HSM22 challenge 10s - my 1916 underwear

October: A Perfect 10: It’s the HSM’s 10th anniversary, so make something 10 themed. 10th century, the something-10s, something that incorporates 10 of something? Be creative with it!

The whole set with combinations, corset and petticoat

I have come to like the fashion in 1915-1917 more and more, and with the need for some underwear for my wedding gown it also gave me a reason to make a new set of underwear. I'm not going for an historical wedding gown, but I like the silhouette and want to make my wedding gown from that. Up until now I have made to with my Scroop Pattern Rilla corset that I patterned tested and an 1980's romantic skirt that I have turned into a petticoat. I had already made the Wearing History 1917 combinations, so now it was time for the rest of the underwear. 

When I pattern tested the Rilla corset I got the finished pattern as a reward. Since then Leimomi Oakes has made another set of sizes for the Rilla so that it now comes in size pack A, B and C. I had the size pack A and B, and I was just on the outside of the largest size in B. I still decided to try and work with that, instead of rebuying the pattern. I shouldn't have worried. The Scroop Patterns are really true to size, in fact I would say that they have a tendency to run a bit large. Every time that I have made a pattern and gone up a bit to be on the safe side I have had to take them in back to the size I should have picked from the start.

Since this is a pattern that can be bought I don't want to talk to much about the construction, it's all there in the very clear and good instructions. The only thing I get a bit worried about is to choose the length for the boning. I bought the boning before starting to sew and I picked the middle of the road in the size options given. It works, but if I hade sewn the boning channels first I would probably have chosen to have the back bones be the shortest option, they really go down deep on my bum. 

A thing that made the materials for the corset more expensive was that apparently it's impossible to find spring steel with plastic dipped ends in the EU. All the Swedish and contintenal sellers that I could find only had them precut and wanted you to put metallic end caps on them. I had to order the boning from VenaCava in the UK, and with Brexit that means that I also had to buy customs and toll cleareance for them.

The Rilla corset doesn't have a lot of reduction, it simply smooths out the curves. This makes it really comfortable. I am really unused to the longline corset though, and in that way I feel more restricted from the waist down, compared to Georgian stays or Victorian corsets. I definitely need to practice more about simply going to the bathroom, and being able to pick up the flap on the combinations so that I can button them to the front. I might have to adjust where I have placed the buttons on the combinations as well.

Since this is my wedding corset I made it from white coutil, and I also used gold details on the busk and lace. 

When the corset was done it was time for the petticoat, made from Scroop Patterns Ettie Pettie, that is designed to cover the time period 1900-1910 and goes really well with the Rilla corset. I loved the idea of making a really fluffy petticoat, and there are two ruffles with lace on the version that I made.

Inserting several rows of lace and using lace for the hems was tedoius, but I loved the result. There is a lot of lace, which is reflected in the price tag of the materials, there simply wasn't a lot of options when I wanted pure cotton lace. The lace also made the petticoat surprisingly heavy, considering that the fabric is a very light cotton batiste.

One mistake I made when cutting out the pattern was that I didn't adjust for my length. I have very short legs, but I'm used to being able to adjust the skirt length either at the waist or at the hem, which is possible when working with large rectangular pieces that are gathered to the waist. Instead of recutting the pattern pieces I made two tucks just above the first ruffle, which is a common detail on period petticoats. One of the pattern variations have similar tucks on the ruffle itself.

Another mistake I made was to simply don't read the full instructions. So keep in mind that you should mark out eight points and not just quarter points when it is time to gather the ruffle, and the outer ruffle is not attached exactly the same as the dust ruffle. The result was that the ruffle is not quite as evenly gathered as I would have liked, and instead of cutting away the fabric behind the lace covering where the ruffle is attached to the skirt I just sewed the lace over the seam as a ribbon. It works fine, and is an option in the pattern, but I really like the more delicate look when the fabric is cut away.

The one thing left to do now is to starch the petticoat to get it really fluffy and crisp, but that is for later in the summer.

