We're all here because I wanted one. Not the white, high-maintenance ones that are extant, or in the paintings, although that was tempting. Somehow, mine is made from printed floral cotton.
As I've said in other posts, in 2018 I am anti-HA. There is no evidence that chemise a la reine's were made of printed fabric, white and other plain colours, yes, but not prints. Obviously, absence of evidence doesn't necessarily mean they didn't exist. After all, there are only about 2 or 3 chemises still extant. Regardless, when I saw the fabric I just thought it would make a nice robe en chemise.
It's cotton lawn, I didn't feel like voile which is common for chemises, but this fabric was a bitch to work with. For a lawn it was so so thin! Not sheer, just really soft, floppy and frayed so easily, worse than the lawns I usually work with. It had a very loose weave, if you know what I mean. I can forgive its many sins though because it's so pretty.
It's worn with a chemise, my 1780s stays, a small bustle pad originally intended for an 1870s ensemble, my hybrid petticoat, American Duchess Pemberley shoes (discontinued), and a cute little regency beret ( a little later than this gown but it was too hot for my 1780s half wig).
It's worn with a chemise, my 1780s stays, a small bustle pad originally intended for an 1870s ensemble, my hybrid petticoat, American Duchess Pemberley shoes (discontinued), and a cute little regency beret ( a little later than this gown but it was too hot for my 1780s half wig).
Let's get undressed!!
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| Off with the sash |
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| From the front it could quite easily be a 1790s round gown, shame I did the fitted back... |
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| You can barely see, but there are two cotton tapes for ties at the neckline, and underbust |
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| The lining is laced up for a snug fit....perhaps too snug |
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| My experimental 18th century petticoat, lined with cotton organdie |
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| The bustle pad made for the 1870s, but fits with 1780s. |
The making of.......
There was a case of a missing pattern during this project. I lengthened the pattern I used for my regency ensemble and cut out the lining. I had about 3 or 4 projects on the go by this time (June was a hell of a month) so I'd be jumping from one thing to the other. I made quite a few alterations to the lining, despite mock-ups, and left it for a few days. When I came to cut out the lawn I couldn't find that pattern anywhere. My sewing room is in a bad state, I'm not going to lie, but I turned that place upside down looking for these pattern pieces and couldn't find them anywhere. So this means I'll find them in September, not so handy now.
I had to just use the lining, which was already constructed, to try and cut out the fabric. This was not fun and so unbelievably frustrating. It also prompted me to try a different construction method; mounting the fashion fabric to the lining. I assumed because of my patternless-ness the pieces wouldn't match up exactly, so I folded in the seam allowance and mounted them to the lining, which hid any mistakes.
The front lining is laced up with...that's right, metal grommets!! #antiHAcrew
Things got worse when it came to the front. Somehow my fashion fabric shoulder straps were smaller than the lining ones. I ended up having to do them again and make them wider.
The next problem was the casings for the drawstrings. The neckline was fine, although I realised that using bias binding was a bit too stiff, so changed to twill tape afterwards. I ensured that the casing for the waist was put on straight, and hand sewed it on with tiny stitches. During the fitting stage I found that it wasn't straight at all and was messing with the front panel. I'm still not quite sure what happened, but after that I just decided to put a casing at the under bust, and leave the waist. I might go back and put one on, but since I'll always be wearing a belt with it I just couldn't see the point in the drawstring.
Things got worse when it came to the front. Somehow my fashion fabric shoulder straps were smaller than the lining ones. I ended up having to do them again and make them wider.
The next problem was the casings for the drawstrings. The neckline was fine, although I realised that using bias binding was a bit too stiff, so changed to twill tape afterwards. I ensured that the casing for the waist was put on straight, and hand sewed it on with tiny stitches. During the fitting stage I found that it wasn't straight at all and was messing with the front panel. I'm still not quite sure what happened, but after that I just decided to put a casing at the under bust, and leave the waist. I might go back and put one on, but since I'll always be wearing a belt with it I just couldn't see the point in the drawstring.
There was a lot of hand sewing of the front panel, in fact there was a lot of hand sewing on this entire project!
Another source of problems came from the hem. You can see in the picture above that the front it shorter than the back. This is because I had measured the back to go over a false rump, which is now in the bin. The rump was more of an experiment. I didn't want to use my 1780s false rump because I think they look a bit too big for the robe en chemise, so I tested my skills and made one based on an extant. This also turned out to be too big, but I knew I needed something for my derriere.
I haven't published it on the blog yet, but I was working on an 1870s natural form gown at the beginning of the year, which remains a UFO for now, and I made a small bustle pillow. I ended up not needing it for the natural form because it looked too big for that, and it lay abandoned in a corner for months. When I was trying on the robe en chemise I remembered this little bustle, made out of an old pillow case and stuffed with the scraps from the sewing room bin. It was the perfect amount of volume, especially under my experimental 18th century petticoat.
