A Followup to Diderot's Encyclopedie? You Bet: Meet M. Panckoucke and the Encyclopédie Méthodique

Was he a kook, Mr. Charles Joseph Panckoucke, thinking in 1781 that he could publish another giant French encyclopedia? Mais non, at least in the content department -- in the affairs of indexing, perhaps his plan was rather insufficiently cooked, but let's not be too hard on the man. Before he and his family were done, fifty years later, France was blessed with an estimated 166 1/2-tome Gargantua, under the title Encyclopédie Méthodique, explicating everything from fish to grammar to popular games to brocade patterns to -- lingerie.

The authors for each subject tended to both prolixity and exactitude, if these two characteristics can be considered simultaneously, which is a treat for us, all these years later. Further, technological advances since Diderot's time had exploded. In this encyclopedia, you can see the beginnings of the Industrial Revolution and its giant machines. In our world of fabric, for instance, the encyclopedia describes enormous looms and spinning machines, alongside earlier technologies. It's abundantly clear why Napoleon would soon have a strong base on which to build his economic empire.

All of the trades and manufactured items that costumers might be interested are covered: buttonmaking, lacemaking, manifold types of passementerie, silk weaving, dressmaking, tailoring, feather-working, jewelry making, embroidery, fan-making, glove-making and other leatherwork... Are you dizzy yet?

Hey, Where Have We Seen That Before?

Oh, a side note: previous costume professionals have made use of this content before; it's just that many of us haven't been aware of it.

For example, do you recognize one of the figures in the half of  a plate below, which goes with Manufactures: Arts et Métiers, Tome 1, section title "Habillemens"? Where have you seen it before, pray tell? Does anyone recognize it?

How about this one, which I'll only name Plate 64? Anyone know where they've seen this one elsewhere?

No don't go fishing in Google for these: let's let your visual memories do the work.

Now, more seriously. Let's cover an example: the work of the lingere, makers of underclothing and suchlike.

La Lingere: an Example of Content We Love

There are those of us who have studied Diderot's Lingere plates and L'Art de la Lingere, hoping to understand better the making of women's underclothing, circa 1760s-1770s. M. Panckoucke has an update for us, circa about a decade later. Feast your eyes, my dears. Alas, there are fewer plates devoted to the subject in this second encyclopedia, but they are fascinating. By the way, M. Panckoucke employed M. Bertand, the same designer who had done the plates for the Diderot/D'Alembert effort, for the Encyclopédie Méthodique. Some of the drawings within the plates on first view look very similar, nay, identical, but there are changes.

The First Panckoucke Plate, Compared to Diderot

Panckoucke: Lingere, first plate



Diderot: Lingere, first plate

The first thing you likely notice is the scene of the inside of the shop. It looks pleasant, no? What about the clothing the workwomen are wearing? Why yes, those gowns are a bit newer than those in Diderot: fascinating to see what they chose to work in.

Look at the patterns for caps, lace, and sleeve ruffles, and for lace: mmmm. The cap in particular is later in style than the smaller caps shown in Diderot.




Look at the sewing stitches. The way they are drawn I think is a bit clearer than in the Diderot version, because the stitches are shown in progress.

The Second Panckoucke Plate, Compared to Diderot's Subsequent Plates

Aha: patterns for shifts, and a man's shirt and stock. Interestingly, they are the same as within Diderot, although drawn in white. Sadly, there are fewer garments covered in the Panckoucke plate than within Diderot.



Panckoucke: Lingere, second plate

Diderot: Lingere, second plate

Diderot, Lingere, third plate



Diderot, Lingere, fourth plate
In Panckoucke, the cross-stitch
plate is moved to one of the Brodeur
plates, I think.

Panckoucke's Plate Captions

 

Here is the original text:

Over the next posts, I will attempt a translation of these plate captions for those of you who desire it, and maybe, if time and inclination both coincide, perhaps I'll get to translating the main text. It's pretty fascinating and makes the plates come alive.

