If I Had My Own Blue Box:

I ventured to the local fleamarket on Sunday. I like to go opening day, but this year I was extra busy. I made it a couple weekends in. I woke early with the assistance of a certain feline who wanted to be fed. I ate half a bowl of cereal and headed out. This allowed me to arrive shortly after 7, when finding a parking spot was easy, attendance was light, and some vendors were still unpacking. There were many empty spots, likely due to the forecast of rain and thunderstorms. Muddy ground and wet weather can be more problematic than it is worth.

The fleamarket was a local destination since childhood. As a kid, I looked forward to buying a little trinket with change, or, maybe if I was really lucky, finding a Breyer horse for a few dollars. Now, I still hope for that little trinket or Breyer horse. I also have an eye open for a few other things.

This year, I would like to find some small, doll size jewelry, sewing accessories, Victorian fancy work of particular types, a doll head for the ooops too big body, the right curio for the little dolls, hat blocks, and something curious.

Sunday there wasn’t much that caught my attention for coming home. There was one Breyer in the whole place, of the wrong size. No sewing accessories old enough. Nothing curious enough to fit my interests or research focus. I came home with a lone pair of gloves and this cdv.

This CDV caught my attention for what I am going to call Relatability.

It was her bodice that I saw initially. It is loosely fit through her bust rather than fitted smoothly. The fullness gathers in to the waist in controlled pleats rather than plain gathers or darts. This would make me think this is a more casual dress, but then, when looking at the sleeve with its embellishment and detail, it is seen not to be the case.

At home, I took some time with this image. Partly for a closer look. Partly to see how clear the camera on my sorta new phone does with cdvs. I am pleased with the latter.

The closer look showed me things I did not see standing in the morning sun with sunglasses and hat on. This woman was older but not old. She has wrinkles in emerging in all the natural places. She has graying hair in wisps. She has fullness at the back of the collar indicating the rolling of neck or shoulders that happens when working or reading over many years. She gave herself room in her bodice possibly for comfort, physical or mental, while her sleeves show an attention, creativity, and detail.

Each of these aspects are as much true of being then as now, now as then.

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I am reposting favorite helpful posts each Monday throughout March, April, and May.

We are entering the time of year when people are thinking spring and about decorating their bonnets. Straw bonnets have a great appeal because they are cooler to wear in the heat as the straw allows the head to breathe, and the embellishments can be changed fairly easily without leaving as obvious thread holes.

Just as with most other garments and material culture pieces, millinery is an investment. You want to finish your straw bonnet as accurately as possible. This will include several factors:

• A lining to protect the straw from your hair products and to protect your hair from snagging on the straw. While not every extant bonnet has a lining or evidence or a lining, a lining can extend the life of your bonnet
• A frill or cap for the inside of the bonnet’s brim. This frill simultaneously frames the face and helps hold the bonnet in place. You may also want to add a facing to the front couple inches of the inside of the brim. This is found in many originals.
• The bavolet will need a cotton net lining to give it the proper fullness. I believe this net also physically supports the materials of the bavolet. The silk, whether from fabric or ribbon, is most frequently seen on the bias in original bonnets. The net will help the bias cut hold its shape, especially if addition elements such as straw, lace, or bead-work is added. Consider reading “Understanding the Ribbon Bavolet” for additional information.
• A bonnet will need 2 sets of ties – A functional set of narrow ties which will hold the bonnet on, and a decorative set of wider ribbons.
• You may want to add a stay to assist in holding the bonnet to your head. The easiest to add is a simple strip of velvet. More information with images can be found in the post “Bonnet Stays“
• Then, of course, you need your decorations – flowers, feathers, ribbons, lace, etc.
• I will add – A storage box and stand – While this is not an immediate need, a stand and box will help your bonnet last by protecting it from being mis-shappened, and from dust.

