 1/2 cap.

The challenge was to make these costumes with a shoestring budget, as faithful to the movie and stage show as I could, but also practical for wearing in a show with lots of kids running around, so no lovely floaty trains or feather boas. Every item is "quick change" so poppers on left side seams, elastics, and bows pre-tied and sewn etc. I also had no measurments to work with, just a suggestion that the ladies are all size 8 - 10 (32 to 34 inch chest) so fingers crossed for no "wardrobe malfunctions" on Monday night next.

Vintage and antique caps

This is a very relevant topic at the moment. My interpretation of a design from The Workwoman's Guide has been accepted as the kit design for the Transported Women project, now I just have to complete the pattern and instruction sheet. There was also a question on one of my Y. groups about a "duster cap" suitable for embroidery. My research has been quite extensive, but I've not heard this expression before. I can only imagine that it would be a late Edwardian term since the term was used by a members' great-aunt. I'm assuming this cap was worn by servants, or by the lady of the house while she did house cleaning, bearing in mind that this was probably pre-vacuum cleaner days and dusting was done via a feather duster and cloth. I wouldn't want to get dust and cobwebs in MY hair, so we can imagine a simple cap being developed to wear over the hairdo. We can only guess at the style of this, since most of the photos which have survived only show "Sunday best" clothing at the least, I certainly wouldn't want my own house dresses preserved for posterity in photos.!

I found the first cap on my Y. group where enthusiasts of Victorian ladies clothing show their collections. This looks like a lady's house cap to me, not really covering the back of the neck as is usually the case with this type of headwear, but would definately protect the hairstyle from dust and cobwebs. The second two caps are 1830's to 1850's are the type of cap worn for everyday wear at that time. Perhaps one of these might be adapated for embroidery.

Here are some places to look for suggestions:
"The Workwoman's Guide" by A Lady , 1838, 1840 Look at Google books, then scroll down to page 142-144 on the page counter on the top left side, and then through to plate 15 for full patterns. By the way, the measurements referred to are not inches but nails, which is equivalent to 2 1/4 inches. I made a little "ruler" in nails to make the patternmaking easier.

The Costumers Manifesto
"www.costumes.org/ a mega site, look in "Costume by history period" then click on period you are interested in to get lots of useful links.

Hope you have as much fun as I do with your research !

Convict women's cap

Another current project is to design and sample a convict cap which might be suitable for a kit to sell at an upcoming exhibition late next year. The organisers are proposing to market the kit with fabric pieces cut out and instructions to complete the bonnet. The difficulty is that the authentic bonnets were all hand made in the 1820-30's. I can see why Christina Henri of the Roses from the Heart Project (see sidebar for link) chose an 1860's bonnet as her basic sample, by then the bonnets were much simpler shapes. I don't want to copy her sample too closely, so I've been looking at the designs in "The Workwoman's Guide" published 1838 which is now available online, thanks Google books. I'm leaning towards this basic style, although possibly with a little less gathering at the back. It is in one basic piece, with an optional frill. Even the most wretched girl would have tried to make a bonnet with a little frill if the fabric was available, it might be her only reminder of home before she was transported. Of course, some of the convict women were able to rise far above their station in life after coming to Australia, becoming notable citizens in the new country and never returning to Britain.

A plate of sausages?

Now before you think I've completely lost the plot, let me explain. I'm collecting the materials for the costumes for Springtime for Hitler, and my shopping list looks like this:
32 plastic dog toy sausages
3 hula hoops
1 sword
1 checked tablecloth (or fabric for same)
4 gold metallic tinsel wigs
1 long tinsel Chrismtas tree garland (for plaits for gold tinsel wig)
1 horned viking helmet

As well as various diaphanous floaty fabrics to make capes and draperies, and lots of millinery wire for headpieces, and assorted fastenings and hair clips.

I'll try to post some progress photos, but the deadline is looming very fast so you might have to make do with completed pics.

Catching up

It's been quite a while since I've posted here, although I have been updating my "life" blog (see sidebar). Since finishing Beetlejuice, I've been pottering along trying to play catch up. I did FINALLY make and deliver 2 repro 1930's ish men's vests to the local Museum which runs a children's "olden days" programme. The sticking point was the working welt pocket for a fob watch on each one. In the end, they went very well indeed. I did one sample using the actual fabric and my notes from Custom Clothing Advanced Certificate at TAFE College, which were very detailed and simple to follow. I remembered a few little hints we were given along the way, such as making sure to nick in the opening right up to the stitches in a little V at the end, and then sewing with a zipper foot when applying the pocket bag and catching in the little V right at the top of the V with your stitching. Magnifique, if I do say so, they looked quite lovely. I even matched the stipes on the garment with the stripes on the pocket welt. It really says something, don't you think, that I am so excited about doing good welt pockets? I think I need a couple of challenging garments to sink my teeth into. I just may get the opportunity soon, as the Performing Arts Studio has just ordered 4 showgirls from "the Producers" number "Springtime for Hitler" for the end of year show. They'd like the Pretzel girl, Sausage girl, Valkyrie and Beer Stein girl. If you see a madwoman tearing around town looking for gold fabric, tinsel wigs and crinoline wire, that will be me!

Bathex 2007

As you can see from the title of this post, I DID exhibit at Bathurst in the end. The event is only every 3 years so the thought of missing something special which might be on sale was just too strong. So I've just updated my embroidery and life blog (click on link on left sidebar) where I have photos of the underwear pieces which I exhibited at "Bathex" at Bathurst, NSW on August 4th and 5th, 2007. Every piece is wonderful but some of the camisoles or corset covers are just beautiful, and my Edwardian lacey petticoat is exquisite. I'm very lucky to have these pieces, right place, right time and all that. I've been told about some more items which might be coming onto the market soon, so if I get them I'll be so excited. This collecting costume habit is a curse, isn't it? (You know I'm kidding, right? I wouldn't have it any other way!!!) Oh and I bought a celluloid collars box, with a detachable collar, some studs and metal sleeve bands inside for a really good price from a china and bottles dealer. She didn't really know its value, lucky for me. So you see, I was meant to go to the Show, if you scroll down 6 or 7 post you can read a full report of my weekend trip.