Later on, I might have a go at the dressmaking or feather-trade sections. We will see.

Sources

 

Because the Encyclopedia Méthodique is so enormous, far larger than that of Diderot, it's hard to find a complete collection. Further, because there appear to have been multiple editions or particular volumes, sometimes the content is split different ways.  I've spent quite a bit of time over the last days seeking out the text, the captions, and the plates to the portions of the encyclopedia I was interested in. It got to the point that I was trolling deep within Google Images, parsing out URLs to find potential sources, following up on citations. The volumes that concern me are the Manufactures: Arts et Metiers, the Arts et Métiers Mécaniques (both sections in multiple volumes), and the Recueil de Planches (first bunch of volumes).

I tended to find repeats in each collection located: for example, Hathitrust has indexed the plates (planches) from the Universidat Complutense de Madrid, while Gallica and what I think may be a Hungarian archive hold various volumes of the text.

A rough-and-ready index, with notes to myself, has been put on this blog's Research and Resources page. Perhaps it will get prettified at some point, perhaps not.

Want to know more about the history of Mr. Panckoucke's life's work? Visit the University of Cambridge, and read Encyclopédie méthodique (1732–1834) Acton.b.45.27–176; XXVI.1.1–178, 2.1–11.

Fun, wasn't that? I'm just thrilled with my new research resource, and the chance to practice some French!

By the way: my hiatus is over a little early. The surgery was a success, recovery is underway, and I am well enough to read and write, if not do much of any sewing.

Second "by the way": what got me thinking about this encyclopedia, other than an interest in anything French-encyclopedia-esque? Kendra Van Cleave's recently republished article, "Late 18th Century Skirt Supports: Bums, Rumps, & Culs" draws a quotation from the Encyclopedia Méthodique. Curious to see if the original source was online, I sniffed around, promptly fell down a veru long rabbit hole, and came up here :}

Sewing the Sleeveless Spencer...and a Short Hiatus

Ye spencer bodice. All seams and hems are stitched
in constrasting yellow silk (Au Ver de Soie 100/3)

Much of the sleeveless spencer has been sewn together during the past two afternoons. It had been so long since the last time I did any 18th century or Regency sewing, that I had to relearn the construction process. Silly, silly.

Anyhow, here's another view, below. Being at my mother's house, quarantined from my son-with-a-cold so that I'd not get sick and affect tomorrow's abdominal surgery, I've only had the smartphone camera, and her borrowed computer. Therefore, no detailed progress pictures, I'm afraid.  All I can tell you is that all seams are lapped and all hems are point a rabbatre sous le main.

What's left? A final bodice seam, and two hems, then attaching the straps, adding the front closure, and the neckline ruche.

It will be several weeks before I get to that. Segue to a hiatus I'm taking from the blog: there'll be no posts until recovery is well underway or over with. No need to work with a needle while the hands are shaky or the head woozy :} Last time I tried that after a surgery I produced one of the worst efforts in redwork embroidery ever. Huge wonky lopsided stitches. It's a nice memento but I don't need any mementos on this spencer, thank you.

Very best to all, and see you in a few weeks! Meantime, I'll try to keep up with everyone's blogs as I can.

Garsault Online...Le Tailleur, et Plus, La Lingere

Oh for heaven's sake: Garsault is online! Yes, Art du Tailleur, Contenant Le Tailleur D'Habits d'Hommes; Les Culottes de Peau; Le Tailleur du Corps de Femmes & Enfants: La Couturiere; & la Marchande de Modes. From 1769. That means men's clothes, naturally, but also stays and gowns and caps.

Wait, there's more!

L'Art de la Lingere. From 1771. Caps! Shifts! And etc.

Here's plate 5 from Art du Tailleur, with all useful stitches, drawn from profile, top, and underneath.

With all of the text, and the the plates, and their captions!  Here are the captions to the part of plate 5 having to do with stitches. Ah... With a little effort, you can understand them all.

The rest of the text and the patterns await you.

