A 1770s Dormeuse or the "Mrs Miggins Cap"

This enormous 1770s cap was lovingly nicknamed "the Mrs Miggins cap" by my husband. The name sort of stuck. :)

These pictures were my inspiration, but I changed and combined, as usual. I am just no good at exact reproductions. :)

https://www.pinterest.com/pin/325807354270921179/
https://www.pinterest.com/pin/325807354270921177/
https://www.pinterest.com/pin/325807354270921172/
https://www.pinterest.com/pin/325807354270921170/

more pictures of 18th century caps: https://www.pinterest.com/hertzwerk/18th-c-caps/

I used white or off white (I can't really tell...) silk organza (2,8), which is very thin and nice. Some of the ribbons/frills I treated with corn starch to stop them from fraying, because I didn't want to hem them to keep the whole cap "airy" despite its many decorations.  It doesn't totally stop fraying, but it helps a little to keep the fibres together.

I didn't use a pattern, but if you want to use a commercial pattern, the base of the cap is close to JP Ryans Dormeuse/Baigneuse. All in all I used nearly 2 metres of fabric.

(yes, the wig is hilarious, I've written a tutorial about it...) :)  http://hertzwerk-freiburg.blogspot.de/2015/10/1770s-big-hair-wig-tutorial.html

Oh help! Oh no! It's A Calash!

I am reading the Gruffalo a lot with our little daughter and when I came to writing this post about my latest project, I couldn't help thinking in those words.

Anyway. It was a rather spontaneous project which had the purpose of keeping my mind busy (for various reasons) and being inexpensive. So, I've been thinking about a calash for some time and had looked at some pictures, and now the time was ripe.
I've still had plenty of reed and some silks left over.
Calash (or Calèche) is a horse carriage, really. (read more here at Wikipeda e.g. )

First a quick analyses of the calashes I used as examples. They can be found on the metmuseum.org homepage. Also refer to my pinterest board for more examples or this homepage, that has plenty of links to museums

http://www.metmuseum.org/collection/the-collection-online/search/116612?=&imgNo=0&tabName=related-objects

http://www.metmuseum.org/collection/the-collection-online/search/157763?img=1&imgNo=0&tabName=related-objects


If you follow the links you will find a few more photographs. The MetMuseum has some other Calashes from the 18th and early 19th century and also Pinterest is a good source for finding more pictures.

From those (and a few more, but let's not get overly into this) I have deducted the following things for my project:

1. The calash itself is based on a rectangle. The size of the rectangle is determined by the height and depth you want ot achieve. I noticed that in the above examples the boning seems to be "riding" on top of the calash. I assume, that first the lining is mounted to the outside fabric and then the tunnels are sewn through all layers. The reed probably has a distance of 2 inches. And in between there seems to be either a gathering stitch or an actual seem to allow that accordeon-like folding.

2. The back is either just the rest of the rectangle gathered and cut to fit into that sort of horse-shape OR it is a neatly cut flat extra piece of fabric and lining. Most calashes seem to have a ribbon in the back.

3. A ruffle (at least, could also extend to a "nearly-cape" length) was attached to the bottom of the calash and a ribbon in front to secure it and keep it in shape. Also seems to be a simple rectangle mostly.

4. Some calashes have (like the green one above) extra decoration (I love that extra bow on the green one!).

5. Although you don't see them on the pictures, I would think they had a small ribbon somewhere to pull them up agains the wind and over the head.

6. Both calashes have a sort of brim in the front, the green one has a rather straight one that might be padded with an extra layer of stiffer fabric, the violet one has some sort of double ruffle. Anyway, neither of them ends with a bone but with something decorative.

Personally I like the shape of the green one best, not very bulky and ruffly. So that's the shape I was trying to achieve.

13 boning chanels, 2 thereof in the back so slightly shorter. aprox. 2 inches apart?
in between fold to the inside, w/o boning.
2 bows.
supposedly flat back.
simple straight brim in front, possibly stiffened.
simple self fabric ties.

I've had particular fun with the reed I've used. It came in a round bundle and gave the whole thing the shape of an orange. But I wanted horse-shoe. My mock-up wasn't promising. So after doing some research into reed (which led me to most informative sited about basket making...) I've learned a lot of new stuff. Did it help the calash? Who knows.

So here we are, this is my version of a calash. Sorry, no big hair day... :) 

Also not a big smiley face day. Could be worse, though. 

my favourite view.

And for everyone who's made it this far: Here's an experimental pattern. It's not complete and will still take a bit of fiddling I'm afraid, but then I'm not a professional pattern person and it's free. ;) The pattern is in English. Sort of.

