Augusta Stays by Scroop Patterns and Virgils Fine Goods

Back in June I volunteered to be a pattern tester for the Augusta Stays, made by Scroop Patterns and Virgil’s Fine Goods!

I was very excited for this pattern, because my previous pair of stays (sheesh, 4 years ago at this point?) were more of an earlier style in terms of the pattern. While I can handle basic pattern drafting, I would have no idea how to draft those awesome swooping side panels so prevalent in late 18th century stays.

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I had a week of planned vacation, so I figured that would be a good time to sit down and bang out a pair of stays, since stays are mostly just tedious (so many boning channels and eyelets).

And then the Small Human Being got a nasty ear infection, so I spent that week watching him instead and had to cut a whole bunch of corners in order to debut the new stays at Costume College… But details ahoy!

I chose the “straight” fit, because I am indeed shaped like a cylinder.

it me

I initially tried a size 38 for the first mockup, but had a gaping bust like whoa. Turns out I had not actually measured my bust since stopping breastfeeding only two weeks before, and I needed to grade the bust down to a 36 ūüė¶¬† I knew I would have to take out length, because that’s what happens when you are 4’11”. Specifically, I took 2″ of length out (because I was scared to do more. Which somewhat came back to bite me in the end, which I’ll show later…)

COMPLETELY WRONG WAY TO REMOVE LENGTH FROM A PATTERN PIECE AHEAD:

Artist’s rendition of altering the side-back panel

  1. Not be arsed to figure out where the waistline is (hint, it’s parallel to the ground, and the piece should be at an angle like on the right)
  2. draw a line parallel to the boning channels instead
  3. slash pattern there, overlap by 2″. Hey, each side of the pattern is 2 inches shorter now, so it has the same effect right?

Seriously, I know better. To remove length you need to¬†actually remove length. Doing this alteration on a body would have you pinch out the fabric in a way that is parallel to my waist/the ground as on the right side. But I didn’t think of this at the time, and went on ahead with my mockup.

Taking out length meant the boning channels didn’t line up anymore, so I had to redraw most of them.

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Easy to fox on the right, but check out the left.

For construction, I used 2 layers of linen canvas, and an outer layer of a finer beige/gray linen from Burnley and Trowbridge. I did the boning channels by machine with polyester thread, but the eyelets were done with linen thread from Larkin & Smith.

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I’ve seen extant stays somewhere with thread connecting the eyelets!

The importance of using a fresh piece of tracing paper!

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New tracing paper on the left, trying to be thrifty and reusing paper on the right

By the end I was in quite a rush, and I really wanted to get these wearable for Costume College to show them to Leimomi and Amber in person. So rather than binding the edges, I just folded the seam allowance around to the back and backstitched around the edges.

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I wanted to show the stays at Coco – and I also needed my hair curled for the gala. That led to this hilarious trainwreck (in a good way!) of an outfit:

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Wearing the stays for ~6 hours at Costume College ended up being very useful, since I discovered these need some changes to be fully comfortable. Namely, they were way too tight on the hips and started digging in by the end of the day. I really needed that extra inch of length removed that I had been too nervous to do in the mockup. The easy way to do this would be to slit the tabs higher.

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This is actually pretty good waist emphasis for me! I’m impressed how curvy they look.

However, there is another fit issue. Look how oddly tilted they look – it looks like the stays should get a good hike up the back, but that can’t actually be done.

There is also a huge gap between the straps and the stays front, which shouldn’t be there given that I have way less length over my shoulders from back to torso than the average-heighted person. This comes back to my utterly bonkers decision of shortening the stays parallel to the grain instead of parallel to my waist.

So rather than finishing these off and then never wearing them, I’m going to suck it up, re-alter the side panel patterns properly and redo them. That’s still faster then redoing a whole pair of stays in the future! I¬†think I can get away without redoing the front or back, which means I won’t have to redo any eyelets.

Final thoughts: If you are just looking for historically accurate construction methods, there are a lot of friendly neighborhood bloggers who have already posted this information and you don’t necessarily need to buy a pattern for it. But, if you are an 18th century novice, there is way more detail and instruction here than in any free blog tutorial, and the instructions are really well written and clear.

