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The HSF ’14: Challenge #7 Tops and toes

I suspect some of you may be planning to go rather all-out with Challenge #6: Fairytale, so Challenge #7 dials it back just a bit.  Challenge #7 (due April 15) is Tops and Toes and focuses on accessories: specifically those that go on top of your head, and on your feet.

So what does that cover?  Hats, hoods, headscarfs, caps, coifs, crowns, tiaras, diadems, earrings, eyeglasses, parasols (they go over your head, so we’ll count them) chopines, shoes, slippers, sandals, stockings, and probably a few more that I’ve forgotten!

Here are a few (well, a lot) of pretties to get you inspired as you plan your

Headdress with leaf-shaped ornaments, 2600—2500 b.c.; Early Dynastic period IIIa; Sumerian style Excavated at “King’s Grave,” Ur, Mesopotamia Gold, lapis lazuli, carnelian

Headdress with leaf-shaped ornaments, 2600—2500 b.c.; Early Dynastic period IIIa; Sumerian style Excavated at “King’s Grave,” Ur, Mesopotamia Gold, lapis lazuli, carnelian

Iron Age shoes (ca. 400 BC-400 CE) found on body found in European bog

Iron Age shoes (ca. 400 BC-400 CE) found on body found in European bog

Hood from Greenland, 14th century, Danish National Museum, Copenhagen

Hood from Greenland, 14th century, Danish National Museum, Copenhagen

Portrait of Anne d'Alençon, Marquise de Montferrat (1492-1562) daughter of Rene Duc d'Alençon from the House of Valois-Alençon and Marguerite de Vaudemont by Macrino d'Alba .  Sacro Monte di Crea, Monferrato, Italy

Portrait of Anne d’Alençon, Marquise de Montferrat (1492-1562) daughter of Rene Duc d’Alençon from the House of Valois-Alençon and Marguerite de Vaudemont by Macrino d’Alba . Sacro Monte di Crea, Monferrato, Italy

Women's fashions, 1570-75, by Lucas de Heere

Women’s fashions, 1570-75, by Lucas de Heere

Coif and forehead cloth embroidered in colored silks and metal threads, interspersed with spangles. Probably last decade of the 16th century

Coif and forehead cloth embroidered in colored silks and metal threads, interspersed with spangles. Probably last decade of the 16th century

Chopines, 1590-1610, Metropolitan Museum of Art

Chopines, 1590-1610, Metropolitan Museum of Art

Hood, ca. 1640, British, 1975.203

Hood, ca. 1640, British, Metropolitan Museum of Art 1975.203

Stockings, possibly Spanish,  17th Century, Collection of the Bata Shoe Museum, P96.0101

Stockings, possibly Spanish, 17th Century, Collection of the Bata Shoe Museum, P96.0101

A pair of women's slippers, 1730-1750,  Museum Weissenfels - Schloss Neu Augustusburg

A pair of women’s slippers, 1730-1750, Museum Weissenfels – Schloss Neu Augustusburg

Pair of Woman’s Shoes, circa 1700-1715, Silver lace, metal sequins, silk satin, leather, LACMA

Pair of Woman’s Shoes, circa 1700-1715, Silver lace, metal sequins, silk satin, leather, LACMA

Men's coral silk stockings, 1725-1750 meg-andrews.com

Men’s coral silk stockings, 1725-1750 meg-andrews.com

Bergere hat, 1760, straw with embroidered decorations,Victoria and Albert Museum

Bergere hat, 1760, straw with embroidered decorations,Victoria and Albert Museum

Bonnet, Evening, ca. 1802, American, silk, Metropolitan Museum of Art

Bonnet, Evening, ca. 1802, American, silk, Metropolitan Museum of Art

Shoes, 1806-15, E. Pattison (British, 1800—1850), Met Museum, 2001.576ab

Shoes, 1806-15, E. Pattison (British, 1800—1850), Metropolitan Museum of Art, 2001.576ab

1815 v13 Ackermann's fashion plate 13 - Walking Dress with bonnet

1815 v13 Ackermann’s fashion plate 13 – Walking Dress with bonnet

Shoes, 1845—60, French (probably), cotton, silk, Metropolitan Museum of Art

Shoes, 1845—60, French (probably), cotton, silk, Metropolitan Museum of Art

Wedding bonnet, American, 1860s, silk, MFA Boston, 47.1519

Wedding bonnet, American, 1860s, silk, MFA Boston, 47.1519

Tiara, Phillips Brothers, 1860-70, V&A

Tiara, Phillips Brothers, 1860-70, V&A

Stockings,1875—99, silk and cotton, French,  Metropolitan Museum of Art, 1986.64.2ab

Stockings,1875—99, silk and cotton, French, Metropolitan Museum of Art, 1986.64.2ab

Slip on court shoes by John Thomas for Henry Marshall, 1883 - 1885, Powerhouse Museum, Australia

Slip on court shoes by John Thomas for Henry Marshall, 1883 – 1885, Powerhouse Museum, Australia

Slip on court shoes by John Thomas for Henry Marshall, 1883 - 1885, Powerhouse Museum, Australia

Slip on court shoes by John Thomas for Henry Marshall, 1883 – 1885, Powerhouse Museum, Australia

Parasol, ca 1896, French, silk and ivory, Metropolitan Museum of Art, 1983.102a—e

Parasol, ca 1896, French, silk and ivory, Metropolitan Museum of Art, 1983.102a—e

Folding spectacles of tortoiseshell, probably Chinese, pre 1900

Folding spectacles of tortoiseshell, probably Chinese, pre 1900, trocadero.com

Cloche, Jardine hats, 1917, LACMA

Cloche, Jardine hats, 1917, LACMA

Shoes, Delman, 1937—39, American, leather, silk, Metropolitan Museum of Art

Shoes, Delman, 1937—39, American, leather, silk, Metropolitan Museum of Art

Can’t wait to see what you make!