The Historical Sew Monthly details

What the item is: - A corset and petticoat
How it fits the challenge: It is from the 1910s
Material: corset - 1 m cotton coutil, petticoat - 3 m cotton batist
Pattern: Scroop Patterns Rilla corset and Ettie Petticoat
Year: 1915-1917
Notions: For the petticoat -  7,5 m cotton insertion lace, 5,5 m hemming lace, elastic waistband, snaps, hook and eye, for the corset - 1 busk, 48 grommets and 24 spring steel bones in varying size, 1 m grosgrain tape, 6 m of corset lacing, 2,5 m bias tape
How historically accurate is it? I have follwed the instructions, so I think this one is pretty closee.
Hours to complete: one month for both
First worn: not yet
Total cost: $200 for both pieces

More photos of the Selina blouse

 On April 8th, in between snow, hail and glaring sun I managed to get into costume and have my mother help me take some photos on her porch. It was really fun, and it really helped that I had borrowed a tripod so my mother didn't have to hold the phone, only see that I was actually in frame. I have already posted some photos, but here are some more.

HSM21 - Challenge Joy - the Selina blouse.

 When Leimomi of Scroop Patterns asked for testers for a new 1910s blouse I submitted an application, and was happy when I got chosen as a pattern tester. I have tested the 1910s Rilla corset from Scroop Patterns, and I have really like when I have sewn other patterns from her as well. This was a reason why I hurried to finish the jedi, so that I could work on this pattern. It had to be secret until the pattern was released though. Now it's released and I can post about.

It should be noted that this is the test version of the pattern, and there are some differences to the final pattern.

The first step of the process was to make a mock-up for the general fit. This is actually my second mockup. I was just on the measurements for size 46, but sized up to size 48 and that was too big. The Scroop Patterns are definitely true to size. This is quite a roomy fit, eventhough the raglan sleeves can feel a bit restrictive.

The fabric for the final blouse was a polka dot cotton, the only thin and fairly historical pattern I could find at the local fabric store. I liked the fabric a lot more when I switched sides and used the wrong side as the outside, where the dots were more faded.

As a pattern tester I made sure to take notes on everything. I should say that they Selina pattern comes in two views A and B. I made view A, and I had a bit of an issue visualizing the faux waistcoat, but it really helped when I saw photos of the other pattern testers. For the finished pattern Leimomi has added a modern photo as well as line drawing to show off View A, which I think is good. I also recommend visiting her blog to see more photos of the variations. 

I think if I did the pattern again I would either make view B, without the waistcoat effect, or choose a contrasting fabric for that piece to make it more visible. Overall the pattern went together really well though, and there were just very minor things that I had to give feedback on.

This was the finished blouse. It has a slightly raised waist, so when I wore it as a historybounding piece with a modern pair of jeans I felt that my belly was a bit too exposed. In the final pattern the front has been lengthened compared to the test version. In the pattern there is now also a full document about alterations, and that includes lenthening the bodice even more.

Also some testers had an issue with the peplum not being wide enough. Leimomi came up with fitting instructions for that as well, and those are included in the final pattern. I didn't have a problem with the peplum, but it definitely fit better when I wore it over my longline Rilla corset, that smoothes out the stomach and hips.

Overall I would definitely recommend this pattern for anyone wanting a nice and comfy blouse, either for historical costuming or modern day wear. I have bulky arms and hate fitting sleeves, so I love that it has raglan sleeves, and no pesky armscyes.

Here it is worn over my Edwardian underwear and with the Wearing History 1916 skirt.

Me being filled with joy while wearing the blouse

What the item is: a blouse
How it fits the challenge: I'm putting this one down for the joy challenge, because it was a real joy to work with it, and to be part of the pattern tester group. I was also really happy with the result, so I have already gotten a lot of joy out of this project. It also brought me joy to get some really nice photos done with it. 

Material: 2m of thin cotton

Pattern: The Selina blouse from Scroop Patterns
Year: 1916
Notions: regular sewing thread, 5 mother of pearl buttons
How historically accurate is it? This is pretty spot on, I tried to follow all the constructions to make it as accurate as possible, and the only thing is that I used regular polyester sewing thread. So 90%
Hours to complete: 2 days (including the mock-up)
First worn: For a photoshoot on April 8th
Total cost: $20 (cost of fabric and buttons)

Edwardian underwear

 Last summer I made some Edwardian underwear, a petticoat and a corset cover. The only photo I had of them though was a bad mirror selfie, in my dirty mirror.

Today I finally got a chance to dress up in them and take some photos. 