The pattern itself is absolutely worth it – this is the only historically accurate pattern for late 18th century stays (Larkin & Smith is earlier, and JP Ryan is not HA) that I know of! It’s ideal for a less experienced sewer due to the straight and curvy fit options, which minimizes the grading or alterations you have to do. You’ll find it more tricky if you are way short (or way tall probably), but that would be the case for any pattern on the market. Stays are ideal to get in e-pattern form, because stays are so few pieces to tape together! In conclusion, this is probably the best stays pattern on the market, so I recommend buying it if you want to make your own stays!

*I received a tester version of this pattern for free in exchange for testing, but all thoughts and opinions are my own! I was not required to write this blog post in any way, shape, or form.

Posted in 1700s, Corsets, Georgian | Leave a comment

Steel Inquisitor Vin – final pics!

At Jordan Con, I did a photo shoot with my wonderful friend Kathy of A Life Condensed Photography, so all the beautiful shots below are thanks to her!

The Jordan Con hotel actually has a lot of beautiful greenery and nature-ish looking areas, which is totally useless when you are portraying a character in a red sun / ash falling / semi-apocalyptic wasteland, so we did our best.

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Spikes going through my head!

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Feeling pretty, might kill some Mistborn later, IDK

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One change the final dress needs – the hem ended up an inch or so too long, but it’s going to be a pain to detach at the waist, take the skirt up, do the pleats again, and reattach. Or maybe I’ll just wear it with heels (which spoiler, I did at Costume College, minus the eye spikes).

A few more for fun:

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Pre-judging selfie, with eye tattoos (eyeliner)

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Found an Elend to murder!

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Hey, even Steel Inquisitors get hungry.

This costume was so much fun to wear and make, and it nabbed me Best Workmanship in the costume contest, which is basically second to Best in Show! Woohoo! (But Best in Show, I’m still gunning for you…)

Posted in 1840s, Fantasy/Scifi/Cosplay, Steel Inquisitor Vin | 3 Comments

Steel Inquisitor Vin – accessories and EYE SPIKES

1840s dresses are all well and good, but what makes this a Steel Inquisitor is having spikes through the eyes! These are meant to be heavy spikes that go all the way through the head.

Steel Inquisitor by Laura MacMahon.

While I am dedicated to my costume art, impaling my skull was slightly further than I wished to go, so I needed to have a way to stick bits on the front and back of my head to look like an impaled spike.

A friend of mine had previously done a Steel Inquisitor with toilet paper tubes and sunglasses so that gave me a place to start. His sunglass lenses ended up a bit reflective (and therefore not looking as much like solid metal) so my plan was to go with mesh over the openings instead. Construction pics ahead!

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Pieces of paper tubes with rounded edges, which were meant to fit into the inner and outer curves of my eyes. The outer edge needed to be a lot deeper than I expected to fit flush. Made two for each eye in order to have backups!

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Painted silver and mesh glued to the opening.

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Crayola model magic around the edges to smooth and hide the join.

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Glued to my eye socket with eyelash glue for a test run. After 30 minutes it still felt totally secure so I called it good! I could see pretty easily through the mesh.

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The whole thing painted silver with a bit of black wash to make them look like weathered steel. The spike tips for the back of the head were formed entirely out of Model Magic and glued to hairclips.

For weapons, Steel Inquisitors carry obsidian axes while Mistborn use glass daggers. I split the difference with obsidian daggers. Luckily these are readily available on etsy these days due to obsidian daggers being a Big Thing in Game of Thrones!

I bought two but unfortunately didn’t think to say the dagger sheathes should be mirror images (you’d think it would be obvious…) and there wasn’t time to order sheathe or make one. So I quick and dirty cut the belt loop off, flipped it over, and used another piece of leather to glue the pieces together.

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Fix from the back

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And from the front! Looks pretty good if you don’t look closely.

Unfortunately this glue ended up ripping when I actually put the daggers on the belt the first time and I had about 5 minutes to sew through it with giant honking stitches before judging, but the dagger blocks the stitching when it’s in the sheath.

I made a belt using the dress fabric lined with a bit of crinoline for stiffness. It’s machine topstitched on the long edges, and is whip-stitched closed by hand on the backside. I added a rosette (matching the one on the bertha) to cover the hooks & eyes, and used decorative vintage black buckle on the front.