Calash Pattern.pdf

Enjoy your day!
(PS: No, it's not entirely handsewn, I've used the machine a fair bit, because I wasn't convinced it would turn out okay... shame on me... I would recommend sewing the boning channels on the outside by hand, though... if you want to do it half-properly... but well... next time...)

"Garthwaite Anglaise" - 1770s Anglaise en fourreau

I've finished my "Garthwaite Anglaise"!!! yay!

the only picture of me in the dress I could find...

 It all started with this fabric:

lovely fabric I got from www.silkresource.com

Apart from the fact that the fabric just begged me to buy it... I didn't have a real idea what to make of it. (roughly rococo was clear, though...). It's a silk lampas I ordered from www.silkresource.com. The design is called "carnation", the colour is a very light beige, "eggshell" called thing. Not what I would usually go for, but i LIKE it. Both sides of the fabric are equally appealing, it was hard to make a decision.
I also liked the fact that carnations have been flowers "with a meaning" for quite long.. -> wikipedia CARNATION
I first intended to make a 1740s Robe a la Francaise from it. BUT there were only 8yards available. Of course with a bit of tweaking that would be possible (remember, I AM petite...). BUT I also had just finished the green striped Chardin Francaise, which means I've got 2 Robes a la Francaise already that work for the 1740s/50s. And as much as I like that style, I didn't get the right feel for it. So I just put it aside for some time (remember: fabrics mature while you own them). and then I stumbled across these pictures:

Met Museum

Met Museum

Colonial Williamsburg

I love this dress: the colours are great (I wish I could have found a red like this!)

Museum at the Fashion Institute of Technology, NY

MFA Boston

With 8 yards I've had plenty of fabric to make a gown and have some more fabric left to mature. :) I had done the Anglaise en fourreau before, so no major issues here, just a few minor changes (back view).I was very torn between making an open gown or a round gown, but went for the open gown, because I like the contrasting white skirt a lot.

So, why a 1740s/50s fabric design for a 1770s Robe a l'Anglaise?
Several reasons:
It's different.
I've had quite enough of the Francaise pleating.
I like the "easy to wear" Anglaise-style. 
There are lovely extant garments with this mix. (The reason for this has been brought to my attention by the lovely Mme du Jard: Many people got fabrics for their christening and then would use them for a special dress, possibly even the wedding dress, in their 20s. tadaaa, a bit of calculating and you've got it! So not only though processing and altering garments but also through hording (!) fabrics you could get this result)
And last but not least: the fabric spoke to me. Ever had that feeling? ;)


So this is my "Garthwaite Anglaise". :) Sorry, I haven't got pictures with me inside, but it's 36 degrees Celsius (about 95 degrees Fahrenheit...) here and I just can't force myself into the stays.
Oh, and why is it called the "Garthwaite Anglaise"? Because the fabric design really reminds me of this wonderful designer, Anna Maria Garthwaite, see my blogpost about her -> HERE

yes, wrong pins, use your IMAGINATION!

edit 7/2015:
After making a Manteau de Lit from the leftovers I still had a bit of fabric left to make a skirt. I had to piece the back, but I don't think thats a problem. :)

The night before the revolution - a masked ball 1789

(C) Maren

I have attended NeheleniaPatterns Masked Ball 2014 which had the Motto "The Night Before The Revolution - 1789". Some of you might have seen my pictures of my blue Zone Gown - yes, that's what I was wearing. As I was horribly insecure whether the dress would stand the stress of being worn, I also took my Walpole Francaise - you can never go wrong with a robe a la Francaise!  But then the dress did not just explode (yipee! surprise!) and I was wearing it comfortably all night. :)
The Ball took place in the fantastic Schloss Körtlinghausen. So no worries about pretty picturesque surrounding. 
As it was a masked ball I had the pleasure of choosing a mask. I didn't really fancy a Colombina Mask (you know, the pretty one...) so I was looking for something really freaky. First I considered the Moretta Mask, which is REALLY scary, but as it would have meant to wear it with a button between my teeth and thus have my mouth covered (which isn't really handy for eating or talking...) I decided against it. I thought something Venetian Commedia dell'arte like would be nice and then couldn't resist the grotesquely big and ugly noses! Oh my god, I LOVE those!!! I chose the one with the quirkiest swing. ;) It's really creepy when I wear it. ;)This is a "Zanni" - more about that character here on wikipedia. It's a male character, but I had to admit I so wanted to have that nose, I didn't really mind. :)
I did have some unexpected difficulties drinking and eating with this mask, too, though, so I ended  up taking it off for the meal and drinks. Other than that it was pretty scary all way through. :) I got it from maskworld.com :)

