The Masquerade ball of April seems to have been established as
a L'amusette tradition during the past few years. After
attending a few times in a vaguely allegorical "Spring"
costume (which means this
with a mask and a wreath), I was inspired to make a specific
18th century masquerade dress. This was largely caused by
some interesting blog posts on Isis Wardrobe
on the subject. I was especially charmed by this portrait of
a young woman in a masquerade dress by Dmitry Levitsky.
The dress in
the painting looked velvet to me, so I decided to make a
velvet dress for change. Dark colored velvet also has a
luxurious and mysterious feeling. The downside was that in the
period they would have worn real silk velvet, while I could
afford only considerably less shiny cotton velvet. I decided
to go for the cotton velvet knowing that it was wrong,
however, as I can happily wear polyester taffeta too. Cotton
velvet is also not totally painful to work with.
So, my vision
for the materials was originally black velvet paired with
light pink dupioni silk. I had calculated that I could spend
the amount needed for a silk lined cape. We also happened to
go for a weekend trip to Tallinn, so I spent most of Saturday
fabric shopping.
I closed the
bodice seams and sewed the lined skirt pieces on the waist.
Then I made up the lining of thin linen. It had just a bit of
stretch, like the velvet, and would breathe on wear. On the
shoulder where the cape would be fastened I added a coutil
interlining for strength. Then I joined the velvet and the
lining at the neckline by machine. I basted the lining on at
the armholes and front edges and put it on for a quick fitting
just to be sure.
It was
fortunate that I did. For the first thing I had, after all,
fallen into the trap of fitting my muslin mock up too tight
considering the real thing would be velvet lined with linen.
The velvet does have some stretch, and might have looked just
fine with a different closing like closely set hooks and eyes,
but gapping buttons never look very good. I had to let out a
just a tiny bit on the side seams (happily the velvet hadn't
been much damaged by the seam yet) and get more room on the
front edges (which had ample allowance), about 0,5cm at top
and 1cm at the waist on both sides. Letting out the side seam
of course resulted in a gap between the skirts at the waist,
but happily that could be hidden under the trimming.
I also had to
adjust the neckline shape at the front. At the back it was
still prone to stretching out of shape, so I added a tape all
round the neckline hidden under the lining. For the last thing
I sewed the lining on the waist seam by hand.
I lined the sleeves with the same thin linen as bodice.
First I closed the seams on the velvet and lining,
leaving the front seam slit open. I cut a 20cm wide
piece of the pink satin the length of the slit with
ample allowance at the ends. I gathered the ends and
pinned it on the sleeve. The width looked sufficient for
the poofy effect, so I cut an identical piece for the
other sleeve. I sewed the edges on the sleeve seam
allowance, pinned the gathered ends on the ends of the
slits and secured the extra with short vertical lines of
stitching on the seam allowances.
Then
I joined the velvet and lining at the sleeve ends and
sewed the velvet and lining seam allowances together at
the slit edges, not right to the ends of the slit however
to leave room for the satin which was in part gathered to
the seam allowances. I also sewed the seam allowances
together at the back seam for a few centimetres at the
elbow to keep the lining from twisting out of place.
Then I could for the first time lay my hands on the
trimming for real. I sewed it by hand on the sleeve end
and slit edges, first the lower edge and then the top edge
and the loops on a second round of stitching. For the last
thing I gathered a narrow lace and sewed it on the sleeve
ends.
I
tried the lined bodice on and pinned the sleeves on too to
see how they looked. Then the sleeves went back to the
project box to wait for the jacket to get forward.
I
pinned the braid on the front again, and settled on six
buttons, which gave the buttonholes a pleasing spacing.
The original has more buttons, but my wider, looped braid
would have made denser buttoning look way too heavy. I
also pinned the braid even wider at the top this time and
found that I really liked the flattering stomacher-like
effect it gave.
It was not easy at all to get the buttonholes narrowing down
in a smooth line and at the same time get the braid loops to
match. At last I gave up with the pinning, and when I had them
halfway okay I took some pictures to support my memory, took
the jacket off and marked the ends of the buttonholes as I had
pinned them. Then I unpinned the braid, checked the buttonhole
spacing with a liner, then chalked and basted the markings for
buttonhole and braid placement.
Then it was
time to make the actual buttonholes. As they would get covered
by the braid I made them by machine, though I made them
halfway right at least by stitching a straight line around the
buttonhole first, then opening them, and only then covering
the raw edges with zig-zag. The buttoning is, by the way, on
the left side like on men's clothing, following the riding
habit tradition again.
I began sewing the braid on the bodice at the back slit. I
found pretty soon that my attempt at lining the skirts so
that the velvet turned on the underside rather than
meeting the satin at the very edge looked okay only
without the trim, as soon as I added the braid on the edge
the underside looked just confusingly uneven - I could
just as well have brought the lining right up to the edge,
saved myself so much trouble in the lining and had a
neater result. Also getting the braid loops symmetrical in
the corners and slit tops was quite tricky, as I had not
been smart enough to plan the pieces to match the braid
loop spacing at the pattern drafting space. Not that it
would have probably matched in the end if I had, either,
and fabric tends to shape in the process.