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And that was the whole outfit just in time for Jordan Con! Final pictures in the next post!

Posted in Accessories, Fantasy/Scifi/Cosplay, Steel Inquisitor Vin | Leave a comment

Steel Inquisitor Vin – 1840s bodice

Strap in, this is going to be a long one!

long cat (and post) is long

So evening bodice. The base for these are basically all the same from 1830-1860 (princess seams or darts in front, princess seams in back. Hooks & eyes or eyelets in the back closure). Differences over the years look like whether there are points in front or back, what the bertha situation is, what the decorations and sleeves look like, etc.

I took my 1830s bodice pattern and brought it a bit forward in time to 1840s by adding a point in front. (Funnily enough, this started out life as the 1850s Truly Victorian evening bodice pattern. I first made it as an actually-1850s-bodice, sent it back in time to 1830s improving the fit along the way, then took that better-fitting one to use here. It’s easier to fix style lines than fit which is why I went with the most recent one).

Since my 1830s bodice was straight at the waist, and my 1850s bodice had a point in the front and back, this one went right in the middle of that transition with a straight back but and pointed front.

You would¬†think¬†that since this is the third time I’m using this pattern it would fit right out the gate right?

The back was fine, but in lengthening the front I ended up making 3 mocks to get the darts to be shaped and positioned properly

Here’s the first version. It fit, but the darts are so totally wrong (although hard to see here). It’s fun to progress as a seamstress, because a few years ago I would have called this good!
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Closeup of the mockup, but drawing in pen where I want them to be (that rightmost black line is a thread not pen):
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The idea was to move them way closer to the center, such as in this line drawing of an 1840s dress from 19th Century Costume in Detail:
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Apparently I didn’t take any pictures of the second attempt. The darts were better, but the angle wasn’t quite right. I really wanted this to look good, so I actually made a third version to make sure the darts were exactly where I wanted them.

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Looks like I also lowered the neckline. I also raised the waist at the sides to make the front look more pointy.

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Final version of the pattern. You can see all the way on the right one of the original darts, and just how far they moved over and the slight changes.

I left a ton of seam allowance at the sides, because I’ve previously had issues where the waist was too small after taking into account petticoats and skirt. I both added a bit to the side seam and left myself an inch of seam allowance, and¬†still ended up with a seam allowance of only 3/8″ to make sure the skirt fit over everything!

So then decoration. A plain bodice is a) not historically accurate and b) boring. The decor on a bodice is colloquially called a bertha, although I’m not sure when that term came into being. Let’s do a quick trek through the evolution of those –

In the early 1830s they start out as just being cut in one with the bodice, perhaps in pleats or gentle ruching. I’m calling this a proto-bertha, as it clearly evolved into what costumers think of as a bertha.

Another example, this one clearly shows the bodice fabric is just pleated down to form the decoration.

Then in the late 1830s and 1840s they realize it’s a pain to pleat down that extra fabric and make it even (ok that’s just me editorializing) and it’s easier to cut a separate piece and attach it at the shoulders. So you have a time frame where the pleaty-bits are separate decoration in the front of the bodice but the back is left plain as before.

This gown shows very clearly a separate piece for the front, which attaches at the shoulder seams:

Then Victorians went “hold up, MOAR STUFF is better!!” and extended the bertha to be some nice back decoration as well, in which case it is always cut as a separate unit that is just attached on top of the bodice in some way. Here is the back of an utterly frooftastic dress:

As my gown is 1840s, I went with the middle technique of a bertha-esque piece on just the front, attached at the shoulder seams. (I had already done a pleated front for my 1830s dress and a front/back wraparound bertha with my 1850s dress and I like trying new things). I had thought about doing something different than faking a million pleats with bias strips as that is what I did for the 1850s bodice, but I didn’t have enough lace to use for this in addition to the skirt and didn’t feel like buying more. So a million bias strips it was.

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3 strips later is when I started cursing myself for marking off 10 bias strips instead of 8…

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Finished bertha, basted to the shoulders

(In retrospect, I wish I had gone with an awesome criss-crossed version like this one: https://itsallfrosting.wordpress.com/2018/04/19/1860s-embroidered-ballgown-part-v-bertha/)

I added a little tab thingy to hide the bertha front seam (Janet Arnold has one of these), since my pleats didn’t end up matching perfectly:

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Um.