The version with the Corset (a sort of lightly boned top with back lacing) was very comfortable to wear. I liked about it, that I don't have to attach an extra stomacher and that it didn't have optical interruption of the front fastening with needles. A Zone-Gown Front with front closure (which has also existed back then) is a very easy option though and doesn't need the extra fitting of the Corset. On the other hand I could use the Corset for another dress, too... some day, maybe. :) i made a new bum pad, too, from woolly felt, very much stuffed with IKEA cushion interiors. You can't see much of it, but it IS bigger. :)

Here are a few pictures of the dress and a few with the mask.

(C) Maren

(C) Maren

(C) Stefan

with flash the colour looks a bit brigther than it actually is! (C) Stefan

(C) Mie

Thank you Maren, Mie and Stefan for the pictures!!!

As to the ball, the castle was SUPERB, a real gem. It was great to see people again and get to know a few more sewing-addicts. I am left with slightly ambivalent feelings concerning some organisational things, but well, so what. Read a great, honest and very true review of the ball here at Silvermedusa's.

Analysing - robe a la circassienne

So, the robe a la circassienne.
Again, here is a link to my pinterest board that hosts both Robes a la Turque and Robes a la Circassienne. I find there are so many references on fashion plates as to what kind of style it is, with so many differences and sometimes contradictions, that I am just trying to show a few things that I think the sources I have at hand seem to have in common. Here is also a very interesting link with sources (ample!) and translations.

The robe a la Circassienne seems to have been around in the late 1770s and the  early 1780s. I haven't found an original robe (anyone can point me in the right direction here?) but there are fashion plates and paintings.


The Robe a la Circassienne again, like the Robe a la Turque, is named after a region that borders on the black sea.
Unlike the Robe a la Turque, the Circassienne seems to have the skirt part cut separate. the majority seems to be worn over some sort of corset (a long sleeved top), with back closure. There a a few that seem to close in the front, but I am not sure about the construction. Maybe it's just closed over a top.
The back seems seem to be emphasized by ribbons in contrasting colour.
The sleeves are short over either a long narrow sleeve or a very fluffy mostly white chemise like sleeve. Or a tightish sleeve with LOTS of frills.
The whole thing is VERY frilly! The more the merries, as far as I understand. It's quite mad, all in all!
The fashion plates also have in common that there is some sort of collar or very emphasized neckline.
AND a looped-up skirt (apart from one fashion plate, which also shows a dress that is unusually unfrilly).
Generally the Robe a la Circassienne reminds me a lot of Candy Floss, but there are a few examples that are a little "quieter". 



Let's have a look at some pictures, again, direct you attention towards the skirt (looped), sleeves (double layerd), neckline (lots of extras).

This is pure craziness: LEOPARD print!!! pouffy sleeves in this one.

Young Lady in a Circassienne trimmed with blonde lace, decorated with a streaked ribbon, wearing a romantic Hat and a loose, braided chignon. (1778)

Robe à la Circassienne Garnie à la Chartres: la Coëffure de meme, Avec le Tableau des Evenements, from metmuseum.org

Gallerie des Modes et Costumes, Robe à la Circassienne, 1770's, www.ekduncan.com

Young Woman Admiring a Miniature by Wille, 1778.

Galerie des Modes, 35e Cahier, 4e Figure Circassienne with bands of another color, edged with muslin. The coiffure is a cap à la Créche belted with a double row of ribbon with a bow on top of the Phisionomie. (1780)

Circassienne with a colored ground, with bands of painted fabric and a little band of pleated gauze around it; the petticoat is of another color, and the trim of the petticoat matches that of the gown. The coiffure is a hat à la Grenade. (1780). A Most Beguiling Accomplishment: Galerie des Modes

Galerie des Modes, 29e Cahier, 2e Figure New Circassienne in Italian Gauze, lined with Indian taffeta; it is trimmed in Gauze, pinched in coques with bouquets of delphiniums, the whole edged with an English Ribbon. The Coiffure is a toque: long hair surmounted with a toque à l'Espagnole, trimmed with Heron plumes and aigrettes. (1780)

Galerie des Modes, 21e Cahier, 6e Figure Taffeta circassienne with bands of ribbons, with a petticoat of another color trimmed with gauze in little box pleats, and trimmed with three large bands of different colored ribbons. (1779)

Galerie des Modes, 28e Cahier, 5e Figure Young Bourgeois Actress studying her role; she is dressed in a Circassienne, the petticoat trimmed with a band in the color of the gown: all the trims are bordered with a blonde lace, a volant of gauze at the bottom of the band on the petticoat: the sleeves trimmed with gauze. (1780) : UNUSUAL: skirt not looped up!!!

