Making it Real

On stage and screen, actors transform into characters from another time and place. Take, for example, a show like Downton Abbey, or a movie like Les Miserables or the Hobbit, in which the fantasy seems so real - it makes you feel as though you've stepped into another place or time. How do they do that?

It's all in the details.
I am a costumer, so that is my focus, but the principle applies across the board. Colors, velvet vs. fabric ribbon, buttons made out of bone or covered buttons, fabric types, and the style of lace are just a few examples of things that can make a much bigger difference than you might think. There is no substitute for research. Use online resources, books, museums, and films that are known to be accurate representations of the time period. The more you know, the easier it will be to pick fabrics, trims, accessories, and even thrift store garments that fit the time period. I choose pictures- photos of people and museum pieces and fashion plates- for each character and use them throughout the process as reference points. Sometimes when a costume doesn't look quite right I go back to the pictures and analyze them bit by bit until I figure out what detail is missing, or what modern detail I have inadvertently included that I need to remove. I just completed Four Tickets to Christmas, set in 1905. Here are a few examples of what I do.

Underwear matters.
The S corset and related underthings all help to create the female silhouette of the time period. We built corsets (on a very tight budget, that is a blog of it's own), corset covers, bustle and bust pads to shape the ladies.

Authentic patterns are great when you can get them. I used authentic patterns from 59 Authentic Turn of the Century Patterns and The Edwardian Modiste for the boy's suit and the ladies dresses. I also used the cover of a theater goers magazine from 1905 as a model for the dark green dress and hat. The photo is from the show; the pictures below it provided guidance and inspiration. It wasn't enough to make the garments- trimming them appropriately changed them immensely- especially the boy's suit.

Use existing pieces whenever you can- especially for the men. Suits and coats are labor intensive. The drawing on the left from Men's Fashion Illustrations from the Turn of the Century portrays the dapper urban gentleman of December 1905 we were trying to create. I made the white vest, tall collar and tie, but everything else was put together from vintage parts.

Sometimes only a little thing is required to transform a garment. The jacket with the lace collar is from The Voice of Fashion. I drafted just the collar pattern and added it to a simple cape. I picked up a straw hat at a thrift store and covered it with fabric before embellishing it.

Look to museum pieces for colors. The actress really liked this museum piece, so I did my best to replicate it. We made the jacket, had the blouse, and I tweaked a skirt we already had.

This costume was made entirely from existing parts.

Last but not least, we used vintage choreography to go along with the costumes.

If you would like to see more photos, click here.

The 1912 Evening Gown- Finished!

Choosing the trims was fun.

Two trims were applied to the neckline, as well as a narrow velvet ribbon around the bottom edge of the georgette skirt. Last of all, I hand stitched the center back lining along the zipper opening.

Looking at it on the dress form, I noted that the two layers really gave it the feel of a period dress. One night while watching Downton Abbey, I realized that I had a couple items in my Etsy shop- a choker and a black lace cardigan shrug- that would go very nicely with the dress. The choker isn’t as elaborate as some of them were, but it has a similar feel, and the lace shrug has the right shoulder lines for the period. I could hardly wait for my model to arrive!

The finished dress fit Katie perfectly. It is not floor length on her when made according to the pattern (she is @ 5’ 6”) but she really liked the length. 

We tried both it with and without the shrug. 

I think some of the most beautiful and classiest clothing is made from vintage patterns with a modern twist, and this is a great example. 

I am happy with the finished product, and have added the gown to my Etsy Shop.  I have obtained permission from Janyce Hill of VPLL to sell garments made from this pattern, and I think it will be a great way to plug her Titanic Sewing Project.  Maybe the dress will get to attend a Titanic event!

Speaking of Titanic events, there are Titanic Memorial events, balls, and dinners all over the United States, Canada, and England this year, many of them in April. I have posted links to a few of them below. If you know of more, please feel free to post the links as comments. 

http://www.titanic1.org/events/index.asp

http://www.titanictheexperience.com/titanic-dinner-event.html

http://www.novascotia.com/en/home/thingstoseeanddo/festivalsandevents/titanicevents.aspx

http://dinetitanic.com/submit/

http://www.thirteen.org/metrofocus/culture/qa-with-a-culinary-adventurer-recreating-the-last-supper-on-the-titanic/?gclid=CM699faK4K4CFcRM4AodW0iRVw

http://www.1912theevent.com/#/Home-01-00/

Up next time.... a Steampunk Fascinator.

The 1912 Evening Gown- Putting it All Together

When I cut out the pattern pieces, I eliminated the back overlap as I intended to install a zipper. I rolled the edges of the georgette before installing the zipper, the entredeux lace, and assembling the garment. The pattern pieces went together easily. 

Once the body of the lining was done, I made the pleated flounce. Using a gridded ruler and rotary cutter, I cut a piece twice as wide as the directions instructed, then folded and pressed it in half before pleating to give the bottom of the dress some weight.  

I do not own a pleater, so gave it a try with my ruffler foot, as it actually makes small pleats, which I then pressed in place. This method worked reasonably well, but it was tedious.

Once the lining and outer dress were assembled, I pinned them together as you would a lined vest, leaving the shoulder seams open for turning. I clipped and trimmed the seams, then turned and pressed the dress. 

Another change I made from the pattern is the armhole seam allowance. Sewing a fat 5/8” seam widened the formerly tight arm openings enough to make them comfortable for the modern wearer. 

next time- the finished dress.