Sewing Space

I’ve been inspired by Jen of Festive Attyre’s sewing room redo, which she’s posted about more on LJ than her blog, but you can get a glimpse of here.  She went from a super disorganized, difficult to use space to something glorious.

The house I’m in is the first one in which I’ve ever had a sewing room, which trust me, is AMAZING.  It’s pretty small, but I don’t care — I can make a mess, close the door, and just leave it!  When we first moved in I tried to set it up as well as I could, but I’ve found I needed to refine things over the years, as when things explode, it makes it very hard to get any work done.  Sadly I don’t have any before photos, but here are some things I’ve been doing over the past year or so:

Ikea storage cabinet

The main issue is always storage — getting things put away (so they’re not out cluttering my workspace) AND put somewhere I can find them.  When I first moved in, I bought this big Ikea storage shelf set, and I’ve found that I just need to keep refining how I use it so that I do so more efficiently.  That includes getting like things into boxes, putting less-frequently-used things higher up, and labeling boxes so I know what’s in what.  I’m always thinking I need more storage, then I reorganize this cabinet and find I just need to use it better!

Storage drawer

One of my favorite things is the cabinet has the option of mounted pull-out drawers with compartments.  I have two of these shorter ones, which is where I keep my trim (shown) and things like ribbon, glue, etc.

Organized remnant drawer

I have two taller drawers that are my remnant bins, where I keep all the leftover bits of fabric I might use again, or fabric that could be used for lining or draping.  These drawers were getting messier and messier, to the point where I had no idea whether I had any lining-appropriate linen on hand.  I dragged both drawers out to the living room and sorted through them all, throwing away stuff I wasn’t going to use, putting like things with like, and making separators out of cardboard to keep sections organized.  Yes, I do in fact have a TON of lining-appropriate linen…

Sewing machine table and some decor
Charles & Di wedding mug used as pen holder (prized possession), cheesy 18th century-esque figurine holds scissors (and random feather pen)

Sewing machine table and some of my decor.  Since I got rid of a pretty big desk, I usually pile papers on the right hand side, which makes it unusable — my pin magnet and scissors will end up on the 3″ of available space and that’s it.  I forced myself to go thru all those papers, and while I didn’t go so far as doing any filing, I did manage to put any need-to-keep stuff in a box that’s now living under the table.

New (smaller, taller) cutting table. Usually has rolling drawers full of historical undies under it. Currently has Olive under it.

For the longest time, I had a rickety folding/rolling cutting table from Joann’s.  It was never tall enough, so I’d get a crick in my back working at it.  Also, having an available flat surface is like a giant neon sign to “DUMP THINGS HERE”!  Also, to have more space in my small room, I’d frequently leave one of the leaves folded down.  I replaced that table with this, a higher bar table from Ikea.  It’s tall enough for me and a reasonable size for the room.  The basket is my “current project bits” basket, which lives in the storage cabinet when I’m not using it.  I also have a high bar chair that I can use if I’m sitting and working at this table.

One idea I got from a lot of blogs about craft/sewing room space was using the space UNDER things as storage.  I used to keep all my historical undies in two big plastic tubs that took up a huge amount of space in my closet.  It was super annoying to paw through giant bins of white on white to find the right chemise or drawers or whatever, so I replaced that with two rolling wire drawer sets that usually live under the cutting table.  This way, I can keep all the chemises in one drawer, corsets in another, etc.  For a while, those drawer sets were blocking the large heater vent that my elderly cat Albert started PEEING IN, so they’re not shown in this photo — instead, it became a temporary puppy space.  But the heater vent has been cleaned and the drawers are back now!  Oh, and Albert is on an SSRI, which is totally helping (better living through science!).

Garment rack filled with needs-alteration and needs-putting-away.

My husband randomly bought me this garment rack, which initially annoyed me because it takes up a wall, but it’s proved very handy both for “things I’m working on,” “things that I should be working on,” “things that need to be put away,” and “things to sell off.”  I do have a closet in this room, but as you might guess, it’s packed with all my finished costumes, so it’s nice to have a staging area.

Shelves for wigs and computer docking station replaced big desk.