Recommended Shopping List:

• I highly recommend Danielle’s book from Timely Tresses: Finishing a Straw Bonnet Form
• Cotton net to line your bavolet
• Fine cotton or silk net (bobbinette), or silk organza or lace for your frill/cap
• Fine cotton voile or silk taffeta to line your brim
• 3 yards minimum of wide (silk or quality rayon) ribbon (2 yards for ties, 1 yard for bavolet, additional for decoration/bows) (silk taffeta is also an option for the bavolet.)
• 1 yard of 3/4″-1″ wide silk or cotton sateen ribbon for ties.
• Ribbon and laces of choice for decoration
• Flowers and feathers of choice for decoration
• 1/2″-3/4″ wide velvet for optional stay

Recommended Reading List:

• “Millinery Vocabulary” – basic vocabulary to get you started.
• “Anatomy of a Straw Bonnet“
• “Understanding the Ribbon Bavolet“
• “Bonnet Stays“
• “Life of a Straw Bonnet – Cleaning & Care“
• “On the Suitability of Colors for Lining Bonnets“
• And just in case = Millinery Care and First Aid
• If you want to know more about straw bonnets, how and why they were worn in the mid-nineteenth century, please consider my book, From Field to Fashion.

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Are you one of the many readers enjoying my millinery blog posts?

Consider becoming a Patreon patron. Doing so helps support my work and helps me write more useful articles.

https://www.patreon.com/AMillinersWhimsy

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I was asked to talk about and show how a tie on pocket is worn. Here is a short video that looks at how a separate pocket ties on around the waist and how they are accessed through the skirt. I also give examples of what might be found in a pocket whether it is worn for interpretive use or keeping modern essentials.

I forgot to mention in the video that having the emergency/essential items in a tie on pocket reduces to chance of losing or forgetting something in transferring from one dress pocket to another.

I am reposting favorite helpful posts each Monday throughout March, April, and May.

There are several resources available to learn more about hairnets…..

Are you confused about the word “Snood”? Read Getting Snoody by Elizabeth Stewart Clark.

Do you want to know what basic hairnet to buy and have in your hair kit? Watch this video:

Want to know the basic ins and outs of hair nets? Read To Net, or Not to Net an article by Anna Worden.

Want to know the details of hairnets, who wore what kinds and when with lots of photos and illustrations? Read the full-length e-book To Net, or Not to Net: Revisited, by Anna Worden Bauersmith.

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Are you one of the many readers enjoying my millinery blog posts?

Consider becoming a Patreon patron. Doing so helps support my work and helps me write more useful articles.

https://www.patreon.com/AMillinersWhimsy

We all yearn for connection,

whether we know it or not.

My goal for the day was a simple one: sew a doll dress by the end of the day.

After a slow start, I found myself thinking about connection.

We connect in many ways. We connect with our senses. We connect emotionally. We connect physically. We connect through story.

To lack connection, or worse, to be denied connection can be detrimental, can be tragic.

On this Mother’s Day, sitting in the sun and shadows, I found myself listening to a story. I often listen to stories in this spot. This story was different. The words came from their mouth but the story came from the heart and eyes. The story was one of lack of story, of being denied story. It tugged at my heart.

I am grateful I heard what I could in that moment.

As days filled with sun and people go, moments fly away.

I was no longer working on my simple goal for the day. I was connecting with one of my Grandmas by sitting where she used to sit, while connecting with one of my Grandmas by sharing a love she loved.

I share with you Theo:

Theo was named by a moment, a moment created by two pairs of siblings. As I finished her dress and was ready to put it on her for the first time, the first pair of siblings came in. They were darling in how captivated they were. They watched wide eyed, both eager and polite, as I tucked and fussed and adjusted, then presented the newly dressed doll. I said: “She still needs a name.” The first sibling said “Theo.” The second sibling said “Yes, Theo.” both said “Hello, Theo” as two more siblings walk in and one says “Hello.” One of the new pair of siblings was also named Theo. It was obvious to me, the doll is Theo.