Yeah it ended up looking a bit more phallic than I intended. I added this rosette at the top to try and mitigate that.

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Great, now it’s decoratively phallic?

That was the best I could do. And hopefully my friends have less dirty minds than me and won’t see it?

HAHAHAH NOPE OK THEN MOVING ON.

The pieces were all flatlined with a mishmash of stiff cottons in my scrap bin. I have a little bit of actual glazed cotton which would be the proper lining, but I’m saving that for a future dress as I was already taking shortcuts and trying to make this dress on the cheap, not the accurate.

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Left to right: Organdy, printed plaid quilting cotton, floral print cotton from a pillowcase. Note the serged seams, no overcasting here!

For details, I basically piped all the things! Victorians¬†loooved piping. They were like software engineers who discover machine learning and decide to use it for ALL THE THINGS even where it just makes your life more difficult and isn’t really necessary.

So we have a piped center front seam and piped neckline:

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A piped side back seam:

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A piped shoulder seam and a piped armscye:

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I love this detail shot so much. Bonus of sleeve lace basted onto the sleeve.

And a double piped waistband. That’s right, I piped the piping.

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Atelier Nostalgia has a great tutorial post on an easy way to make double piping, so I just followed that: https://ateliernostalgia.wordpress.com/2019/01/21/1830s-dress/

Because I wanted to do this dress without metal (because it would be a really bad idea to fight other Mistborn while wearing metal) I made lacing holes for the closure. Here you can see the difference between the first lacing hole (top) and subsequent ones (beneath). I’ve done enough handsewn eyelets that I don’t tend to bother with a practice one anymore, which is why the first one looks like it does.

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No pictures of the entire finished bodice, so that will have to wait until the post with pics of the whole ensemble!

Posted in 1840s, Fantasy/Scifi/Cosplay, Steel Inquisitor Vin | Tagged | 1 Comment

Steel Inquisitor Vin – 1840s skirt

Skirt time! 1840s skirts are just big rectangles so no pattern needed.

I cut three 40″ long panels from my fabric to make a skirt around 135″ around (and making sure to leave enough length for the hem and the waist).

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Skirt seam where I remembered to leave an opening for the pocket up top! 

I decided to get all fancy and make a proper placket for the closure instead of having it meet edge to edge (which ended up being a sizable mistake later on. The simple closure would have been better). I can never remember how to do a placket off the top of my head, but Historical Sewing has excellent instructions.

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Placket from the outside

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Placket from the inside. I used my serger wherever I could on this project for speed!

Next up, the hem. A Victorian skirt always has more hem treatment than just folding up the bottom twice. Here I used a facing of stiff cotton (it would be a polished cotton or linen in period, I used some quilting cotton I had laying around) with an interlining of very stiff crinoline for body. This helps hold out the skirt hem.

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Facing is sewn on right side to right side. Then on the inside I attached the crinoline strip to the facing.

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Then the whole unit can be flipped up and sewn down.

Normally I would slipstitch that seam by hand so it wouldn’t show on the outside, but I knew my trim would cover it.

Oh speaking of the skirt trim –

This shouldn’t have been this complicated. I wanted to do lace tiers like this inspiration pic. (Black on black, I am¬†so goth y’all)

It turns out finding 8″ wide black lace that doesn’t look a) heinously cheap or b) extremely modern without being c) extremely expensive doesn’t really exist. If this was my dream dress I might have splurged for the good lace from Elizabeth Emerson but I’m not¬†that into 1840s, and I was trying to keep this dress on the cheap (hence why I used cotton sateen in the first place, and not silk).

I ended up buying white lace and hoping it would dye black. Facebook seemed rather pessimistic about this (apparently black is a hard color to actually achieve) but I had already bought 12 yards of this stuff (as it claimed to be cotton). That 12 yards already cost more than the dress fabric…

I used one bottle of Rit black and one packet of Dylon (this was not a strategy, it was choosing randomly from the dyes at JoAnn). This all simmered in the dye pot for 1.5 hours, then sat in there with the heat off for another 1.5 hours while I had dinner and put the baby to bed and cleaned up.

