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1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

The 1790s jumps of disappointment

A month ago I blogged about making 1790s jumps that finally fit well and were super comfortable.

In blogging about them, I realised I made a pair of jumps last year that I never blogged about – because they didn’t fit well, and weren’t super comfortable.

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com
1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

These jumps are based on one of the 1790s corset pattern in Jill Salen.

I loved the multiple back panels in the original, and the little tails they formed.

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

However, there were other elements of the original I didn’t love so much: tabs cut along the front that didn’t seem to do anything and would have been so much work to bind, so I adapted the pattern based on a few other extant pairs of jumps, and other patterns.

Unfortunately, partly because of my alterations, partly because of the original pattern, (and possibly because I did a weird job grading the pattern up) these did not turn out well.

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

They look cute lying flat, but on a person? Not so much.

The pattern was weird to start with: when I resized them to fit me I either ended up with a pattern that was proportionally WAY too wide across the back, or way too wide across the front, and cutting in to my front arms. To achieve a reasonable fit I had to change the proportions of the pattern a significant amount.

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

And then they still don’t fit well. There are weird bubbles and bulges up the back, gaping across the back, and very high in the back.

With a lot of tweaking (and removing of bones) I got them to fit me, and be comfortable-ish, but they still aren’t great.

I mean, I understand bum-rumps were fashionable, but why do these stays have space to smuggle a whole battalions worth of handkerchiefs under the back panels?

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com
1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

Because they were so disappointing I haven’t taken proper on-me photos. I’ll do that the next time I have occasion to pull them out.

They have been worn though: I’ve already lent them out to a number of friends for Regency events.

So, a win?

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

But I might need to re-check them against the pattern, and cut in and bind those front tabs. They would be a good candidate for an ‘eco-costumer re-make the things that weren’t great instead of making new’ post…

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

What the item is: 1790s front-lacing jumps

Material: Midweight brown linen inner, light-midweight white linen outer

Pattern: 1790s stays pattern from Jaill Salen’s ‘Corsets’, with some adaptations based on other jumps and stays of the era

Year: ca. 1795

Notions: metal boning, cotton twill tape

How historically accurate is it? Not particularly – the fabrics are OK, I think, but I machine sewed most of it, and used metal bones (instead of whalebone). I meant these as working toiles, so I’m not too fussed about the accuracy. But hey, there are hand-worked eyelets! (using a stitch that it turns out I can’t find any evidence for on jumps of this period, so…)

Hours to complete: 20 ish.

First worn: April 30th, to fit a bodice over

Total cost: Under $10, all the materials except for the bones were thrifted

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com
1790s jumps based on a pattern in Jill Salen's 'Corsets' thedreamstress.com

Rate the Dress: a 1920s mermaid

Since very patterned fabric and trim was divisive last week, this week I’ve gone for a very plain fabric, with no trim whatsoevery. But it’s definitely not boring a boring dress: whatever else it might be, all in one colour and trimless as it is, it’s distinctive.

Last Week: an 1850s chine a la branche day dress

There was a decided fork in the ratings branch(e) when it came to judging last week’s chine crinoline. Either you liked the fabric, or you didn’t. And either you were sure the trim must have been symmetrical, or couldn’t forgive that it wasn’t.

The Total: 7.1 out of 10

Well, it’s an improvement on the week before – more jam with pips than vegemite in the universally appealing scale!

This week:  a 1920s day dress with ‘scale’ scallops

Since last week’s fabric was so divisive, and trim was so divisive, this week I present a dress that’s completely devoid of trim, and in a very simple, restful eu de nil silk chiffon.

Afternoon dress, 1926, silk, The Goldstein Museum of Design

The dresses main design feature is layered scallops, which create a fishscale effect running down the front of the dress, and around the hem. They emphasise the drop waist and vertical elements so characteristic of fashions of the era.

Afternoon dress, 1926, silk, The Goldstein Museum of Design
Afternoon dress, 1926, silk, The Goldstein Museum of Design

The high neckline and long sleeves are typical of day dresses of the 20s, but the sleeveless underdress, revealing arms and upper chest under sheer sleeves, add a hint of sass, and make this a more formal day dress. It would be suitable for wearing to the races, or to a wedding, paired, of course, with the perfect hat, rather than for a day of shopping.

Afternoon dress, 1926, silk, The Goldstein Museum of Design

It’s very Little Mermaid (quite appropriate this week), but in the straight lines of the 1920s.

What do you think? If you wanted to channel your inner Marina or Ariel in 1926, would this be your pick for oceanic elegance?

Rate the Dress on a Scale of 1 to 10

A reminder about rating — feel free to be critical if you don’t like a thing, but make sure that your comments aren’t actually insulting to those who do like a garment.  Phrase criticism as your opinion, rather than a flat fact. Our different tastes are what make Rate the Dress so interesting.  It’s no fun when a comment implies that anyone who doesn’t agree with it, or who would wear a garment, is totally lacking in taste. 

