1850s Bloomer gown

Started Feb 2011/ Finished July 2011

This will be a short version about my Bloomer gown for now since I'll be presenting two mini workshops on it in the coming months for my two costume guilds. I've also been asked to do a class for next year's Costume College.

I started making this gown after "inheriting" an incomplete pattern from a friend. It had been copied off an 1851 extant gown in the San Diego History Museum. I contacted both the museum, and the pattern company, Past Patterns, about it. The museum gave me an appointment to come in and take photos of the gown which had been in storage. The museum requested I not publish those photos on the internet but can use them in slide shows for my classes. I emailed back and forth with Saundra Altman of Past Patterns, & telling her I wanted to recreate the gown. She got excited about finishing the pattern to put on the market. I spent months emailing back and forth with museums and historical societies in New York about the dress reform movement, and about Amelia Bloomer and the other ladies involved in the women's movement.  Bloomers were not originally designed by Amelia, but by Elizabeth Smith Miller, who Amelia credits them with. But Amelia earned the name from the newspapers, and it stuck.

I made mine in an avocado green silk taffeta, lined with cotton. I enjoyed learning how to do piping and a different technique for gathered ruching on it.

The skirt was about 4 inches below my knee, and the Bloomers are made of silk taffeta until about midway up my thighs, a period technique to save on the silk. The Bloomers are pleated around my ankles with a cuff that has more of the gathered ruching on it.

 

In the meantime Saundra Altman was slowly getting the pattern completed, hopefully in time for me to bring them to Costume College. She didn't make the cutoff date but did send me one so I could show it around, and let people sign up to buy one as soon as they're available before they go on the market. We're hoping for it in the next month or so. And I really hope to have them in time for my workshops. I'm even mentioned in the acknowledgements for helping her get this pattern done.

I really enjoyed wearing these. They were really comfortable and got a lot of attention. Three of my friends also made their own version and we met up at a specified time in the hotel lobby for a group photo.

I had nine ladies sign up to purchase the pattern when it's available, and one literally squealed when she saw it and is really anxious to get the pattern to make her own.

Now that I have this one under my belt, I have all kinds of ideas for a new one but made out of cotton for a day dress version, as this one was kind of dressy.

Photos from Costume College

Link to my photos -----          Costume College 2011 photo album
I took over 319 photos but had to delete quite a few taken during the Red Carpet walk prior to the Gala. People wouldn't stand still long enough for many of us to take photos. Such a shame. But I still got quite a lot.

Now that the madness is over for another year, all the new ideas are swirling around in my head for new projects. My next costume doesn't need to be done until Nov 1 for the Dia de los Muertos event. So in the meantime I can finally make my much needed corded petticoats for the 1830s & 50s gowns, plus the flounced and plain petticoats that go with them. I bought a ton of cotton organdy in the Garment District for these, at the recommendation of Jennifer Rosbrugh of HistorialSewing.com. Due to the number of petticoats needed, you don't want extra weight of regular cotton. Makes sense to me. And in the meantime it will be a nice change to work on a lot of white fabric instead of all the black.

Did you go to Costume College this year? I did!

If I met you, or you saw me, let me know here!

This is just a quick overview of my four costumes I wore. It will be awhile until I get all my photos resized to put in my album.

The first day I wore my 1872 Purple Polonaise, here with my friend, Cindy. I got a lot of compliments on it, and it remains one of my favorites.

Later that evening at the Ice Cream Social, I wore my 1850s Turquoise Plaid, and here again with my friend, Cindy. Me thinks I need something on top of my head, but not a bonnet.

The next day I wore my new Bloomer gown all day and into the evening for the Gala. Here with friends, Cat & Cindy. I had a couple ladies literally melting into a puddle of jelly when they saw my gown, and are excited to make them too. The pattern is almost ready to market but I was able to take pre-orders so they will get them before they go on the market.

Sunday was my La Belle Epoque Tea and I was completely happy with how it and my gown turned out.

Of course my favorite shot was from the back.

This is Shawn, my thoroughly obnoxious and snooty French Maitre d'.

I took lots of photos of the tea setup, and the greenery I brought into the room really made a difference.

I know I'll come across better shots as people post their photos. Mine don't always turn out well when I hand my camera to someone. But we did have a couple professional photographers there, so I have my hopes.

As I said, if I met you there, and you have photos, feel free to leave a link here so we all can see.

Costume College starts this week!!

I just finished all the last minute details on my two new costumes I'll be wearing to the costume convention in Los Angeles.

 I leave Thursday morning to drive up there, and return Monday night after an all day shopping frenzy in the Garment District. I'm going to be a personal guide to a group of newbies to the GD. Always fun to see the "deer caught in the headlights" look on their faces.