Storing and caring for my vintage patterns

I inherited a bunch of vintage patterns from my Grandmother, and more from an honourary aunt, plus I’ve bought plenty, and been given even more by other lovely people, over the years.

I estimate that my collecting is nearly 1,000 pattern dating from the mid 1920s, to the 1980s (plus there are the modern patterns I own!)

So how do I store and care for all of these patterns?

There are lots of posts entitled “How to store and organise patterns,” but really, there is no one right answer.  This is just how I do it.

Storing and caring for vintage patterns thedreamstress.com

First, each pattern goes in its own, individual, zip-lock bag.  I pay $14 per 100 bags in just the right size (and try not to think about the fact that I’ve spent almost $150 in storage!).

Storing and caring for vintage patterns thedreamstress.comStoring and caring for vintage patterns thedreamstress.com

The bags protect the patterns, and keep the envelopes, some of which are fragile or torn, or coming apart at the seams where the glue has failed, from further damage.

 

I’m working on transferring the collection to acid free comic book bags, because the bags can off gas on to the patterns.

Storing and caring for vintage patterns thedreamstress.com

I can also tuck notes about the pattern in the envelope: when and where I acquired it, when I’ve made it up, and what I’ve made it in, plus any alterations I’ve made to it.  I can even put scraps of the fabric I used in the bag!  They become their own little mini time-capsules, without writing on or altering the pattern.

Storing and caring for vintage patterns thedreamstress.com

The one drawback to storing  the patterns  in comic book envelopes is the size.  Every time I make up a vintage pattern I transfer all the pattern pieces to patterning fabric (amazing stuff – doesn’t fray, can be pressed).  The patterning fabric pattern fits nicely in a ziplock  bag with the original pattern, but it too bulky for the comic book envelopes.  I love that the fabric means I can tell at a glance if I’ve made it, and can make it again and again without damaging it.

Here are the pattern pieces for  Butterick 6223  (in the top corner) which I made up as the  Aloha Ka Manini blouse  (which reminds me that I’ve stopped doing song associations for each sewing project, and I really should revive that tradition!)

Storing and caring for vintage patterns thedreamstress.com

The patterns then all go in a rather motley collection of boxes – some beautiful, some plain old cardboard, as long as they are the right size to place the patterns in them without squashing them.

Storing and caring for vintage patterns thedreamstress.com

There are lots of theories and discussions on how you should sort your patterns.  Many people advocate sorting by pattern company, and number.  That doesn’t work for me – it’s not how I think of patterns, and it’s not how I remember them, and it’s certainly not how I look for them.  It might work if I had all my patterns photographed and catalogued and cross-referenced by type ready to be looked up at a moment’s notice  (but let’s be realistic, unless someone buys me a winning lottery ticket big enough that it would allow me to have a PA, that just isn’t going to happen).

Instead of using company and number, I sort my patterns by decades, and types of patterns.  For example, I have a box of 1950’s dress patterns, a box of 1950’s separates patterns, a box of 1950’s coats and outerwear patterns, and a box of 1950’s accessories (hats and aprons etc) patterns.  When I am looking for a pattern I usually think to myself “I’d really like to make a 1960’s coat with this” or “This fabric is perfect for the 1930s” or “I know I’ve seen that shape in a lot of ’50’s bodices.”

So sorting by decade and pattern type just makes more sense for how I work with patterns.

Storing and caring for vintage patterns thedreamstress.com

At the moment, I also have my patterns sorted by provenance: a box of 1950s dresses from my Grandmother, and another one of boughten ones, a box of 1960s dresses from an honourary aunt, and another from a friend, etc. etc.  I’m slowly putting labels and acquisition information in every pattern bag, so that I can have all of my 1960s dresses in one place (instead of divided in four different boxes by source).  It’s a little obsessive, but provenance is so important from a historian’s perspective, and the stories are half the joy of the pattern.

Storing and caring for vintage patterns thedreamstress.com

The other half of the joy, of course, is how gosh darn beautiful they are, and how fun they are to sew with!

Storing and caring for vintage patterns thedreamstress.com

Rate the Dress: Velvet scrolls in the 1890s

As I’m away on holiday, I haven’t been able to tally up the scores for the 1940s embroidered dress, but I can tell you they are likely to be pretty high: you LOVED it!

UPDATE: You certainly did!  30 out of 34 scores were 10/10, and the dress came in at an astonishing 9.9 out of 10 – I don’t think we will ever get that close to a perfect score again!

Last week’s dress was likely a younger woman’s frock, so in contrast, here is something rich and holiday-y that I simply cannot imagine being worn by a younger woman.

Evening suit, House of Paquin (French, 1891—1956), late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), detail, late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), detail, late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

Evening suit, House of Paquin (French, 1891—1956), late 1890s, silk, Metropolitan Museum of Art, C.I.48.70.1ab_F

The amount of work that has gone into the dress is gobsmacking: the twisted silk scrolls, highlighted with tiny chenille work.  The weighted buttons to hold the hem.  The pleated collar and little pleated back vents on the cuffs.  The intricacy and details are astonishing.  It would take a lot of panache to pull it off without the ensemble overwhelming the wearer.

What do you think?  Was the work worth it?  Who do you imagine wore this ensemble?

Rate the Dress on a Scale of 1 to 10