The petticoat still held its shape and was nice and stiff from the starching I did last summer.

The photo was taken on my mother's porch, in typical April weather that contained snow/hail/thunder and glaring sunshine almost all at once. I also borrowed the shoes from her. they are a bit big on me, but that also meant that I could wear my white folk costume knitted socks in them, and they were warm and comfy on a day like this.

HSM 2020 challenge: no buy - my Edwardian underwear

For my visit at Hildasholm I needed some underwear. I had the Rilla corset from Scroop patterns, but I should have something to go under it and over it. When looking at my stash I realized that I am actually starting to run out of regular white cotton. I also didn't really have the time to do a full set of underwear. I decided to use a modern shaping slipdress under the corset, it would give enough support for my bust as well, and then concentrate on a petticoat and corset cover.

I've already written about the petticoat, and afterwards I realized that since everything was from stash I can include it in this challenge.

This was the challenge

No-Buy: Make something without buying anything. Whether it’s finishing off a UFO, using up scraps of fabric from earlier challenges in the year, sewing entirely from stash, or finding the perfect project for those small balls of yarn, this is your opportunity to get creative without acquiring more stuff.

From my small amount of white cotton I just managed to squeeze out one back piece and two front pieces for a corset cover. I have made a corset cover before, but I just can't find it which is a shame since it had some antique lace on it. It probably wouldn't have worked though since it was quite a cream colour that would probably have been visible under the bright white viscose that I used for my Elsie blouse.

Even if I didn't find the corset cover, I did find the pattern and I used it again. I wanted to add some extra seam allowance, but I didn't have enough fabric, and in the end it worked out well without the extra margins.

This was done the evening before I went to Hildasholm, so I cheated on the inside. The raw edges have just been zigzagged, and the hems are zigzagge and then just folded over. There is a tape at the waist level, to be honest I think I put it in a bit too high, to make a channel for a drawstring and on the neckline there is a drawstring as well.

It is closed with two sets of snaps. I had planned to make button holes and use mother of pearl buttons, but snaps were faster. I was happy when I found a piece of lace in my "miscellanous lacy stuff" box. That was also where I found the ostrich plume that I used for the hat. The lace is shiny and probably polyester, but it was a nice way of adding something to the plain corset cover.

Here I am wearing the petticoat and the corset cover. I also realized how dirty my mirror was after having seen the photo. As mentioned I'm wearing a Rilla corset under it all. The Rilla was quite comfy, but I didn't manage to tight it quite enough. It's laced with interlocking laces, like shoe laces, and that makes it harder to tighten it. Even if my shoulder is a lot more mobile than it was just a year ago I still have a problem reaching stuff on the back. On the one hand it was a lot easier to sit down and drive to Leksand in a quite loose corset, on the other hand I could feel it sliding arond a bit when I was just walking around at Hildasholm.

A new experience for me was that I felt that a longline corset with attached garters was more complicated when you wanted to use the bathroom, compared to when I've worn 18th century or 19th century corsets. It's probably just necessary to find the right way of doing it.

Anyway here are the facts for the challenge

The Challenge: No buy

Material: 1 m of cotton fabric, one 1980s romantic lace skirt

Pattern: The petticoat was a reuse, the cotton cover is from the 1911 Textbook of Domestic Art

Year: 1910s

Notions: Snaps, cotton tape ( a wide for the waist tape, narrow for drawstring). 1 m of polyester lace

How historically accurate is it? 30% It gets the look, but is made from a mix of modern and historical materials, and the inside is not finished in a period correct way.

Hours to complete: 1 evening

First worn: On a visit to Hildasholm on the 8th of July

Total cost: This was all from stash, but probably around $20 if it would have been bought new.

On my head at HIldasholm

For my visit at Hildasholm I needed to do my hair, and find a hat. I did some very quick solutions, that I was actually really happy with.

The hat is a regular sun hat from H&M. I bought it two or three years ago, and I use it regularly during summer. In order to pimp it for the early 20th century I added some trim though. The band around the crown and the bow are made from cheap poly satin. I made a tube and turned it inside out for the band, and then I pressed it. The bow is made from two rectangular pieces, one larger than the other one, and then I put another smal tube of the same fabric around it in the middle to create a bow shape. The bow wasn't pressed, since I didn't want it to loose it's quite fluffy appearane. I also found a plume of ostrich feather, that I didn't know that I had. It's made from two feathers sewn together to create volume.