Go ye now to Bunka Gakuen Library and find it under the 18th century listing of their holdings. Bless that library!*

Maybe everyone else has long known the volume was there; somehow I managed to miss it...and now that I look, so many other very good books! I hadn't visited in awhile.

Tea on a Winter's Day

Isn't tea just what's needed when the rain, in this case, is clacking on the outside of the windows, or when the snow is blowing in drifts?

The kitty is a teapot. She's a vintage Chinese kitty set in a pose of comfort and welcome, and is a sign of warmth and happiness.

Her head is the lid. It's a little odd taking it off: even though she's an inanimate object I feel odd doing that. Her paw's the spout, and it doesn't work too well. No matter. She and the tea make me happy anyhow.

Cheers!

Next time I report on a new activity, learned so I'll have something calming and repetitive to do in the hospital: knotting.

The Historical Sew Fortnightly Challenge...A Partial Take-Up

Good gravy...it's finally back!

As many of you all in Costuming Land know well, The Dreamstress has dreamed up a set of 26 fortnightly challenges, each with a theme. Everyone who has read this blog for any length of time knows that I don't do particularly well with deadlines, the latest example being going to a Steampunk party in an unfinished ensemble with hastily thrown-together hair and accessories. I had started that project months earlier.

So I "trepidate" a bit stepping into any challenge, and do so here with a couple of caveats. I'll watch joyfully as the rest of you venture into 26 different projects, will encourage and applaud. I'll take up a very few challenges, and not worry about their end dates overmuch. Daily life here is more than busy enough without extra stress, and besides, I have major surgery coming up near the end of this month. No need to complicate things.

Here are the two winter- and springtime challenges that seemed a good fit:

#4: Embellish – due Feb 25
For this challenge, I'll be finally finishing the sleeveless spencer, adorning it with contrasting stitching at the seams, and a scalloped-pinked ruche at the collar. The exciting part, for me, anyhow, will be testing out using gum arabic as a fray check on the ruche. Gum arabic was used in the day and it's still available. How does it smell? How will it act on silk? We'll find out.


#7: Accessorize – due April 9
Several things are spinning around in my head. Do I chain-stitch embroider this little pocketbook from Colonial Williamsburg, which will help refine the small bit of skill I have in using silk chenille, or do I spring for another reticule, one decorated with small garnet-colored beads?

Really, this one is sweet...look at the garden implements and the little sprigs. It's calling to me: "Come embroider me, come and dream of springtime..."



Pocketbook with lock of hair, French, 1760-1780.
Colonial Williamsburg.

Ringing of the Bells

Every so often I get a kind of Heimweh --homesickness -- for Germany, where I lived as a child, and for Ithaca, where I grew up. When one lives in either place, one hears bells every day, great bells and small bells. At Cornell they ring morning bells and later in the day, when I used to walk home from school, I'd often listen to Far Above Cayuga's Waters or the Cornell Changes as they seeped through the hemlocks and the mist. In Germany, the bells rang the hours and the services, and their pulse was part of my pulse. I miss that very much, and listen hard for church bells that sometimes are rung not too far from here, but the wind rarely blows from the south.



So here, in honor of Christmas Eve, let's listen to bells, from churches all around the center of Trier. A kind person filmed the six o'clock bells, and how magical and peaceful they are.

A Blog Award: Take Two

Sarah Jane of Romantic History tagged me for the Liebster Blog award. While I don't quite meet the criteria, the challenge is a fun one and so I'll play along as well as possible. Thank you, Sarah! Yours was so enjoyable to read.

Here are the rules:
1. You must post eleven random facts about yourself.
2. You must also answer the eleven questions the awarder has given you and make up eleven questions for your awardees to answer in turn.
3. Tag eleven fellow bloggers.
4. Notify them that you've awarded them.
5. No tagging back.
6. The eleven blogs you tag must have less than 200 followers.

