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The HSF Challenge #22: Masquerade

Just in time for Halloween and the biggest costume celebration of the year, the Historical Sew Fortnightly Challenge # 22, due Monday November 4, is Masquerade.

Fancy dresses and Masquerades have been popular for centuries, both as very organised pageants that blended into theatre, and as balls where all organization and constraints were abandoned. Masquerades as pageants were about creating another world, and as balls symbolised an escape from your ordinary life, and the rules of society. In fancy dress, with your face covered by a mask, you could step out of yourself. The Queen had as much responsibility as a peasant girl, a peasant girl (in the right dress) could rub elbows with a queen.

In this challenge, be inspired by historical fancy dress and masquerade, go whole-hog in an elaborate allegory (or a hog costume, or a side of bacon costume, because those exist), or keep it simple with just a mask and a domino. Because masquerades were a loosening of the rules, and a step into a fantasy, the Historical Sew Fortnightly rules are a little looser, and this is a good excuse to make something that ventures into fantasy or an alternative universe. As long as your fantasy has some link to history, it counts.

To inspire you and get you thinking, here are a few historical examples of masquerades and fantasy worlds that fascinate me:

One of the most famous fancy dress balls ever is the Bal des Ardents, which almost killed a king, and certainly added to the instability of his court.   Contemporary descriptions of the ‘Wild Men’ costumes of resin-soaked linen costumes covered in flax don’t sound very attractive, and the accounts of the tragedy are horrific, but illustrations of the costumes make them quite beautiful, green and lush with the unhappy addition of golden flames.

The Bal des Ardents depicted in a ca. 1470 miniature from Froissart's Chronicles

The Bal des Ardents depicted in a ca. 1470 miniature from Froissart’s Chronicles

I love the following outfit because it’s just so chic and elegant, and dare I say, minimalist.  Exquisite!

Portrait of the Hon. Mrs William Townshend in masquerade dress by Thomas Gibson. Christies

Portrait of the Hon. Mrs William Townshend in masquerade dress, 2nd quarter of the 18th century, by Thomas Gibson. Christies

How fabulous is this fancy dress costume from 1831?  What is she supposed to be?  A firebird?  It’s all quite magnificent!

Fancy dress, La Moda magazine, 1831

Fancy dress, La Moda magazine, 1831

The following costumes pretty much make me hyperventilate with their awesomeness.  Not only do the fabulous masks include a hedgehog, but the regular clothes they are wearing are pretty swish.  I don’t know how you walk or eat in them, but that doesn’t stop their amazingness!

Fancy dress costumes, Germany, 1860s

“The Hare & the Hedgehog” fancy dress costumes, 1860s, from the Stadtmuseum, Germany

I love this fancy dress fashion plate because it lends credence to the whole idea of the Polly / Oliver dress.  The Elizabethian and Polly’s 18th century soldier are quite obvious, but what is the girl in pink meant to be?

Fancy dress, 1877, La Mode Illustree

Fancy dress, 1877 La Mode Illustree, design by Adel Anais Tondouze

This costume involves a black cat.  And roller skates.  Naturally.

Black cat costume (with roller skates), 1880. via Retronaut

Black cat costume (with roller skates), 1880. via Retronaut

(actually, random costumes paired with roller skates seems to have been a thing, because I’ve seen a dozen other images of Cavelier boys and little witches and Romeos in roller skates.)

I love this “Scrap Album” costume.  It is so perfectly of its time, so unique, and so brilliantly made!

"Scrap Album" fancy dress. Circa 1893, Made of silk, cotton, linen, paper, glue, metal (fastening), wood, leather, baleen, wax, and paint, England. Madame Gough, London (court dressmaker), Sarah Ann Gough (designer) National Gallery of Victoria

“Scrap Album” fancy dress. Circa 1893, Made of silk, cotton, linen, paper, glue, metal (fastening), wood, leather, baleen, wax, and paint, England. Madame Gough, London (court dressmaker), Sarah Ann Gough (designer) National Gallery of Victoria

Speaking of scraps, have you ever seen such an elegant Waste Paper Basket?  Simple, but brilliant!

Wastepaper basket, 1896

Wastepaper basket, 1896

How amazing are these costumes?  The thistle (what on earth would you make the headdress out of?)!  The climbing rose! The one in the middle is a Japanese garden (which is somehow so much more novel, and less dreadful, than the usual stereotypical national costume masquerade outfits)

Fancy dress, 1920s

Fancy dress, 1920s

If you are in need of more inspiration, mine Fancy Dress through History board is only one of a number of fantastic pinterest boards dedicated to masquerade dress – there is no end to the fabulous, wacky, inventive ideas out there.

Rate the Dress: Electric blue paisley, ca 1902

I did wonder what you would make of the 1950s Paquin dress last week.  I find it emotionally appealing, because it reminds me of those flowers so, and aesthetically not quite as appealing, because it looks exactly like a dress based on those flowers which I would have designed when I was, I don’t know, nine?  It’s just so literal.  In the end, I was the opposite of Fidelo: I wanted to hate it, but I just couldn’t.  I also couldn’t love it though, and so the 7.3 out of 10 that you rated it is just a teeny bit higher than what I would have given it.