(as usual, nothing more complicated than a .5.  I also hugely appreciate it if you only do one rating, and set it on a line at the very end of your comment, so I can find it!  And 0 is not on a scale of 1 to 10.  Thanks in advance!)

Ramsay to Renoir thedreamstress.com

Costume Re-Use: How many times can I wear that dress?

I’ve been so uplifted by the response to my post on the climate crisis. In addition to many comments and expressions of support, there has been immediate action. Sewstine has started a group: Costumers for Climate Action, with the goal to use our visibility and voice to help raise environmental awareness and to create change, both as costumers, and in the wider world.

We’re working on bigger plans, but to start off, every member has been encouraged to blog or post about the topic this week.

While costuming isn’t a huge contributor to climate change in the bigger picture, it could still be more eco friendly as a hobby. We’ve been talking about ways to make it more so, and one of the big things that has come up is re-use. As costumers we feel so much pressure to have a new outfit for every event, and to keep making new things.

But, both for the environment, and for all the work that goes into a thing, it’s sad to only wear it once. So here is a celebration of some of my costumes that have been worn, and worn, and worn again.

My goal is for every costume I make to get worn at least 12 times.

Let’s look at three of my earlier frocks and see how I’ve been doing:

The 1878 Jeanne Samary Dress

The Jeanne Samary Dress at the opening of Monet & the Impressionists at Te Papa

First worn to the opening of Monet and the Impressionists, back in March-ish 2007. (#1)

And to my ‘Capturing the Mode’ talk in conjunction with Monet & the Impressionists (#2)

Worn again to Gaskell’s Ball in Oakland, in June-ish 2007 (#3)

At Gaskell’s in Oakland, California

And by Theresa for a photoshoot in the Botanical Gardens (#4)

1880s Jeanne Samary dress thedreamstress.com

And by models at two more talks on the classical influence on fashion in 2010 (#5 & #6).

And again by a model at Ramsay to Renoir in Nelson (#7)

Ramsay to Renoir thedreamstress.com

The dress no longer fits me, so is due for a major refurbishment so I get wear it another 5 times and get it to 12 wears! (though my mind is insisting it’s been worn at least once more, but I can’t recall the occasion…)

The ca. 1800 Madame Recamier Regency Dress:

Made back in 2009, in one day.

First worn for a photoshoot the day I finished (#1)

Worn again to a Pride & Prejudice & Zombies ball (where I met SO MANY amazing people who have gone on to be lifelong friends – including Theresa) (#2).

Then the dress appeared at the event it was made for, on a model at Pompeii to Paris I (#3)

And Pompeii to Paris II (#4)

And at a talk for the NZ quilters at a big annual conference in 2010 (#5)

In was very helpful as a stand-in dress in 2011, when I was giving a Dr Sketchy event and developed a virus right before it, and couldn’t breathe in my planned corset (#6):

The timeless beauties get a rundown of the schedule

In 2015 Theresa and I did a Pride & Prejudice themed photoshoot, and I wore it #7:

ca. 1800 Recamier gown thedreamstress.com

After that I decided I needed to fix all the things I’d gotten wrong with it, and gave it a bit of a refurbishment:

ca. 1800 Recamier gown thedreamstress.com

Last winter it got worn at Ramsay to Renoir, b7 a model who is a perfect stand-in for the 1995 Jane Bennet! (#9)

Ramsay to Renoir thedreamstress.com

Last spring Priscilla borrowed it to wear for our Sew & Eat Historical Retreat (#10):

And just a few weeks ago Zara borrowed it as part of her Neelix costume for the Time Travellers Ball. (#11)

I’m almost certain it’s been worn a couple of other times, but I’m also sure it will be worn a dozen more times, so it’s doing well on my costume re-wear goals!

1660s Ninon

Made in 2010-2011, because I love yellow and mid 17th century fashion.

First worn for Grandeur & Frivolity, a talk on Baroque & Rococo music & fashion. (#1)

And then in 2011 for a photoshoot for Radio New Zealand on a similar topic (photo here is an outtake) (#2):

It next appeared at a charity talk at Premier House on the history of afternoon tea (#3)

Chiara in Ninon & Brit in the Pet waiting their cue to enter

And then I finally got to wear it for a photoshoot with Theresa at the old Dominion Museum. #4

1660s Ninon gown thedreamstress.com

And then again in 2012 for another charity talk, this one at Wellington Museum (#5)

Ninon's Dress thedreamstress.com

After which I gave the dress a little refurbishment, and added trim to it, and wore it to a Bastille Day ball in 2015 (#6)

And then it went with me to my first CoCo for the Friday Night Gala (#7)

Costume College Friday thedreamstress.com

And finally, it was worn by a model to Ramsay to Renoir last winter (#8)

Ramsay to Renoir thedreamstress.com

Four more wears (and hopefully lots more after that) to go!

I’ve loved all ways these dresses have looked, how they change depending on how they are styled, and how different women look in them. It’s a satisfying result after all the work that goes into them. <3