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Historical Sew Fortnightly 2015? Let’s talk about it

So, that time of year has come.  We’re almost at the end of HSF 2014, and are thinking about the new years sewing.  People have been asking if there will be a HSF 2015.

The answer is, I don’t know.

I’m tired.

Running the HSF is a lot of work.  There is the stuff on my page: writing the challenges, the page, answering questions.  Writing inspiration posts.  Organizing voting for the HSF Choice Challenge.  Favourites posts (which I am ridiculously behind on).  Just compiling the list of contributors takes hours and hours – and then half of the list turns out to be bloggers  who do one project and then loose interest. And then there is the Facebook group: keeping spammers out, folders and events up, and information updated in the files.  Plus the occasional squabble.  The only reason I’ve survived the FB page at all is the fantastic  Sarah of A Most Peculiar Mademoiselle  and equally fantastic Elizabeth of Sewing & Sightseeing, who have been co-moderating.  

All of these things mean I’m not writing posts I really want to write (like Terminology posts), and not sewing things I really want to sew (like 14th century, and a robe de cour).  And not spending time with my husband and doing up our house.

So I’m a little exhausted, and a little disillusioned.  I can see why Mena just abandoned the Sew Weekly after three years.  You burn out.

On the other hand, there are lots of amazing things that have come out of the HSF.  Fabulous creations, wonderful people, knowledge…

And there are  still challenges that I want to do.

So here are some questions:

Do you want a HSF ’15?  Are you committed  to throwing yourself into another year of challenges and sewing?

What did you like about HSF ’14 (or HSF ’13), and what would you like to be different in HSF ’15?

How could  the HSF be changed to make it easier and less time consuming for me?

The Ngaio blouse has a day off from crime and drama

My first photoshoot with the Ngaio blouse  was all very dramatic and formal – pencil skirt, stockings, heels, finding black and white backdrops in the CBD, and me giving the camera  my best ‘come hither’ eyes and ‘don’t even think about coming hither’ chin lift.

When we got home, I put on jeans, and curled up on the couch to do the last of my semester’s marking.  After a few hours of that, I popped out into the yard to enjoy the sun and give my eyes and brain a rest, and Mr D got another sew of photos of the blouse: relaxed, casual, hanging out with Felicity.

The Ngaio blouse thedreamstress.com

(and yes, the house needs painting,  It’s on our to-do list to sort this summer.  Colour suggestions?)

The Ngaio blouse thedreamstress.com

I think I like the blouse  even better worn this way!

The Ngaio blouse thedreamstress.com

Certainly Felicity does. 😉

The Ngaio blouse thedreamstress.com

The Ngaio blouse thedreamstress.com

The Ngaio blouse thedreamstress.com

The Ngaio blouse thedreamstress.com

Rate the Dress: 1870s elaborations on a theme

Last weeks I showed you a Hattie Carnegie dress in pale pink & green, as worn by the 60ish Electra Havemeyer Webb, sparking an interesting discussion about colour, age, and when is pink too pink.  The outfit copped some criticism for the colour scheme (Rate the Dress history on this blog suggests that pink + green isn’t always a classic scheme), for being too shiny (that’s satin for you: even in silk it has a lustre!), and for not looking comfortable, but it came in at a comfortable 7.7 out of 10.

This week I’ve picked another two-tone outfit, but one that takes the idea in a very different direction.  In contrast to the simplicity of last week’s dress, this champagne and black dinner dress by Mon. Vignon is the epitome of Victorian detailing, with every square inch of fabric patterned, beaded, ruched, pleated, trimmed, fringed, and otherwise ornamented:

The front of the dress features a ruched panel down the skirt and bodice, framing the bodice buttons, and surmounted by a black bow at the bust:

Even the buttons are detailed, with wrapped threadwork:

The neckline is edged with lace, fine pleating, and an elaborate beaded border.  Plus, there is a collar, and a rose:

The rest of the dress is not left to languish unadorned.  The train is bordered with black velvet swags, and beaded and tasselled fringe sways round the hem and climbs up the side of the skirt.

Underneath the fringe, there are layers of fine pleating:

The dress dress is definitely a paean to the idea that more is more is more.

Is it too much?

What do you think?

Rate the Dress on a Scale of 1 to 10