And hey, it turned out perfect!

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Shown over white fabric and black fabric.

In an ideal world I would have liked a lace without flowers, given that flowers didn’t exist during the Mistborn timeline on Scadrial, but lol that was never going to happen given how difficult it was to find this lace to begin with.

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Three tiers carefully spaced and sewn on.

Because the top edge of the lace wasn’t a pretty finished edge, it would need to be covered up by some kind of trim.

I had planned to do a gathered zig-zag trim, which was 100% inspired by this gorgeous dress by Atelier Nostalgia.

Yeah that failed epically. It turns out that pinked edges – which work fantastically as an edge finish on a tightly woven fabric like silk taffeta, are a fraying hot mess on cotton sateen. I also tried pleating it (similar to 18th century trim) but it was also an uggo-fest.

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Big pile of nope right here. The gathered zig-zag attempt on the left, knife pleats on the right.

I raged for a while, and tried to find something online I could use. Silk ribbon would be pretty, but I didn’t want to use it flat, and if I needed to pleat or gather it, the math was something like 3 tiers X 3.75 yards-per-tier X gathering it in a 2:1 ratio = 22.5 yds + a bit extra for screwups = SO MUCH MORE MONEY THAN THE ENTIRE REST OF THE DRESS UGH.

This pre-pleated vintage trim from etsy would have been perfect, but there wasn’t enough yardage.

So I sucked it up hard and knew I was going to throw time instead of money at this problem and make my own trim. I cut a bieber-billion strips of the sateen, and hemmed them all on both sides. I wanted to use my rolled hem foot (you can see how desperate I was to consider using that devilish widget) but I only have one meant for finer fabrics and the cotton sateen didn’t fit through it. Then I ran all hemmed strips through the ruffler foot on my machine (and it turns out buying a new ruffler foot for my Bernina did practically cost more than the rest of the dress combined. But hey at least that’s an investment for the future? I have a Singer ruffler foot for my old White machine, but it was hella janky when I tried it out and I didn’t want to risk it eating up my fabric strips.)

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A test. Hemmed strip on the left, unhemmed strip with a small pleat every stitch in the middle, and unhemmed striped with a big pleat every 6 stitches on the right. I went with the middle sample option (but hemmed).

Then I handsewed all those suckers onto the dress. It’s theoretically possible to do the ruffling/attaching in one step by machine, but I couldn’t get good enough control and I wanted this to be pretty!

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To be a Google shill for a moment – this is how good the Pixel 3 camera is, to get this kind of black-on-black detail work.

And it was pretty! A bug which became a feature is that the double folded hem on the strips added a lot of bulk, that made the gathered strip do this zig-zag/wavy-ish thing seen here, as opposed to lying flat like the test sample. But I like the effect and it helped to hide that the gathering was done by machine.

Last, this dress was gonna have pockets. Duh. I know JordanCon costume contest judging takes 2 hours and I needed a place to stash my badge, phone, hotel key, accessories, and mini flask.

According to this nifty article from the V&A, early 19th century pockets were very similar to their 18th century counterparts, and this image from the Workwoman’s Guide backs that up.

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Screenshot of Pockets from the Workwoman’s Guide. They are still separate and not part of the skirt.

I used my 18th century pocket pattern and made two. The openings are bound with dark gray rayon seam binding since I didn’t feel like cutting matching bias tape.

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These were whipstitched to the inside of the skirt waistband after it had been attached to the bodice (the very last thing I did actually, Friday morning of the convention in my hotel room).

Apparently I don’t have any pictures of just the skirt by itself, so I’ll get into how it attached to the top (and what a mess that was, thanks to my pesky placket) when I talk about the bodice!

Posted in 1840s, Fantasy/Scifi/Cosplay, Steel Inquisitor Vin | 2 Comments

A quick bustle

or, I like moderate butts and I cannot lie.

I never liked the bumroll I originally made for my Ada Lovelace gown, as it gave too much of a shelf-appearance instead of gently enhanced backside (apparently I never took any photos of it, so just imagine your typical Elizabethan Renn Fair shelf-butt).