I used to have a combination dresser/desk in this corner of the room.  The desk was ostensibly for my computer and the dresser drawers for fabric, but the it wasn’t an efficient storage option and the desk itself just got piled with papers.  I got rid of that and replaced it with some shelves for wigs (top), misc (bottom), and a computer docking station — which has turned out to be fab!  I hardly ever use my computer at a desk unless I’m watching a movie in my sewing room, so it’s at the perfect height to do that, and otherwise if I want to use the computer, I’m generally on the couch.

Mounted jewelry cabinet and over the door historical shoe rack.

Like any good costumer, I have a ton of costume jewelry.  I had a jewelry box, but everything got jumbled up in it and pieces were getting broken.  Linda gave me the idea to get a wall-mounted jewelry rack, which has let me organize things plus has a small mirror on it.

Thread organized by color and wall mounted.

Thread organizer, wall mounted.  Saves space, means my thread doesn’t get all tangled up.

Puppy sleeping station, directly next to sewing machine table.

Yes, it’s required in my house to have critter accommodation in whichever room you’re planning to be in.  Usually, for the pups that’s next to the sewing table; it’s been cold here in California, so there’s a bonus space heater for them.  They don’t generally like to use the same bed, but they both like that heater!

This is what happens if I don't have two padded chairs...

I also have to have not one but two padded seat desk chairs in my office.  If I don’t, this is what happens, and how can you disturb that?  With two chairs, Albert has somewhere to hang and I can just swap the chairs as he decides which one he wants to sleep on (which frequently changes).

1770s Camisole à la Polonaise: Draping & Sewing

Because this ensemble is in white, I don’t know how riveting all these various pictures are going to be.  Apologies!  So, as mentioned in my last post, I’m going to be making this polonaise jacket and skirt.  Because what is better for running around the garden of a French chateau, I ask you?

Before Christmas, I draped the bodice and took it to my mom’s house so I’d have some hand-sewing to work on.  I’ve been debating exactly what I want to do for the underbodice effect — period options include a false waistcoat, separate waistcoat, or a stomacher.  Since I’ve done the false waistcoat a number of times, and I like the idea of a solid front “underbodice” (ie no center front closure), I think I’m going to make a separate stomacher.  But for fitting purposes, I initially made the lining close CF, so I could be sure everything fit well.

Here’s the extant jacket I’m copying.  It’s a good example of the fact that there are numerous variations in the vertical pleating of the bodice — this one only has one pleat at the side front, unless something’s hidden under that sleeve, but I don’t think so:

Caraco, entre 1770 et 1780. Musée Galliera, Musée de la Mode de la Ville de Paris. GAL1992.177.X.
Caraco, entre 1770 et 1780. Musée Galliera, Musée de la Mode de la Ville de Paris. GAL1992.177.X.

I’ve seen many variations in these pleats, which are what allow you to get some level of fitted-ness.  I found that, with my high waist to hip ratio, I needed something more at the side or side back, so I ended up pinning in a pleat at the side which gives the jacket some shape.

Then during the holiday I managed to get all of that sewn down into place:

It still needs a hem and sleeves, obviously!

New Project: 1770s Camisole à la Polonaise — and Forthcoming Research!

So if you’re an 18th century costume geek, you’ve probably noticed the discussions floating around about what is a “real” polonaise.  I’m excited to report that Brooke Welborn, the researcher who discovered that what many modern day historians were calling a polonaise was not the same thing as what eighteenth-century people defined as a polonaise, and I (who had been researching the very similar robe à la turque for a few years) decided to put our heads together and research and write an academic article on the topic.  It’s been accepted by Dress, the journal of the Costume Society of America, and will come out this May.  I plan to write a summary of our findings and post them here as we get closer to the publication date (as well as info on how to get the full article), but the in the meantime, here’s the two sentence summary — no news to those of you who’ve taken Brooke’s polonaise workshops through Burnley & Trowbridge, or been to my classes at Costume College, or read the various blogs mentioning our research:

In the eighteenth century, the “polonaise” was a term for a style of dress or jacket that was cut differently from the robe à l’anglaise:  it had a cutaway front, with the bodice closed at the neckline and sloping away into an inverted V shape (incorrectly called “zone”); the robe/jacket front and back were cut without a waist seam, with inverted pleats opening up from the seams, like a man’s coat.  The term “polonaise” was never applied to any dress worn with skirts looped up; these were called “retroussée” in French (e.g. robe à l’anglaise retroussée), with no specific equivalent term found in English (dresses were worn “back” or “up”).