Back to the hem. I had roughly 2.5" difference between the front panel and the back skirt panel. To be honest the front was too short for my liking, and the back was the perfect length, but how to fix it? I know I complained about this fabric being a bitch to work with, but I'm so glad I chose it. I'm finding, ever since working with patterned fabrics, that they're really quite forgiving. They're so busy that any mistakes kind of just disappear, as proven by my Pierrot.
I cut out a strip of the lawn (which I still had about 1m leftover) and sewed it to the bottom of the front panel. Sorted. I thought it would be awful and that the seam would be really obvious, but it's not that bad, in my opinion. Just don't look that closely.
God forbid this project went smoothly, this is what happens when you don't pattern or mock-up correctly. I'm glad I got this fabric on sale. I designed the front of this gown a bit strangely in that the arm scye at the front had quite a sharp angle where the strap met the front panel. I attempted to fix this with the strap, but it didn't work. I attached the sleeves whilst the dress was on an armless mannequin, and when I put it on, the sleeves were pulling from the front. I'd also had to put a few pleats in the sleeves to fit them in.
Look at those peaks!! Ugh! But let's look on the bright side, the rest of the sleeve fit perfectly over my arms, and I mean perfect. I patterned these from the American Duchess book, in the section on the round gown from the 1790s. I wish I'd done this with my Pierrot.
My solution was to unpick the top of the arm scye, at the shoulder, and kind of feed the sleeve further into the arm scye. I think the head of the sleeve is to steep, I had this problem with the Pierrot sleeves as well. I'm actually glad I hand sewed these in because the stitching was a lot easier to unravel than if it had been done on machine.
I cut them to the right length, they're a bit long for my liking in the above picture, and then I was done.
The belt is just a piece of brown velvet ribbon that I originally intended to go with my Pierrot. The sash I made for this was from a remnant I had of the blue silk taffeta I used to make my 1780s petticoat. I even bought a vintage buckle and everything, but when I put it on with the chemise it just didn't go, and if I thought that, the person who needs fashion plates to chose colours, then you can imagine how bad it must have been. The ribbon was thin, and because the floral pattern was brown, i think the brown of the velvet just went better.
I would have liked a longer tail, hence why I made the taffeta sash quite long, but I wasn't going to buy more velvet ribbon just for that. I think the bustle pad just gives the backside that extra volume that it needed without it being too big.
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| That's just string so I got the placement of the casings right after the first disaster |
I haven't published it on the blog yet, but I was working on an 1870s natural form gown at the beginning of the year, which remains a UFO for now, and I made a small bustle pillow. I ended up not needing it for the natural form because it looked too big for that, and it lay abandoned in a corner for months. When I was trying on the robe en chemise I remembered this little bustle, made out of an old pillow case and stuffed with the scraps from the sewing room bin. It was the perfect amount of volume, especially under my experimental 18th century petticoat.
Back to the hem. I had roughly 2.5" difference between the front panel and the back skirt panel. To be honest the front was too short for my liking, and the back was the perfect length, but how to fix it? I know I complained about this fabric being a bitch to work with, but I'm so glad I chose it. I'm finding, ever since working with patterned fabrics, that they're really quite forgiving. They're so busy that any mistakes kind of just disappear, as proven by my Pierrot.
I cut out a strip of the lawn (which I still had about 1m leftover) and sewed it to the bottom of the front panel. Sorted. I thought it would be awful and that the seam would be really obvious, but it's not that bad, in my opinion. Just don't look that closely.
God forbid this project went smoothly, this is what happens when you don't pattern or mock-up correctly. I'm glad I got this fabric on sale. I designed the front of this gown a bit strangely in that the arm scye at the front had quite a sharp angle where the strap met the front panel. I attempted to fix this with the strap, but it didn't work. I attached the sleeves whilst the dress was on an armless mannequin, and when I put it on, the sleeves were pulling from the front. I'd also had to put a few pleats in the sleeves to fit them in.
My solution was to unpick the top of the arm scye, at the shoulder, and kind of feed the sleeve further into the arm scye. I think the head of the sleeve is to steep, I had this problem with the Pierrot sleeves as well. I'm actually glad I hand sewed these in because the stitching was a lot easier to unravel than if it had been done on machine.
I cut them to the right length, they're a bit long for my liking in the above picture, and then I was done.
The belt is just a piece of brown velvet ribbon that I originally intended to go with my Pierrot. The sash I made for this was from a remnant I had of the blue silk taffeta I used to make my 1780s petticoat. I even bought a vintage buckle and everything, but when I put it on with the chemise it just didn't go, and if I thought that, the person who needs fashion plates to chose colours, then you can imagine how bad it must have been. The ribbon was thin, and because the floral pattern was brown, i think the brown of the velvet just went better.
I would have liked a longer tail, hence why I made the taffeta sash quite long, but I wasn't going to buy more velvet ribbon just for that. I think the bustle pad just gives the backside that extra volume that it needed without it being too big.