Theo is dressed in an 1850s style dress made from one of GCVM’s reproduction kerchiefs. This is one of three reproduction kerchiefs based on originals in the Susan Greene Collection and produced by Burnley & Trowbridge. When I saw this beautiful red and black on white print, I knew it had to be made into a doll dress. I am delighted with how the dress came together today. The skirt is the full 36 inch width of the kerchief with the border design around the hem and up the front. The design lined up creating a circling leaf motif centered on the bodice. The sleeves are open sleeves with the border edge at the wrist. This is the one change I would make: I would make the sleeves more funneled.

The dress will be accessorized with a black belt and mother of pearl buckle. I will add a broach as well to the deep V neck bodice. Theo will also be getting hands soon.

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If you read my “Transparency” post you may be wondering how the day went for me, the part of me that has been exhausted. Today was much needed. Approaching this weekend, I was not sure how I was going to do it; I wasn’t sure if I could do it. The morning started hard for me. I was struggling to feel my groove and zone. Then I got there. The above happened. Suddenly it was closing time and I wasn’t tired. I reached the end of the day without feeling like it was the end of the day or the end of me for the day. I wasn’t even tired a little bit until the drive home. When I got home, it didn’t hurt to get undressed, well except for the bit about gravity. I hoped in the shower. I ordered dinner. I uploaded. started editing and writing. In this moment, I am good; I feel that soft sigh of “this is good.”

Here is a list of publications I have available.

Books

Fanciful Utility: Victorian Sewing Cases and Needle-books is a guide packed full of directions and templates for making your own period correct sewing cases, housewifes, and needle-books. FanU is available directly from the Publisher at http://www.thesewingacademy.com/2012/08/fanciful-utility/

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To Net, or Not to Net: Revisited is an in-depth look at hair nets of the mid-nineteenth century. This e-book is packed full of cdvs and illustrations, covering how nets were worn and what they were made of. This e-book is available through my Etsy shop.

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Paisley, Plaid, & Purped: Shawls of the Mid-Nineteenth Century looks at the types of shawls worn in this era, from the sizes to the materials. This book includes original directions for making shawls. This e-book is available through my Etsy shop.

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From Field to Fashion: The Straw Bonnet was my first book covering the the materials and processes used to make straw hats and bonnets. This book focuses on the mid-nineteenth century. This e-book is available through my Etsy shop.

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In Detail

I developed the “In Detail” series to take a closer look at original handmade items. These publications are packed full of close-up photos and details of how these pieces were made. Many of these publications include directions for making your own using period techniques.

In Detail: Blue Ribbon Sewing Case looks at an amazing sewing case made from a single plaid ribbon. (Note: this publication does not include directions.)

This e-publication is available through my Etsy shop.

In Detail: The Velvet Slipper Pincushion takes a close look at this example of a popular sewing accessory.

This e-publication is available through my Etsy shop.

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In Detail: “Earl’s Ball” A Corded Ball looks a darling toy made in the style of a popular corded pin ball pin cushion technique.

This e-publication is available in my Etsy shop.

In Detail: Frozen Charlotte Pen-Wipers is a close look at two pen-wipers made with small porcelain dolls. This e-publication will appeal to doll and writing enthusiasts.

It can be found in my Etsy shop.

In Detail: Paper Pieced Pin Ball examins a pin ball constructed using a paper piecing method. This technique can be used to recreat the nineteenth century pin ball or a Victorian ornament.

This e-publication is available in my Etsy shop.

In Detail: The Pillow Pin Ball is near and dear to me as it was written at a very difficult time. This edition looks at a well loved pincushion made of pillow segments. This is a great project to use you scraps or to share with friends.

This e-publication is available through my Etsy shop.

In Detail: Embroidered Velvet Needle-book looks at a staple of the 19th century workbox: the needle-book. This edition focuses on recreating this sweet example.

This e-publication is available through my Etsy shop.

Patterns

My Wadded Hood Workbook takes a pictorial look at multiple original wadded hoods and guides you through making your own with period construction and techniques.

This workbook is available in my Etsy shop.

My Fichu Pattern previously sold out quickly in its paper form. As a downloadable pattern, you can start you fichu in the middle of the night if need be.