Eleven Random Facts About Me

1. Sarah wrote of her affection for the Queen of England. That was a surprise. It should not surprise you, by contrast, that hugging, observing, giggling at, petting, feeding and carrying around cats is a favorite activity. A cat lover I've been since almost before I could walk.
2. In the cereals and crackers cabinet, all boxes must have their Nutrition Facts labeling facing the wall. If my husband should put a box in so the label shows, I turn it around. What is it about those labels I can't seem to handle?
3. Mall stores and big box stores bug me. Crusty, dusty collectibles shops, nifty antique shops, and consignment shops attract me like honey.
4. Deep-seated belief: If it's used, it's better.
5. If the label of a package of specialty food, preserves, say, reads that it was made in Sweden, or Germany, or France, or anywhere in Europe, I get all nostalgic and want to bring it home. Usually that doesn't happen. My purse would squeak.
6. My children speak at the dinner table as if we have tiny ears and cannot hear well. What do you think: should we plug cotton in our ears or try for the 1,020,583rd time to encourage/enforce a regular speaking voice?
7. I love Advent deeply, and Lent, and all periods of waiting and thinking.
8. Christmas Day is too much. As a child, it was a reliable rule of thumb that I'd get a fever or throw up and have to go to bed. It was much more peaceful there, anyhow. Like my father-in-law, I find being outdoors Christmas afternoon, in the cold and generally accompanied by just one, or no other people, quite nice.
9. I love Kentucky -- a lot -- but am homesick for Ithaca, NY, almost every day of the year. It's cold, precipitates -- mists, drizzles, showers, rains, pours, teems, flurries, and snows -- more than it doesn't, has more than 100 waterfalls within the city limits, spawned all the Moosewood cookbooks, probably is home still to communes and other utopian communities, is far from the nearest interstate highway, and is, or was, home to people, and their children who value character and the life of the mind more than money.
10. I like dictionaries and wish we had the complete Oxford English Dictionary -- the giant one -- in our book collection. Well, if wishes were horses...
11. My boys have said that they will always be my babies, even when they're all grown up.

Answering Sarah Jane's Questions:

1. What is your favorite era of fashion and why? (sorry, had to ask this, I always want to know this about everyone I meet!)
The 18th century. Surprising, because I haven't made anything that dates to before the 1790s. The silhouettes are uniformly elegant, the trim endlessly fascinating, the fabrics are so lovely that we've kept repeating and riffing off of them since, and there were so many utterly fascinating women who lived during that period.

2. What is the worst hair cut you have ever received?
A horrible shaggy cut in high school that made my curls -- my hair is naturally curly and frizzy -- stand out around my head. A shy person by nature, carrying that mop was dismal.

3. If you could afford anything, would you have your clothes made or would you prefer to sew them yourself?
A mix of bespoke and my own creations.

4. What has been the happiest moment of your life?
There hasn't been just one. The moments that the boys are being utterly sweet and loving are probably the happiest moments now; earlier I might have said our wedding day; those days as a child playing in the creek next to our home were bliss.

5. What is your greatest inspiration for daily living?
Again, I don't have a single greatest inspiration, but draw them from lots of sources: my parents, books, Christianity. The older I get, the more people and things are "inspirable". The art of appreciation gets deeper as you age, perhaps.

6. If you could be remembered for one thing, what would that be?
Lots of times I think it would be nice not to have to be remembered. What is one life in billions, that it should have to be recalled? Yet for those who knew me, it might be nice to be remembered as a someone who tried to be helpful.

7. What is your favorite season and why?
Mid-springtime, when leaves are still transparent green, when daffodils have yielded to late-blossoming trees and azealeas, when roses are thinking of opening, when the soil smells so good that it might be edible, when the birds are all nesting and raising their young and are loud about it, when the evenings lengthen and the windows can remain open to let in fresh air, when eating outdoors is in the forecast.