Honoured by my peers

Last night we attended a function at Penrith for the Institute of History and Arts where I was made a Fellow for my work in Costume Design and Construction. This group is dedicated to honouring Australians who are, through their private initiative, leading the way in studying and preserving Australian history and arts. I think I may have been noticed at the innaugural Vintage Clothing, Textiles and Jewellery Show in April last year where I displayed reproduction costumes and vintage inderwear. Those who know me could see that I have come a long way since the early days of making "historical" costumes for re-enactments to now dressing guides and staff at historic houses. There were 7 inductees last night, who joined some very notable Australians who are the Fellows of the Institute. Leonard Teale (actor), Werner Phillipitch (Australian landscape artist), Edgar Penzig (noted Australiana author and collector) and Peter C. Smith (Australian author on bushranging) are just some of the names I remember. I hadn't prepared a speech, which was just as well since I was still not very well and had a husky voice. I had been asked to display my work so I took along my purple and black 1887 bustle dress on a dress stand, the matching hat and some gloves, and my 1870's repro corset. 6 photos on easels of my costumes, and my Elizabeth the first wig and tiara on a stand with jewellery, collar and gloves and wooden fan. I displayed them on a table with a heritage green cloth covered with a battenburg lace square tablecloth over it. I had several people come up and ask questions and comment favourably, and gave out a couple of business cards for future contact. Now I just have to decide whether I'll travel to Bathurst in 2 weeks to display my vintage underwear at BATHEX 2007. In any case I'll be going as a visitor, I just have to weigh up the logistics of exhibiting!

Beetlejuice for an Eistedfodd

I've been recovering from the flu for the last 3 weeks, but this costume is needed for the City Of Sydney Eistedfodd on Saturday night, so I just had to soldier on for the last 3 days and cut and sew this outfit plus 17 hot pink organza pre-made mens' ties for the supporting dancers. Talk about "the show must go on" ! My daughter is the model, and she is 5 foot 2 inches tall while the dancer is taller and has longer arms and legs. The suit is in cotton lycra so the jacket had to be fused with Whispaweft interfacing. I use an Elnapress to do bulk fusing, so it takes less time than with a domestic iron and is more permanent too. The jacket is fully lined, and the hot pink organza shirt is sleeveless but has armhole facings. It is all quick- change so the shirt has little velcro squares for front fastenings and the trousers have a half elastic pull on waistband instead of a front zip. I sewed a mock fly on the centre front seam though, just in case the jacket pops or she decides to leave it open. The sleeves are intentionally cut on the horizontal as in the photo reference from the movie still. I'm a devil for detail as you probably know by now!

Pirates of the Carribean, At World's End

Aaaarrrgh ! Members of the Australian Costumers' Guild attended a screening of the movie at Parramatta Great Union in suitable piratey garb. Here I am in all my glorious "pirate wenchieness" back at home after the movie, which I thoroughly enjoyed and recommend to all. Might even go again, in costume, just for the fun of wearing it again ! I do have a decent collection of costume "bits" in my spare wardrobe suitable for such occasions, so was able to put together quite a nice pirate wenchy look. I modified the straw hat to make a tricorn, and I bought a scorpion necklace and a black scarf, total cost of outfit $20. I made the stomacher at the last minute, and thought I'd share the making of it in a little tutorial, see posts below. The same method was used in my Elizabeth I costume bodice in an earlier post.

The Stomacher Project, or How to Make a Quick Pirate Wench

To set the scene, I was invited to attend a screening of "Pirates of the Carribean 3" with members of the Australian Costumers Guild (see link at sidebar) on Saturday night last. I cobbled together an outfit from skirts, a wenchy blouse and a brocadey vest which used to fit well, but alas, no longer would. So on Friday night at 8 p.m. I decided I needed a stomacher to fill the gap and look a little more "authentic" for the 1770 ish period. I looked up the period in Nancy Bradfields "Costume in Detail" and found just the thing. Next I searched the stash for some suitable fabric, discarded several, and settled on some ribbed cotton / viscose blended linen look with a fairly dense weave so the boning wouldn't poke through. I made a very rough pattern using the measurments in the book as a guide and cut out my 2 pieces. As this was a spur of the moment job, I used the "boning" material at hand in the stash, see below for details.

Sewing started

Stitch the layers together, right sides together, with a narrow seam leaving top open for bone insertion. Turn through and press. On the wrong side mark the centre front with a faint pencil line. Using a small stitch, sew from bottom to top along this line, then change to zipper foot. Insert first trimmed and smoothed bone into the stomacher and with your nail press it up against the stitched line. Line up the zipper foot alongside and smoothing and adjusting as you go stitch along the bone. This should give a snug boning channel. When all the bones are sewn you can slip the top ends out to trim and neaten if needed. Now work on the other side of the centre line, alternating sides each time. Repeat the boning insertion, smoothing and stitching with zippper foot until you fill the stomacher completely. Some bones will need radical shaping at the bottom to match the shape of stomacher, remember to smooth edges with sandpaper as well. I like to alternate stitching directions from bottom to top and vice versa each time to avoid layer puckering. I don't use pins at all, I don't need them but it's a personal choice. I prefer this method to marking a line using the boning and stitching along that, the zipper foot should avoid any needle breakage problems. This is a very quick method of making boning channels.