I know this fortnight is supposed to be Separates, and I had the perfect Separates ‘Rate the Dress’ all picked out, and now I can’t remember where on earth the link is, and all the other separates I can find seem to be beige and white, and I’m quite sure you’ve all had enough of pale tones for a while, and it’s time for something vivid and colourful!

So today’s Rate the Dress is quite vivid and colourful, and slightly inspired by last week’s Rate the Dress, as the paisley design rather reminds me of sea creatures.

Afternoon dress of printed silk satin, ca 1902, via Whitakers Auctions

Afternoon dress of printed silk satin, ca 1902, via Whitakers Auctions

 

Afternoon dress of printed silk satin, ca 1902, via Whitakers Auctions

Afternoon dress of printed silk satin, ca 1902, via Whitakers Auctions

The fabric is certainly very bold, and vibrant, and distinctive.  It’s also surprisingly modern, which shows that modern isn’t as modern as we think, in some ways!

Afternoon dress of printed silk satin, ca 1902, via Whitakers Auctions

Afternoon dress of printed silk satin, ca 1902, via Whitakers Auctions

Afternoon dress of printed silk satin (detail), ca 1902, via Whitakers Auctions

Afternoon dress of printed silk satin (detail), ca 1902, via Whitakers Auctions

Modernity actually seems an apt theme for a dress from the turn of the century.  What do you think?  Is this the way to blend bold modernity and old fashion femininity, the way to MAKE A STATEMENT in a sea of pastel frocks, or has it missed the mark?

Rate the Dress on a Scale of 1 to 10

Announcing: Polly / Oliver!

Well, it’s been five years, a lot of fabric, a lot of thread, a lot of buttons, a lot of gold braid, and a bit of moaning and swearing and threatening the garment with dire consequences (“I will DYE you blue.  I’ll do it!  I swear!  You’ll be an abomination unto Nuggan from head to toe.  Behave or dye!”) but I have finally finished the whole Polly / Oliver Perks ensemble, and Polly is ready to stand for Borogravia and women’s rights and well-maintained pubs and clean socks everywhere.

The ca. 1885 'Polly / Oliver Perks' Terry Pratchett inspired ensemble

(well, not quite everywhere, but not just on feet and in the sock drawer and other places you might normally expect to find them).

The ca. 1885 'Polly / Oliver Perks' Terry Pratchett inspired ensemble

This dress and I have done battle, I lost some skirmishes, but I’ve come out the winner in the end, and I’m rather pleased with it.  It’s Borogravia does girlie-military, with lots of gold braid and fitting, meets historically plausible 1880s fancy dress.  After seeing the photoshoot images, there are a few places where I need to tack the skirt panels into place. and a few other teeny tweeks that need doing.  It’s rather like working out a military victory: you don’t just win, you have to negotiate and discuss terms for a while!

The ca. 1885 'Polly / Oliver Perks' Terry Pratchett inspired ensemble

Also, it’s rather good for marching purposefully in.  I know this because I did a LOT of purposeful marching during the photoshoot with Sarah.  I marched purposefully towards the camera, and then past the camera.  Then I marched purposefully back in the other direction.  And then I marched purposefully back.  Then we marched off to another location, and I did it all over again.  The dress looked fabulous.  I, on the other hand, was doing this repetitively, in long grass, and 3 kilos of skirt and a corset.  It was hard work!

The ca. 1885 'Polly / Oliver Perks' Terry Pratchett inspired ensemble

These photos are just a taster of the photoshoot – Sarah took most of the photos on her camera and they will be up on her livejournal soon (I hope), and the ones I’m showing are the ones she took on my camera (so any imperfections in the images are thanks to my crappy camera, not Sarah’s skill!).

The only regret I have about the photoshoot is that I don’t have a sword.  But then, Polly did her best work without a sword, and you always have a good knee handy when you need it!

I did remember Polly’s most important accessory though.

The ca. 1885 'Polly / Oliver Perks' Terry Pratchett inspired ensemble

Oh yes.  A good pair of socks is most important for…marching.

The ca. 1885 'Polly / Oliver Perks' Terry Pratchett inspired ensemble

The Challenge:  #15  ‘White’

Fabric:  5 metres of ivory cotton sateen (a gift),  3.5 metres of white cotton (can’t remember if I was given it or bought it, but if I did it cost less than $5), scrap of linen for the hem (free), red cotton jacquard (free, and leftover from the jacket).

Pattern:  My own, based on the 1887-9 day dress from the collection of the V&A pattern in Janet Arnold’s Patterns of Fashion 2.

Year: ca. 1885

Notions:  21 metres of gold braid for the cornelli work ($21).

How historically accurate is it? As a fancy dress?  Pretty close!  The construction is a teeny bit modern in places, but not too bad.  As a real garment, perhaps something for the seaside?  A bit costume-y for my standards, but after 5 years I’ll take any form of it that is finished!.

Hours to complete: 15.  I budgeted 10, but then I decided the skirt needed the cornelli work, and that took some time to design and sew.  So just over an hour a day for the fortnight (though really, I did it in 3 x 5 hour chunks).

First worn: Sunday 28 July, for the photoshoot (immediately after sewing the last bit of trim on the hat).

Total cost:  NZ$21-$26  It would have been practically free if it hadn’t needed that trim!  Darn.