I also finished the flower arrangements and foliage decor I'm using for the Sunday Fantasy Tea there. I have a good feeling how the room is going to look. With the La Belle Epoque posters on the walls, plant stands w/ Boston ferns, music of ragtime playing, and a French Maitre d', I think it will make an elegant presentation.

And I finished cutting up 119 photos of members in their finest costumes from the last year to be displayed at the Caught on Camera display in the costume exhibit there. A lot of them were ones I took but I got a lot more sent in to me this year than last year, which was it's first time. I think it's going to be bigger every year, so I'm going to be jones'ing for a larger display area next time.

The packing marathon begins!

1890s La Belle Epoque gown

Started June 2011


For the upcoming Sunday Fantasy Tea at Costume College, at the end of July, I had a time span to choose from for my gown of 1890-1914. One of my favorite movies, The Golden Bowl, had an exquisite gown I wanted to use as my inspiration. I loved the front trim and belt on it.

I had to decide did I want to go for straight sleeves or poofy sleeves, either of which would put it in it’s own time period.


After looking at these two photos, one from 1889, & the Worth gown from 1894, I chose a poofy sleeve, and I also liked bows on them.

My changeable aqua silk taffeta came from the LA Garment District, and on another trip I found this net lace yardage at Fabrics & Fabrics in the same area. The net fabric had two different types of lace trim on it that I knew would be perfect for doing a two tiered sleeve effect. I gathered the fabric under the first row of lace to create the lower flounce. It is heavy so at some point I’m going to try & use part of the netting and make it into stiff poof with some stiffener under the upper part of the sleeve.

I was also able to separate the laces by cutting them to use in different parts of the gown for trim.


I used Truly Victorian’s 490 1892 ballgown bodice, but reversed it’s opening to the front. The sleeves were made from TV’s 495 sleeve patterns, View #5. I had planned to use TV’s 297 matching skirt but didn’t have enough fabric so I used Laughing Moon’s 1890 5-gore skirt pattern, which really looked nice with it’s train. For the Medici belt I used Timeless Stitches’ TSA-525 pattern, and lined it with buckram

I already had a muslin made from this bodice pattern so with a few alterations, I was able to get it sewn in a day, and the skirt also went together very quickly. Since the finished gown would have the bodice tucked in to the skirt waist, with a belt over the top, I wasn’t sure if I should alter the bottom shape but decided it could always be worn later w/o the belt and the bodice outside the skirt. 

I pinned the sleeves on to get an idea of the look I wanted.

For the lace around the neck, I cut one row of the lace trim off the netting. I had to cut away the netting from it and I let the points dangle from it. Since it was a straight line, it was hard to get it to curve with my neckline. It was too bulky to do any tucking and would have altered the line of it. I cut it into two lengths and had it start at my front opening, and go around to the back, on both sides. I barely had enough to come together in the back and had to let it split there. At the center front there will be some kind of decoration there, possibly a self fabric bow and the rhinestone bow I have. I put the Medici belt I made on it, and put three large rhinestone buttons down the middle and a lace appliqué on either side to accentuate it. In the back where it will close, I added a rhinestone buckle for some back interest.

I started thinking about how I wanted the trim on the skirt to connect up with the bodice, and didn’t have enough net fabric to do anything on it, so I pulled out a lace trim from my stash that had a similar point showing on the neckline. After a couple trips to a fabric store looking for lace appliqués to put around the front of the skirt, I was only able to find one I liked, and centered it in the front.

This gown is still in progress and needs it’s final center front trim, and closures put in, and the bows put on the sleeves. But my favorite view of it right now is from the back. If I could walk around backwards and keep my train gracefully trailing behind me, I would die happy.

Make your own Costume ID business card

Sometime back I remember talking to someone about the idea of carrying business cards with my actual photo, in costume, either on the front or the back, so that when I handed it to someone they would see my face and remember me. I thought it was a great idea because I have quite a collection of business cards that I've been handed in exchange for mine. Then later I can't remember who they were. And I'm sure that works both ways.
Making a business card is pretty easy if you have a program in your computer, like Microsoft Office. That comes with your Microsoft Windows program. Its fairly simple to use, and you can either use their templates and designs, or start with a blank page. You can import your own photos or use something in their file, or find them on the internet. It allows you to change text fonts, colors, and sizes. Then just print it out on cardstock and cut. Its easy.
I used a cropped version of one of my favorite photos by photographer Jerry Abuan, and included information on it that I wanted people to have. It's also posssible to start another page and have information or another photo to be printed on the backside of the same page you printed.
And at the bottom I included the url for my costume blog, because of course I want everyone to find it.