Everything was just tacked on the hat with regular sewing thread.I didn't do it too well, since I want to continue to use the hat for more regular wear.

Under the hat I also needed to make something about my hair of course.

The hairstyles of the later 1910s had lost the big pouf and rolls of hair from the earlier Edwardian era. It was still an updo though, not a short cut style.

The evening before I washed my hair. I pinned the front part into smaller pin curls and the rest of the hair on large foam rollers, and then I slept on it. The rollers created quite a lot of volume, that I rolled into a bun in the back. I basically parted the back hair in three parts, the middle part was bigger and made up the most of the bnn, the side parts were twisted and pinned into the larger bun, and also hid the hairpins that kept the larger bun in place. The pin curls in front were drawn and pinned into place, on one side I was quite happy with the waves they created, but the other side didnt get that much of definition to the waves. Still it was a very simple and fairly quick hairstyle, if you exclude the time the hair was on rollers.

HSM 2020 : Sewing secret

Earlier in May Marlene that I've met through Cosplay Dalarna shared a photo of her early 1900s skirt and that she wanted to go to Hildasholm in costume. I of course jumped at the idea, since I also have some outfits from the early 1900s. Well then I decided that I wanted to finally make the 1916 outfit that I've wanted for some time, it is one of my favorite fashions. So I quickly ordered Wearing History's e-patterns for the Elsie blouse and 1916 suit, and some fabric for the blouse. I had already found a piece of purple cotton sateen that I could use for the skirt.

Hildasholm in Leksand was the summer cottage for the famous physician Axel Munthe and his much younger wife Hilda, and when they separated Hilda kept her attachement to Hildasholm. The house was built in 1910-1911 and since Hilda was from England it's like a little island of arts and crafts-style in the middle of Sweden. I think the whole house is adorable. I also happen to know their chief guide there, through work, and when I mentioned that we had planned to go there in full costume he got so happy and told use that he would give us the chance to eat and drink in the salon. We had planned to go last week, but the weather forecast was dreadful, so we pushed it to today, even if the weather didn't look promising. We got there and it was quite nice, unfortunately the rain started pouring down when we were walking in the garden, so we didn't get any photos from outside the house.

We had tea/coffee in the salon, and got to sit on the original late 18th century Sheraton set, while drinking from the antique china and using the same linen as the family. The napkins had "AM" for Axel Munthe embroidered on them We were both a bit nervous about using the napkins, especially since we had first gotten a quite messy tomato/mozzarella bread roll.

 During the tour we got to try on some original hats. The black one was worn by Hilda Munthe and the cream one was worn by Swedish queen Viktoria during her visit. When trying the hats on it was obvious that they were made for much larger hairstyles, since the crown was way to big for my modest hairstyle.

I'm wearing the Elsie blouse. I'm not going to make a full post about it, since there are better descriptions of it out there. I made sure to look at Wearing History's youtube videos about the blouse. If I make another version I would probably take it down a size in the front, it's very poofy, and make it a bit longer so that I have a bigger skirtpart to tuck into my skirt. On the indoor photos I'm wearing a cardigan I found at a regular streetchain (Lindex), since I needed something more than a blouse when the temperature was just hovering around 10 degrees Celsius. I had no time or fabric to make the jacket for the suit.

The skirt is the skirt from Wearing History's 1916 suit pattern. I did screw up printing the e-pattern though, since I did manage to print it doublesided. When I realized that the skirt gores were quite regular gores, I winged them and used the same pattern piece for the front and backs, I just added some extra width to the back pieces so that I could get some pleats in the back.

The HSM challenge for September is Sewing Secrets: Hide something in your sewing, whether it is an almost invisible mend, a make-do or unexpected material, a secret pocket, a false fastening or front, or a concealed message (such as a political or moral allegiance).

