c. 1893 Bodice Reproduction

I took inspiration for this bodice from this photograph, lifted long ago from Ebay (apologies to the source for losing your reference).

Woman from Indiana, 1890s

I started with the Past Patterns Eretia Bodice #212, but after too much fussing I ended up more or less draping it on the dressform.  The bodice has a boned lining which closes separately from the silk plaid.  The sleeves are lined with a crisp, lightweight linen, and  I rough-pleated a double layer of stiffened muslin around the top of the armscye to aid in keeping the sleeves poufed.

c. 1893 Bodice Back

"The Wethersfield" 18th c. Pocket Reproduction

I used the Wethersfield Pocket Kit from the Southcoast Historical Society.  Sadly, the historical society looks to be no longer putting out patterns.   Hallie Larkin did the pattern, so I’ll link to her instead.

The kit came with embroidery instructions, but because this was my first big embroidery project I used all chain-stitch (which I am good at, instead of french knots, which I am not).  That may or may not be period correct, I don’t know, and welcome advice on the subject.

This outfit was for my sister, Christmas 2009.  The blouse pattern is Advance 8787 and the skirt is Simplicity 3983. The blouse is a modern silk crepe de chine, and the skirt is some sort of polyester crepe.

I got a quote in the Times!

One Size Fits Nobody: Seeking a Steady 4 or a 10

“Studying dress sizes in Vogue advertisements from 1922 on, Alaina Zulli, a designer focusing on costume history, found clothing sizes have been irregular for decades.

A woman with a 32-inch bust would have worn a Size 14 in Sears’s 1937 catalog. By 1967, she would have worn an 8, Ms. Zulli found.

Today, she would wear a zero.”

Vogue September, 1929

Crafting a Corset Part 1: Getting Started

Crafting a Corset Part 2: Assembly

Crafting a Corset Part 3: Hardware

I made this slip in pink silk crepe de chine from C&J Textiles as a christmas gift. The pattern is McCall’s 6590, copyright 1962. The lace is from M&J Trimming.

McCall's 6590 (1962)

Snapshot by fabulous photographer Kevin Bertholf.

This past Autumn I worked on a number of commercial sets as the on-site tailor.  The stylist brings about a gazillion clothing items to the shoot, the director chooses what they want, and then I do a quick fitting and alteration.

So far I’ve worked with stylists Robert Verdi for Kathy Griffin, and Ise White for Avon, Anderson Cooper, New Balance, and Dial.

For Kathy Griffin I had one evening to transform a purple bikini into a camouflage one.

Kathy Griffin at the 2010 VH1 Divas Salute the Troops

Katherine Caron-Grieg's beautiful use of a braiding pattern from 1860 on a 1910s style bodice. Click on the image to visit her site.

All of the following patterns were photocopied from Godey’s Lady’s Book.  I apologize for any that do not have dates, I sometimes slip up in my note-taking.

My friend Caitlin and I attended Phantasmagorey early in the day dressed as the Odd Cousins from Herts, based on a limerick by Edward Gorey.

The Odd Couple of Herts by Edward Gorey, from "The Listing Attic"

Alaina and Caitlin as the Odd Couple from Herts

Halloween evening I went to see the Dresden Dolls reunion concert.  I went as Kate Bender, the 1870s Kansas seductress/accessory to serial murders.  The skirt is Truly Victorian 1870 Trained Skirt Ensemble in black silk taffeta over a bustle from the Laughing Moon Hoops and Bustles pattern. I made the hairpiece from four super-cheap switches purchased at the wig store on 14th street by making a series of braids and coils, sewing them into a bun-like mass, and pinning liberally.

Aminah and her friend/designer, Vaughn Jereaux, came to me with a very specific request:  reproduce this dress exactly.  I don’t usually work with synthetics, but Aminah chose a beautiful synthetic with the hand of a hammered silk taffeta.  I built the bodice directly on her body over a corset-like foundation layer.

I usually avoid doing any designing if I can help it, so I was thrilled that the talented Mr. Jereaux took the onus on himself of buying fabric and flowers.