When
pinned the braid was easily left too short for the edge,
so I had to do some unpicking along the way and pinning it
on only on short pieces. On the corners I turned loops
under the braid to hide them for a prettier finish.
As
the braid was easier to sew on from left to right I had
the button side of the front to make first. It was easy to
trim because I could always cheat a bit on the front edge,
which would get covered by the left edge in order to get
the loops symmetrical at the buttonholes. The problems
began, however, when I had happily went round the neckline
and arrived at the left side. Now the edge showed and I
had real trouble getting the buttonholes neat and
symmetrical to the already finished right side.
On hindsight I really should have sewed the buttonhole
trim as separate pieces and cover the ends and the edge
with braid afterwards, and I really don't know how I
didn't come to think of this at the time. I just somehow
optimistically assumed that the braid would be easier to
manipulate than it was in the end, and that the buttons
would cover it a bit too. Unfortunately my buttons weren't
large enough to really hide any unevenness in the trim
placement.
In
the end I sewed the braid on the left side as evenly as I
could get it even though it remained asymmetrical to the
right side. On the edge I used the same trick as in the
skirt corners of tucking the loops under the braid.
I
continued sewing the braid round the left side skirts,
desperately trying to get them match the right side. For
the last thing I unpicked the braid on the right side of
the bodice and pinned it on anew to match the left side.
Again, I cheated at the edge quite a lot. It was
surprisingly difficult to get the front decoration
symmetrical with the buttoning allowances complicating
things further. I also re-placed the buttons once, as when
the fitted jacket is on they settle a crucial 0.5cm
differently than with the jacket buttoned up alone without
the strain.
The
sleeves happily settled on fit no fuss. As I had
anticipated, there was a bit too much gathering on
the shoulder, but it would be hidden anyway. I had
originally planned to turn the sleeve lining over
the armhole seam but had forgot to cut it high
enough at the underarm, so I had to abandon that
idea and cover the seam allowances with a bias tape
instead. It makes the seam a bit heavy, but I didn't
want to leave any velvet seam allowances visible to
bleed endless amounts of extra pile.
Having learned my lesson with the jacket skirts I
lined the epaulettes by hand. First I ironed the
seam allowances to turn under with the help of a
cardboard pattern and then pinned the lining on. I
sewed it on the edged by hand and then sewed the
braid on top. Then I pinned them on the shoulders
according to the balance marks I had made in the
mock up fitting. Now they seemed to settle too far
back, though, so I mowed them a few centimetres
forward. Then I sewed them on by hand.
The cape
Then
there was the cape. I have been told that masquerade
costume capes like this could be just narrow fake pieces
not even meant to be used as a real cape. As I would have
to sacrifice some amount of material on it anyway I
thought I could just as well make it wide enough to use as
a cape as well. On the other hand a really wide circle cut
cape would be very heavy. In the end I cut it as a
half-circle with a back seam to get the pile direction
symmetrical. I estimated that 70cm would be a good length,
so I cut a 180cm wide half circle to get a larger
neckline. I thought it safer to line the cape first and
cut the neckline later for a neater result.
I reasoned that it would be easier to sew on the braid
before the lining, as the other way round the stitched
would all too easily caught the lining. At least on the
straight grain front edges I could even sew the braid with
machine. I also got in my head to try and machine sew the
braid on the curved hem too, and to my surprise it looked
quite neat enough. I turned the seam allowances under and
stitched the other edge of the braid on machine as well.
Then I caught down the loops by hand.
I cut the lining on two layers of satin, as it was so thin
that the dark velvet would show through too much with just
one layer and darken the light pink. I was a bit worried
about how the two slippery layers would stick together,
but happily they created a field of static electricity
which made them cling firmly to each other. I cut the
satin with large allowances at the hem, smoothed it
carefully over the velvet and basted it on 5cm from the
edges. Then I began sewing it on, beginning at the front
edges. Again I faced the same problem as with the jacket
skirts: even though I had tried to turn the velvet under
tightly from the braid edge, the pile shot out. To get the
lining start right next to the braid I actually had to
turn it a bit on the front side to hide the velvet
allowance. This of course made the lining look baggy at
the edges, so I had to add a further line of hand
stitching through the edge to stabilize it.
The
circle cut cloak was of course tricky to line at the hem
without the lining being either baggy or too tight
anywhere. I had already let it settle on it's shape in the
hanger over a few nights. In the end the velvet kept
it's shape better that I had anticipated, but I still had
to unpick, pin and sew again the center part of the hem.
Sewing the lining to turn over the edge was much more
tricky than sewing it under the edge the usual way.
Finally I got it done and basted the layers together at
the neckline, sewed a supporting machine stitch line and
cut the neckline open.
I
tried the collar on by itself and marked the shoulder
line. Then I pinned and sewed the lined cape on the
collar, turning the extra width on the neck to two large
inverted pleats on the shoulders. I have no idea if this
is a period correct solution, but the thing is that
without extra width and pleating at the neck a half circle
cloak will not be wide enough at the shoulders to close at
the front, and a full circle cape would be way too full
and heavy to drag at the back of my dress.
I
added ribbon loops on the seam for fastening the cape and
finished the collar with lining. Then I added a silver
braid button- and loop closure at the neck.