When I was making the skirt it happened that I realized that I didn't have enough fabric. Thanfully I'm short enough that I could use the shorter length of the pattern, and it was long enough for me. Fo the belt though I just could get the double pattern pieces now matter how I tried. In the end I added a seam in the center back and that way I could get at least one side of the belt in the same fabric as the skirt. I needed somethng else for the inside of the belt though. When going through my stash I had found a quite ugly green linen fabric that I used for the hem facing. Now I started thinking that my skirt is almost purple, and the suffragettes used purple, green and white as their colours. I decided to make a fully reversible belt with the purple on one side and the green on the other side.

So when I go about my ordinary business I can use the purple/burgundey side of the belt, and then I can switch to the green when I want to get political. This also inspired me to make purple trim for my hat. The big buttons are also non-functional, since the skirt is closed with some hidden snaps, also a sewing secret.

As a bonus, when I started working on the skirt I actually took the pieces to the treadle machine in our miner's cottage. And if I wanted to be there and use it, I had to look the part.

It was the first time I tried a treadle machine, and I had problems getting started on it. In the end I did sew the inner waistband on the treadle, but did the rest on my modern machine. Also it was 30 degrees the day I used the treadle so I was basically melting while sitting there.

The Challenge: Sewing Secrets

Material: 2 meters of cotton satin, 0,5 m green linen, 0,2 m cotton duck (for the inner waistband)

Pattern: Wearing History 1916 suit

Year: 1916

Notions: Güterman thread, 6 velvetcovered metal buttons, 3 sets of snaps and 1 hook and bar for the closure.

How historically accurate is it? Around 60%

Hours to complete: 2 days

First worn: On a visit to Hildasholm July 8th

Total cost: Around $40 (If I had bought all materials new, everything except the buttons was from my stash though)

What a difference some starch make

Ever since I starched the edges of Lady Poe to keep them from unravelling I have been interested in trying out more starching. I did use the leftovers of the starch and dunked a petticoat in it, but that was quite diluted and weak. Now I wanted to really starch a petticoat.

Only problem is that I don't have a good late 19th or early 20th century petticoat. What I had up in my attic though was one of these probably 1980's romantic skirts, in cotton with a bit of ruffle and broderie anglaise at the bottom. I had gotten it as a gift many, many years ago for someone who thought I could use it for something historical. I hope my photos in the following are clear enough, I can't use my dressform for this since the 1520s court gown is occupying it.

One issue was that it was too small, I could pull it up to my thighs, but not over them. It was quite long as well, and with my short legs I wouldn't feel bad cutting off the top to make it larger.

I measured and cut off around 12 cm. I had planned to use the cut off strip to enlarge the skirt, but as you can see it wasn't straight, and when I tried to rip it into a straight strip it simply got too small.

Instead I took a strip of cotton voile and cut it into three lengths. I used one length for the top part of the skirt, and I gathered two lengths to make a ruffle. I then simply cut out the side seam of the skirt and added this new panel in. It's not the most beautiful or discrete piecing, but I'm not planning on showing off the petticoat.

At the top I just folded and sewed the top edge down and put a piece of cotton tape as a drawstring. I had a functional petticoat, now it was time to play around with starching it. I very much followed the instructions from Leimomi at The Dreamstress.

I don't have a garden or balcony, so in order to dry the petticoat (after I had dunked it in my biggest pot on the stove) I put it over a stand made from my washing basket and an extra bucket. I had covered the stand and the floor in plastic bags, so that the starch wouldn't go down the drain or the petticoat wouldn't cling to the stand. Also since I had a limited space, and bucket/pot, I didn't wring any extra starch out, I simply tried to pat off the worst. I left the petticoat drying until next day.

When it was dry it felt very much like paper and as you can see it could stand on it's own. I took it to my ironing board, that I had covered in an old sheet, and pressed the whole petticoat with the ironing on the highest setting and using a lot of steam.

After the pressing you can see that it has gotten a lot softer. It's still crisp though, and it's definitely more comfortable now that it doesn't feel like raw paper. If you don't let the starch dry completely you are supposed to get a stiffer result when pressing it.

Since the dressform can't be used, I still wanted to show the effect of the starch. As you can see the ruffle is at a definite angle and holds its own shape.

I'm definitely converted to starching my petticoats from now on, I'm not sure I'm daring to starch cuffs and collars and finer delicate things though.

The Rilla 1910s corset

This was actually a Project that I spent most of my time in the summer with. I finished it and planned to take some nice photos of it, but it never happened. The corset is packed away for now, and the photos that I did manage to take are not really photos I would like to share, except for this one.