Luckily, a lot of other people got into 1830s recently, and Abby from American Duchess made a great Youtube tutorial for making a bustle (pattern included!) from the Workwoman’s Guide. This is basically as historically accurate as you can get, since the pattern and instructions are from 1838.

This isn’t a giant Victorian bustle; just some gathered fabric with cording in the hem to add a bit of oomph.

I used some (non accurate) canvas from the stash that I had bought from Fabmo for $2 (I like having canvas on hand for corset mockups). It might be cotton, but who knows, I didn’t bother burn testing it. When unfolding the yardage it had an Ikea label in the middle, so I guess this is an Ikea bustle! (Anyone know how to say bustle in Swedish?)

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And here you can see the difference it makes under the 3 petticoats (corded, plain, and tucked).

Before, a sad limp backside:

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After, take your backside from sad to fab! (And if you order in the next 10 minutes, we’ll also throw in a set of steak knives!)

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No, I don’t tie my petticoats in the same place every time. This is actually the only one of the three with a real closure, the others still use a straight pin.

And that was all for undergarments! It is so fast and easy to make a dress when you’ve got all the base layers done. I can’t wait until I’ve got that for every era!

Posted in 1840s, Steel Inquisitor Vin, Undergarments | Leave a comment

Steel Inquisitor Vin + a new 1840s gown

So this was supposed to be the year of the bustle.

Seriously, I have the fabric for four different bustle gowns.

But, I ran out of time to turn the last dress link into a Captain America bustle gown for Jordan Con, because having only ~30 minutes to sew a day (on a good day) left me no time to start a completely new era (need new undergarments, patterns, etc).

My plan was to wear my Eliza Schuyler dress for the Jcon costume contest, because hey it’s cosplay if you squint.

And then an utterly brilliant idea hit my brain that I ABSOLUTELY HAD TO MAKE.

So the theme for Jordan Con was The Darkest Timeline. Getting into some fantasy book nerdery here, what if evil timeline Vin – from Brandon Sanderson’s Mistborn – was found by the bad guys and made into a Steel Inquisitor, instead of being found by the good guys? And to hide her peasant origins, she goes all-in on wearing ballgowns?

The character in the book does go undercover as a noblewoman, and as such sometimes puts on a ballgown. To get even more nerdy, I hypothesize that she definitely has to be wearing 1840s.

The dresses are described several times as bell-shaped. Can’t get much more bell shaped than 1830s-1850s:

Ok, we know this character¬†definitely isn’t wearing 1830s. 1830s is too damn bonkers of an era (giant sleeves, giant hair). If your character is wearing 1830s, you are going to describe the heck out of it. By leaving out the description of this unique era, it ain’t what you are reading about.

1830s bell-shaped gown. Unfortunately a pinterest link and I can’t find the source.

Whereas by the 1850s, skirts had gotten so big that they needed hoopskirts to keep them nice and big (or hoopskirts were invented so skirts could get bigger. Potato potahto chicken/egg etc). Another name for these is cage crinoline. Now, in the Mistborn world, where people (and especially nobles) have the power to control metal, are you going to surround yourself with a big ol’ cage of it? HECK NO that would just be asking for trouble.

La Mode Parisiennes, Feb 1855. Also know as bell shaped DEATH TRAP.

So by process of elimination that leaves us smack dab in the 1840s. I also wanted to make this dress with as little metal as possible to try and make it more cosplay-accurate (which meant things like eyelets instead of hooks and eyes to close the dress).

I got my main inspiration from these three plates:

Black lace on a black dress yes please. Godeys 1848.

Not entirely sure how that yellow trim is made but I love it!

Trim over lace tiers, now we’re talking!

See my pinterest board of 1840s dresses here.

So, armed with all my petticoats from my 1830s gown (hooray, no needing to make undergarments!) and 6 yards of black Supima cotton sateen from the epic Joann sale (taffeta is just too damn expensive these days, especially when 1840s is not my favorite era worthy of spending that much) I set off to make this dress in 4 months. I figured even with a non-sleeping baby, I already had all the patterns so fitting shouldn’t take long, and I could just bang the dress together for April. (Spoiler alert, I did, and will be describing the parts of the dress in the forthcoming posts).

Posted in 1840s, Fantasy/Scifi/Cosplay, Steel Inquisitor Vin | 2 Comments