This e-pattern is available through my Etsy shop.

The Princess Capote Hood Directions are a collaboration between Jamie Quick and myself. This e-publication takes the period directions and re-explains them with some corrections.

Remember: I also have numerous free templates available here, on my blog for period correct projects. I also have modern projects available on Don’t Paint the Cat.

I am reposting favorite helpful posts each Monday throughout March, April, and May. This is the newest of the reposts.

If you have been following even for a short while, you know I love pockets. I love making pockets. I love having pockets.

For years, I carried a basket or a purse. It would get filled with a myriad of this and that, period and modern.

All this stuf I thought I needed to have on me.

Extra water, a camera, a little money…. You know what? It all just added up and added up. Frankly, it was heavy and a PITA.

It also wasn’t accurate.

Then, one glorious day, I learned about pockets. Dresses had pockets! We aren’t talking the wimpy pockets in women’s jeans that barely hold a few dollars and a small set of keys. We are talking huge, mother of all pockets!

Skeptical?

Don’t think they could be that big?

Take a look at my dress from a few years ago. Okay, 15 years ago. (Ignore the hair falling down and the gloves for rusty nails. This was a heavy work day, building fences and moving corn.) The pocket in that dress is holding my lunch including a couple bottles of water and bananas. Can you tell?

I wear two pockets when dressed in Victorian era clothing. Each of my 1830s through 1860s dresses has a pocket on one side, preferably the right side. In this pocket goes the things I need throughout the day of the event, the period items. On the other side is a separate pocket that sits either below my skirt or below my skirt and upper petticoat. This pocket holds the modern items I hope not to need during an event but should have on me in case of emergency or when I leave.

The dress pocket with period items holds:

• Building key
• A small wallet/pocket with ID and cash. This is roughly 3.5”x2.5”.
• Handkerchief
• Possibly a workpocket
• Possibly a purse (a small item that carries money)
• Possibly a fan
• Possibly a glass

My seperate tie-in pocket holds:

• Epipen
• Medications I need immediate access to
• Car key (mine pop apart)
• Phone if I need it

This video shows a sampling of what I carry in my pockets:

Want your own pocket? I have a few available in my Etsy shop: https://www.etsy.com/shop/AnnaWordenBauersmith?ref=simple-shop-header-name&listing_id=1086425702&section_id=10182162

Pocket Basics

Pockets as tie-on, seperate pockets appear long before the nineteenth century, centuries before. In the eighteen century, they were often worn in pairs, one one each side of the body. They were accessed through the two slits formed when putting on petticoats. When skirt supports were worn, pockets hung beneath the supports. (That was an incredibly short generalization about centuries of this accessories history. I highly recommend reading into these eras further.)

Wearing tie-on pockets continued into the nineteenth century with a short interlude during the Regency era with the wearing of higher waisted, often diaphanous dresses.

By the mid-nineteenth century, pockets became part of the skirt construction. They were most often set into the seam of a skirt. Originals show pockets were long, wide enough for the hand to fit comfortably, and both rounded or squared on the bottom. They are often a plain or cotton print with the seam to the outside of the pocket. Sometimes a support stay attaches to the pocket part way down and to the waistband. A straight edge of the pocket lines up with the skirt seam, and the skirt edge folds over the edge of the pocket. I prefer to do two rows of stitches around the edge of my pocket for a strong pocket.

While seperate pockets grew less common by the 1840s and 50s as dress pockets became more common, they were still in use and recommended for situations like travel.

When I first wrote this post, there were a pair of pockets embroidered by sisters Mary Ann and Hannah Rose Brigham of New Hampshire in an Etsy shop One is dated 1850. Both show wear indicating their use.

What did they carry in their pockets?

I plan to make a post/video showing how a pocket looks under the skirt and how it is accessed.