The reason why I made the corset is that I was offered by the Dreamstress to be a pattern tester for it. Since I have plans to someday make a 1910s outfit I felt it would be a fun thing to do, I was also honoured to be chosen as a pattern tester.

The reason why I have these quite ugly photos of me in them is because I had to send in photos together with my review of the pattern.

Overall I can really recommend the pattern for anyone trying out this era. I made sure to follow the instructions exactly as they were written, having done a few corset I could have jumped a few of them, but they were clear and I ended up with a corset with a perfect fit. In fact it was so perfect, according to the measurment instructions that I had to take it in a bit. It closes fully in the back, while I'm used to ending up with a gap.

Since I don't have a 1910s ensemble, I haven't been yet worn the corset for any length of time, but from the fitting and this photo session it felt really comfortable. It's definitely softer than what I'm used to from 18th Century stays or Victorian corsets.

A fun thing though was that when I took these photos I didn't have a shift around, since it's an underbust I needed something to make me a bit decent. Well I was at my mother's house, so in her storage I actually found a shift from my paternal great grandmother. The shape of it makes me pretty certain that it's actually an original piece from the 1910s. Now it was a bit too small fr me, but not worse than when I will start working on a 1910s wardrobe I will just add a small extension (1-2 cm) to the shoulder strap and I would be able to wear it comfortably.

If you want to make your own Rilla corset you can buy the pattern at Scroop patterns.

An antique bodice - part 2

That bodice that I found and posted about earlier this week was way too small for me, but I have a petite sister. Yesterday I brought it with me and gave it to her, because of course it fit her. In fact she claimed that it was a bit big. She was wearing modern underwear under it, and interestingly it seemed as it was a bit big in the waist and shoulder, but small over the bust.

Here she is wearing it, which of course gives a much better view of what it looks like.

An antique bodice

Yesterday something happened that I thought only happened to others. I've read from time to time about people doing proper antique finds in op shops, but I never thought it would happen to me. Yesterday thought my mother wanted to go to IKEA in Borlänge, the neighbouring town, and if we we were going I also wanted to go into the only craft store, Panduro, to pick up some thing for my current project. I also wanted to go into the local second hand store that's there, Myrornas. Myrornas used to have a store in central Falun as well, and even if they are one of the more expensive second hand stores, the fact that they were open when all other shops were open and was very central made it a natural thing to just pop into it. Since it closed down and moved to Borlänge I've been buying a lot less second hand things.

At Myrornas I first found what's probably a 1980's romantic skirt that will fit nicely as a simple early 20th century petticoat. It's white cotton with two flounces and some broderie Anglaise on it. Then I saw it. On the rack among a lot of other party clothes was a bodice that just screamed early 20th century. I got closer, and then realized that it is probably exactly that.

I started to open it, and when I saw the insides I actually got weak in my knees, it was so exquisite. Of course it's way too small for me, but I just had to buy it. The thought of it handing in that store and the risk that somebody would buy it that didn't appreciate that it's an antique was simply unbearable. So now I own a proper antique piece of clothing, even if I don't know what I'm going to do with it. I'm not good enough to exactly date it, but I would guess around 1900-1910, probably closer to the later. Here are some more details.

The sleeves are a wider outer sleeve that ends with an applique and Pearl fringe, and then there is a thin lace undersleeve peeking out.

I found it interesting to see these stripes on the inside. They are well hidden so you can't see them on the outside.

The lace collar is supported all the way, and it fastens with a snap to the main bodice, but is closed with hooks attaching one of the spiral supports.

The outer fabrc is fairly loose and closes with small hooks and eyes since it doesn't carry any strain. The main closure is in the strength layer and lining. It's amde up from a heavy cotton, it feels almost like a denim, and then lined in a striped fabric.

It's closed with heavier hooks and eyes. The lower part has a steel bone and here the hooks are all on the same side. The upper closure is unboned, and here the hooks and eyes alternates to keep them shut even if there isn't much tension to them.

There are boning channels on the seams, but he boning only goes up to around the bust.

One of the very few placec where it looks a bit worn is that one of the steel bones is sticking out, but it must be attached well, because I couldn't move the bone at all.

All in all I'm very happy with this piece of actual fashion history.