        Valarie LaBore

      *my email address*

   San Diego Costume Guild
   Costumer's Guild West

Sportandfashion-news
      .blogspot.com

Gaslight Gathering Victorian fashion show

We got some wonderful video taken of the Victorian fashion show at the Gaslight Gathering Steampunk & Victoriana convention a few weeks ago. You can get a good look at each and every gown the models wore that were copied or inspired by fashion prints or photos.
I’m the first model in Video #1 wearing my 1850s turquoise & gold plaid gown, and the last model in Video #2. Each video is 15 minutes long. Enjoy!
Video #1 http://www.youtube.com/watch?v=XlNOIzBSHHU
Video #2 http://www.youtube.com/watch?v=5-qdJAQfjmw

These are my critics, Chloe and Rudy, who are very helpful with my sewing. It’s very hard work.

A DIY Pattern Organizer

May 24, 2011
Do you need a portable pattern reference guide? Step this way!
I came up with this idea of having a portable pattern reference book about 5 years ago after numerous trips to the Garment District in LA, and coming across the perfect fabric for a costume but not having the fabric amounts with me. How many times has that happened to you? I don’t always go looking for fabric for a specific pattern, which I would have the amounts with me, or sometimes the muse just hits me. So I’ve either under-bought or over-bought the amount I needed.
I started writing down all my pattern numbers with a slight description next to it, & hoping to remember what it looked like. But when you have over 250 patterns, your memory doesn’t always serve. And it got messy after awhile.
I tried the 3x5 card method but that’s not great for carrying that many around. It’s still a good idea for putting your fabric swatches on unless you’re like me and also have an Obsessive Amount of Fabric. I ended up putting swatches of them just in a Ziploc bag.
I found a 6 ½ x 3 ½ inch vinyl bound book with an elastic strap around it, and decided to put pictures of all my patterns in it, along with fabric & trim amounts needed for it. The first time I showed it to a group of Costume College newbies who were going to the Garment District and didn’t know how much fabric they would need, I almost didn’t get it back.
I’ve shared my idea with a few people, with favorable comments, and today while working on mine, I decided to share it with more people. Because that’s what costumers do.
Start by finding your book to make it with. I bought mine at Staples office supply, and yesterday saw some in a variety of colors on sale for $3. I think they’re normally $5. Then start collecting photos of all your patterns. The easiest way is to find them on the internet, either on the pattern company’s website, or if out of print, on eBay, or just type in a search. Copy and save the photo to your computer. Make sure you save the pattern company name and number with it; example, TV 410.
You will need to print them out to a size that will fit in your book. I like them about 3” or less so I can see the details. But you can do them half that size to put two to a page if you like. The speediest way to print them is to put them on a Word document where you can put multiples on the page. Once that’s done, cut them and tape them to the page in the book. Trim the photo as much as possible to eliminate bulk in the book. You can include the name & # on the print out but I just write it in the book next to the photo.

I put them in a numerical order in my book. I’ve tried different ways, like the era but I seem to try and hunt them by number more often. Although I do have one section that is a compilation of all my 1930s & 40s ones. Leave a couple pages blank between each pattern company to add other purchases later. The books come with a lot of pages so it will take quite a few to fill it up. It’s small enough to carry in your purse, or back pocket, and will save you from disastrous purchases in the future.
And while we’re on Obsessive-Compulsive Costuming, have I told you about my Costume Projects & Fabrics book? This one is 7x9”, a mini three ring binder, also purchases at Staples. I cut pages of card stock in half and punch holes in it for my pages. Much cheaper than buying them.

I print out pictures of my inspiration gown & the pattern if I have one yet. Then I tape the fabric swatch next to it. Sometimes there’s more than one fabric for multiple gowns. I write on the piece of fabric how many yards there are too.

It’s just a way I try to keep control of what I plan to make with a fabric I purchased, or at least remember WHY I bought it. This is a similar idea to using 3x5 cards. Since they’re taped on the pages, it’s easy to move them if I change my mind what I’m using it for.
I also have a second book that I move these pages to once the gown is completed, along with a photo of me wearing it. There are some days that I either don’t have a costume to work on, am stumped by how to do something, or just don’t feel like sewing. This becomes a very satisfactory replacement, and I see instant results.

Sewing piping & ruching-1850s style

May 13, 2011
AKA Piping for Dummies:
I started a new costume a few weeks ago, an 1850s gown, and it will be my first attempt at doing piping. I tried doing it a few years ago, and never figured out how to get in between the fabric and the facing where it was just a narrow cord showing. Later I did a fake piping as trim along the edge of a sleeve jockey, my collar, and cuffs by sewing my silk taffeta trim right sides together to the edge of the fabric with a narrow hem. Then I turned it over to the inside and sewed a tiny hem to the back. I was basically just covering the edge of the fabric but from the front it looked like a nice narrow piping. You’ll probably remember this from an earlier post when I made my 1860s olive green gown.