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Additional Resources

List of pockets from the 19th century: https://docs.google.com/document/d/1KISeV0ZVhD2SOsF_lJ71DI9RrVLu2C5lLPsk8T5Fonw/edit?usp=drivesdk

Section on pockets from the Workwoman’s Guide, 1837:

The Pocket: A Hidden History of Women’s Lives by Barbara Buurman. Available on Amazon and your local bookstore.

Articles about Pockets:

• Pockets of History (VADS)
• Women’s Tie-on Pockets (V&A)
• Picking the DAR Museum’s Pockets
• What’s in a Pocket? (RICHS)

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Are you one of the many readers enjoying my millinery blog posts?
Consider becoming a Patreon patron. Doing so helps support my work and helps me write more useful articles.
https://www.patreon.com/AMillinersWhimsy

I am reposting favorite helpful posts each Monday throughout March, April, and May.

A couple years ago, I wrote an article/post called “Pizza and the Piggy Bank” that looked at which items to save up for and which items could be had for less than the cost of a pizza. It was a fun article to write and helped put some perspective on the cost of things. Since writing that article, I’ve often compared items to the cost of a pizza. (I also price life expenses in comparison to the number of bonnets it will take to cover.) I thought I would revisit the “Less than a Pizza” list with some revisions.
When I wrote the initial list, I could get a medium vegetable covered pizza for about $25. That price has gone up a little to about $30. So, this list will include items that can be had for $30 or less.

For the Price of a Pizza (or less)

1. Drawers and chemise in linen. I have recently been converted to a linen chemise lover. A linen chemise is comfortable, soft, and cooler. Subscribe to http://www.fabrics-store.com to receive their regular sales offers. In doing so, you will see their light, handkerchief linen come up for $6-$7/ yard. This fabric is 58” wide, so you only need 2 yards for a chemise and 2 yards for drawers. Prewash the linen for shrinkage and to soften it.
2. Petticoat – I am of the opinion that once can never have too many petticoats to choose from. Most of us within a few inches of average height can make a simple petticoat from four to five yards of cotton. Quality premium muslin can be had for $3.99 at certain craft stores. Using a coupon/code to save 50%, this brings a petticoat to $20. Poplin at Dharma Fabrics is $6.50 for a 55” width. A three panel petticoat would be about $26 (4yards), while a 4 panel does tip us over the pizza price at $32.50 (5 yards). I am assuming you have mother of pearl buttons laying around. If not, add $.25-$.50. But, pick these up when you see them.
3. Wool Petticoat. While we are talking about petticoats, I will add a wool petticoat to the list. Two yards of tropical to light weight wool is plenty for a warm wool petticoat. You may also want a yard of scrap cotton from your stash for a yoke and waistband, minimizing the bulk at the top.
4. Personal Linens. New personal linens can spruce up a wardrobe for little money, be it cuffs, collars, or pelerines. Purchasing a few yards of cotton lawn from Dharma ($6/yard) can result in several sets of cuffs and a few collars, or a few pelerines. These will give you a chance to practice your rolled hems too.
5. A Pocket. I am a big advocate of pockets, both set into the skirt and under the skirt. A pocket will get things out of your hands. It will also eliminate the need to have something to carry your things in. A simple pocket can be made from a half yard of linen or cotton.
6. Wool Shawl with fringed edges. This will take 2 yards of light to medium weight wool in an
   appropriate plaid, check, or solid. This can be found at discount fabric shops like
   http://www.fabricmartfabrics . I suggest waiting for wool to be under $10/ yard to keep this under the pizza limit with shipping. Or, watch for someone destashing wool. Plan on two movies during a rainy or snowy weekend to fringe the whole shawl, or do one side per evening. Check out my earlier post of fringing.
7. Work Pocket. I am a little bias here. But, I think everyone should have a work pocket, or sewing case, or housewife. This little roll can tuck away needed sewing tools as well as be a great interpretive device. It can act as a story all rolled up in fabric.
8. Sunbonnet. A sunbonnet is essential for protecting your head and face from the sun and elements. As much as we love the pretty, fancy bonnets and hats, some times, many times, a sunbonnet is needed. I recommend checking out the remnants or end cuts of your local quilt shop for small period prints that will work for a sunbonnet. You will want a yard and a half of 45” fabric. I also love white semi-sheer weaves for corded sunbonnets. Since this often comes 54”-60” widths, a single yard is enough. Hop over to http://www.thesewingacademy.com for directions on how to make your own corded sunbonnet.
9. Cap. If you interpret an era that wore caps, a new cap can be made from a yard of voile, which is currently $6.87 a yard at Dharma.
10. Hair Dressing Kit. I will make a point to do a video on my favorite hair dressing items in the future. The whole kit can be made for less than a pizza.