Galerie des Modes, 13e Cahier, 1e Figure This Circassienne of a new taste is of sulphur-colored gauze, the trim of soft lilac gauze; the great flounce and the band which covers the trim are of the same gauze as the gown, the base of the sabot cuffs as well; there are only bands of trim in tuyaux which are lilac, lilac ribbons, the same are in the headdress. (1778)

I hope you've enjoyed my little attempt of understanding the Robe a la Circassienne. If you have some more ideas and pictures, share them with me!

Analysing - robe a la turque- 1780s

While searching for pictures of theAnglaise gown with the a-shaped front ("Zone Gown") I have been stumbling across 2 kinds of dresses: The "Robe a la Turque" and the "Robe a la Circassienne". In this post I am going to have a closer look at a few fashion plates (also see the Pinterest folder for reference and more pictures).

As far as I understand, the Robe a la Turque has been described in fashion plates in the mid- to end-1780s. I've found one example from 1780. It seems basically to be an overdress with short sleeves, worn over a long sleeved top of some sort. In some fashion plates it looks rather fitted, in other rather loose, like a light overgown. Mysterious!

 Robe of green and grey (or violet? or black?) over yellow top.

Cabinet des Modes, Novembre 1786 robe a la turque

 Red Robe over white top with yellow front lacing.

Robe a la turque - Magasin des Modes, Janvier 1788

rose Robe ober white top with cuffs in same rose colour

Robe a la turque - Cabinet des Modes, Juin 1786

Robe a la Turque - Magasin des Modes, Juillet 1788

"La jeune Eglé pleurant l'absence de son amant: elle est habillée d'une robe à la Turque avec des manches de gaze qui sont retroussées par des rubans, elle est coeffée en cheveux au coquelicot", Gallerie des Modes, 1786; MFA 44.1648

This one has the skirt cut extra!!

Robe a la Turque Magasin des Modes, Juillet 1787

Here comes some confusion about Turque or Circassienne, just to show that maybe it's not as strictly divided as we might think. I like to think of it as a Robe a la Turque, though:
 The 3 following fashion plates seem to belong together.

"Robe à la Turque ou espèce de Circassienne, mais différa.te des autres; elle a un collet comme une robe en Lévite, et une très grande écharpe blanche nouée à la ceinture; le juppon coupé; aucune garniture. Cette robe dont nous donnerons le développement de profil et par derriere, attira tous les yeux du Public, lorsquelle parut pour la premiere fois au Palais Royal, au mois de juillet dernier 1779", Gallerie des Modes, 1779; MFA 44.1436

What seems to be the typical back view of a Robe a la Turque: Bodice and Skirt in one piece with inverted pleats opening to give fullness.

1780 French Fashion Plate - Style: Robe a la Turque

"Robe à la Turque, la même expliqué au vingt septieme Cahier No. 159, elle est ici dévelopé de Profil ou Trois-quart", Gallerie des Modes, 1780; MFA 44.1466

 This one is a bit puzzling... it doesn't seem to be open in the front, yet it is called "a la turque" ?!

"L'aimable Constance tenant en lesse un Chien-Lion et rêvant à celui que son coeur aime: sa robe est à la Turque et son chapeau à la Mongolfier, pose sure une baigneuse, et ceint d'un ruban attaché d'une boucle à l'Angloise avec un panache", Gallerie des Modes, 1784; MFA 44.1587

Also some artists pictured the robe a la turque:
This might be a robe a la turque worn over very wide sleeves. But as we haven't got the front view... who knows...

Charlotte, Lady Milnes, 1788-1792 Robe a La Turque

 Just nice! Looks quite like the RObe a la TUrque. Short sleeves, worn over another dress, rather loose.

Marie-Louise-Elisabeth Vigée-Lebrun (French artist, 1755-1842)  Louise Marie Adelaide de Bourbon in a robe a la turque 1789

And finally here, an original Gown! Awfully like those 3 fashion plates from 1780, isn't it?!

Robe a la turque, ca. 1789; Nordiska museet NMA.0052362

Robe a la turque, ca. 1789; Nordiska museet NMA.0052362

Soon, I shall be posting a few observation about the Robe a la Circassienne.

You know something more about the Robe a la Turque? Tell me!