For my 1850s gown, which I’m recreating from an original, I wanted to do it correctly as the pattern indicated. I already knew how to make bias strips from my fabric, and cut several lengths of it using a ruler that was 1-1/4 inch wide. After asking my friends on LiveJournal for suggestions to use for the cording, the overwhelming popular one was Lily Sugar n Cream 4 ply cotton yarn. I happened to have a few rolls of it from using it on a corded petticoat.Michael's carries this.




I folded the bias strip in half and placed the length of yarn down the middle, and secured it at one end with a straight pin. To keep the edges even, I pinned it down the length of the fabric. I used a zipper foot and sewed it as close to the edge of the yarn as I could. I even let the foot go slightly onto the top of the yarn to get it closer. For instructions on how to do this, I pulled out my copy of Cloak & Corsets “Modern Sewing Techniques for Historical Clothing Construction”, and found the chapter on piping. It had enough information to guide me through the next steps. http://www.cloakandcorset.com/products.php





I pinned it to the right side of my bodice with the half inch portion of the bias strip even with the edge of my bodice & basted it to hold in place. In this case, my seam allowances are a half inch, and I was sewing it around my arm hole & shoulder seams. On the armhole I started and ended it under my arm at the side seam. I overlapped the ends and pinned the loose ends up into the seam allowance so they crisscrossed. Later I trimmed those ends off even with the seam.




When I sewed the seams together I sewed the piping again using my zipper foot, and kept it close to the yarn. I thought this was going to be hard getting it exact but with my silk taffeta I can actually see the bump made by the yarn. You can also feel it. And you do want to get it close so the piping isn’t flopping around outside the seam.



Then I sewed the sleeve on as usual, making sure the edges were all even so my half inch seam would work. Here you can see the armhole piping. You can’t see the shoulder one since the seam is towards the back but it’s there. And once I got the hang of this, I didn’t stop. I decided to do it along the bottom edge of the bodice too. There are some other seams on the bodice that will be getting piping also.




And THEN I got to try a different method of making ruching to trim the front of the bodice. My method as shown in my earlier 1770s gowns, was to turn the edges of the strip of fabric to the center and press, then gather it down the center, so it was ruffley on the edges. This gown does it different. The edges are turned under 1/4 inch on the sides, and gathered down BOTH sides so it pleats it down the middle. This photo shows the sewn edges on the strip on the top with a gathering stitch. The bottom one has it gathered up and pinned to the bodice. I hand sewed it using a basting stitch with only a small stitch showing on top down the stitch lines on the sides.



The first strip I sewed on the bodice has the gathers not level enough so I’m going to take out some of the hand stitches and even it out a little more. But I learned something new and now have a new trim technique to add to my skills.

Gaslight Gathering Steampunk & Victorian Fashion Shows

Last weekend I attended the first, and hopefully annual, Gaslight Gathering Steampunk & Victoriana convention in San Diego, CA.


This is Kaja Foglio, who with her husband Phil, write the comic Girl Genius which was the inspiration for much of Steampunk fashion.

With my friends, Mary Jennings, and Shelley Peters of the Kansas Merchantile aka The Widow Peters.

Other than wearing Steampunk, my friend Cindy asked me to be in the fashion show she was running on Mother's Day, which would be Victorian fashions that we used historical paintings, photos or fashion prints as our inspiration.
I already had one gown made that I'd sort of copied from a fashion print, and started another that I was using a photo of Queen Victoria to copy but realized that it was the same pattern as the other gown. So I decided to wear another gown that also had been inspired by a painting.
My first gown, an 1850s turquoise plaid was inspired by this print of the green plaid gown. I previously documented the making of that one.


We had a photographer that grabbed us as we left the room for a quick photo, and unfortunately by that time my lips were quivering from so much smiling, and I was rushing to change into my next gown. I've decided I need to wear this WITHOUT the bonnet because it's big bow is covering all the pretty trims on the front, and my brooch.

My second gown, which was just documented in my previous post, was an 1885 blue floral gown inspired by this painting.

I carried a basket with roses in a similar color and one in my hand. I didn't get a photo I liked that time, so this one with my friends Lauren and Cindy (the show's narrator) shows it off partially.

I'm doing another fashion show this next weekend, and will be wearing my 1770s red floral caraco again since they don't have anything from that time period, and my friend Cindy will be wearing her purple pleated gown. At least neither of us have to rush to finish anything because I want to focus on my new 1850s gown right now.