Helpful Hints

• Create a sewing plan. Note where common fabrics will need to be purchased from (ie: Dharma or Fabrics-Store) so you can save up and purchase in sets.
• Optimize shipping costs by pairing up with friends nearby. Plan similar projects together (all do
  personal linens or caps) or let each other know when you are ordering from a particular place.
• Subscribe to online stores with essentials. Practice self control with their sales.
• Know your local shops. Get on their mailing lists if they have sales.
• Join a couple destash groups if you are on social media.

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Are you one of the many readers enjoying my millinery blog posts?
Consider becoming a Patreon patron. Doing so helps support my work and helps me write more useful articles.
https://www.patreon.com/AMillinersWhimsy

Some time around 10 this morning I thought to myself:

“I used to do this a lot faster.”

I got home from a “quick” errand yesterday, I guess that would be Friday, and pulled out my red plaid wool challis. It was time to stop imagining the math and figure out just where the plaids will land. My hope was to get the red stripe section to sit at the hem of the skirt. Why? Dirt. Being an loose weave wool, this dress will not be washed often if ever. It will be brushed off and spot cleaned. If I absolutely have to, I will soak it. Putting the bolder band of red at the bottom will also, hopefully, help with period esthetic, drawing the eye out as it goes down, creating width to the hem.

The tape measure told me the plaids repeat every 8 or 8.5 inches. Good and bad. Good in that this gives a repeat times 5 that is just a little over my normal panel length of 42inches. This let the panels sit with the red section just above the bottom. Bad in that the repeats are not exact, meaning there is some variation in the weave tightness. Given the price, I should not be surprised. This does tell me wonkiness could happen as I proceed. Good to know.

I measured and marked my panel lengths… separated the skirt section from the bodice/sleeves section… pulled threads… and cut the panels. Lining up the plaids, I stitched each of the panels together and felled the seams.

I had planned on gauging this skirt. But, luckily I decided to do two sample areas. I changed my mind and went with stacked knife pleats. The math worked out nicely. Yes, I pleat with math. I like math. An interesting thing developed because I used directional pleats. On one side, I got a nice red, red, white, grey sequence in balance. On the opposite side, folding the other way, the white and grey dominated.

About two thirds of the way around, the sun had passed over and settled my livingroom into shadows. I continued on with a section of gauging for the center back.

There was just enough light to tear sections for the hem. I pieced them together and clipped them in place. Then, I looked at the clock. Wasn’t it just one o’clock? How was it after eight and getting dark?

This morning, I grabbed the skirt right after feeding the feline keeper of time. Opened the blinds and sat down to the hem. Around and around the 180 inches. Attach the facing. Hem the facing. Attach the tape. Fold the tape.

Somewhere in there, around ten I think, I thought to myself

“I used to do this a lot faster.”

In the, what 8? 10? hours I’ve spent hand sewing this skirt, I would have sewn the whole dress – skirt, bodice, and sleeves.

But, I wouldn’t be happy with how the plaids lined up. I wouldn’t be happy with the weight of the seams with the stiff thread.

This slow sewing is just fine for me. I can curl up with my fabric. I can pay attention to the details.

Now, I’ve been typing away and completely lost track of where I was going with all this. The skirt is ready to be set on the waist. The rest of the wool is neatly folded and waiting. I need to get out the binder of patterns to pick out the pieces.

But first I have strawberries to bead.