So look for a longer summary in the next few months, as well as my research into that pesky term “zone,” which I would like to hereby banish from everyone’s vocabulary!

Of course, I’ve had to experiment with recreating this style — a few years back I made a proper robe à la polonaise, but didn’t blog it as the more information you put out there, the more likely you’re going to get scooped!  I will, however, post some more information about this dress as I get that research summary posted.

Now, I’d like to make a jacket version of this style, specifically this polonaise style jacket from the Musée Galliera in Paris, which I love for its froofy trim:

Caraco, entre 1770 et 1780. Musée Galliera, Musée de la Mode de la Ville de Paris. GAL1992.177.X.
Caraco, entre 1770 et 1780. Musée Galliera, Musée de la Mode de la Ville de Paris. GAL1992.177.X.

I particularly love that if you look at the trim up close, you’ll see that it’s done in a windowpane cotton, while the jacket itself is in a solid:

Caraco, entre 1770 et 1780. Musée Galliera, Musée de la Mode de la Ville de Paris. GAL1992.177.X.

I’ve decided to fill out the ensemble based on this 1780 fashion plate from the Gallerie des Modes:

Camisole à la Polonaise, de Mousseline des Indes, doublée de Taffetas rose. Gallerie des Modes et Costumes Français, 31e. Cahier. 1780.

Specifically, the plan is a solid white cotton voile for the jacket and petticoat, with trim in a windowpane cotton.  The fashion plate’s dress is a sheer cotton lined in pink taffeta, an idea about which I started to get very excited, until I realized that I didn’t have any solid silk taffeta that I could use in my stash, I really shouldn’t go buying a bunch of silk taffeta given my current budget, and when I held up swatches under the sheer cotton the lining color didn’t show enough to make me love it as much as I did in the abstract.  So, I’m hoping I can maybe wear a colored petticoat from another outfit under the skirt, and of course a kick ass silly hat!

Next post:  draping and sewing the jacket!

Help Me Date Some Photos!

Late 19th/early 20th century is not my absolute forte, so I wonder if they are someone else’s!  I have some older family photos that I’d love help dating.  None of them have enough clues for me to figure them out on my own.

Mary Ridyard Daniels, born 1866, died after 1920. William Daniels, born 1850, died 1913.
Both were born and lived in England. They married in 1884.

Here’s where it gets tricky, because the rest are German/English circus performers

Simon Levy Blumenfeld, born 1828 in Germany, moved to England in the 1880s, died there in 1911. Wilhelmina Constance Blennow, born 1841 in Germany, moved to England in the 1880s, died there in 1915. The couple married about 1858. Performed throughout Western Europe.
Baptist Blumenfeld, born 1868 in Germany, died 1943 in New York. Performed throughout Western Europe and the United States.
Gertrude Daniels Blumenfeld, born 1884 in England, died 1944 in New York. Baptist's wife -- they married in 1910, she didn't start performing until after their marriage. Retired from performing in the 1920s.
Another shot of Gertrude.
The Six Salores: 1. Amy (aka Ruby) Simpson Blumenfeld (1886 England - 1963 US), wife of Paul Blumenfeld. 2. William Blumenfeld (1876 Germany - 1963 US). 3. Beatrice Daniels Blumenfeld (1889 England - 1983 US), wife of William. 4. Paul Blumenfeld (1874 Germany - 1963 US). 5. Gertrude Daniels Blumenfeld. 6. Baptist Blumenfeld. All three men were brothers; Beatrice and Gertrude were sisters. The act performed in England and the US from about 1910 through the 1920s.
Top row: Gertrude Daniels Blumenfeld, Beatrice Daniels Blumenfeld. In swing: Paul Blumenfeld. Laying across Paul: Baptist Blumenfeld. Hanging from Paul: William Blumenfeld. Again, must be between 1910 and the 1920s.

Can you spot any clues?