8. What scares you?
Lightning, heavy traffic, heavy crowds, little boys who run towards the street.

9. What small item do you use on a daily basis and would horribly miss if it were gone?
Cafe Vienna, from Kroger's Private selection. While I love good coffee, there is something comforting about this synthetic, microwaved brew in the morning.  Go figure...

10. What is your favorite Christmas treat?Just one favorite? It is to laugh, as they say. Yet if you limit me to one it would be the star cookies (cutout cookies) that we make every year. Crispy outside, nice bite inside, buttery. Frosting. Sprinkles :}

11. If you had a million dollars plopped in your lap, what would you do with it?
Funny, husband and I have thought of this a lot. We'd start a foundation, and collaborate with others over the years to build several parks around Lexington: some natural-style parks with woods and water, others formal with flowers, parterres and allees and gravel walks and formal lakes and water features and places to hear music. We'd save other parts of it for college funds, give some gifts, and maybe, maybe find a tiny piece of property on a lake, with a cottage.

Who Shall Be Tagged?
Among those whose blog I follow, most have already received the Liebster blog award or don't qualify. Here are a few blogs, however, that have seemed to slip under the Liebster radar, and their authors do great work:

• Madame Isis' Toilette: http://madameisistoilette.blogspot.com/ Real, real, real 18th c makeup, explored, made, worn. Yes, really. Just the neatest!!
• Sent from my iRon: http://sentfrommyiron.blogspot.com/  Mrs. C has a TV spot weekly now! Go, Mrs. C, go!
• If I Had My Own Blue Box: http://annaworden.wordpress.com/ Anna Worden Bauersmith is terrific at researching the mid-century.
• Moose Spitt Farm: http://moosespittfarm.blogspot.com/ She is so, so funny, and what a costumer, although this blog is about her homelife.
• Teacups among the fabric: http://teacupsamongthefabric.blogspot.com/ She's moved her blog recently. I like her take on costuming.
• The Bohemian Belle http://thebohemianbelle1800.blogspot.com/ She is effervescent.

Questions for the Be-tagged

1. How did you become involved in costuming, which as people may have said to you, is a rather unusual hobby?
2. What is the oddest thing anyone has every said to you when they found out that you like to sew costumes?
3. Are you by nature one who crosses all "t"s and dots all "i"s, or one who prefers to wing it, or somewhere in between?
4. In your dream home, what would hang at the windows, or would anything hang there at all in the way of coverings, I mean?
5. If you celebrate Christmas and put up a tree, what type of tree do you like and how do you decorate it?
6. If you could travel anywhere in the world for two weeks, where might you go, and what would draw you there?
7. Do you think you'll costume so long as you breathe, or do you think you might tire of it at some point?
8. Do you like like meals that come from a single pot? In German that sort of dish is called an Eintopf, and my dad always called his creations "one-pots", a direct translation, with no gussying up.
9. Caffeine or no caffeine in your cup or glass of a morning?
10. Do do you enjoy tying bows on things?
11. If you could present your best-loved one or ones with any gift in creation, what might it be?

Prayers

Redoing the Den, Step One

For the longest time the den has been waiting to acquire an identity. It's an awkward room, long and narrow, spanning the width of the house. Windows all along one side, another on one end, and the rest just blank space. A tunnel.

Down the road we hope to put a fireplace and built-in shelves at the end, but that is likely years away, and in the meantime the blank walls have been echoing. Annoying, because we do a lot of playing, homework, resting, napping, eating, and living in here.

Last week while antiquing with my mother, I ran across a step-back cupboard. It had been in the home of a Versailles dealer for awhile, and is in lovely condition.

It feels very Kentucky-ish, very streamlined, of cherry and walnut. Age? Anywhere from the 1820s to the 1860s, most likely. It's nicely constructed with square nails, handsome dovetailing, and with properly hand-adzed chamfering on the drawers, plus hand-cut wood notches so that the upper-cupboard's shelves can be moved as needed. The boards are splendidly wide in key places, the upper door panels' joins have widened into gaps with the aging of the wood, and oh, it's nice and heavy. Good thing that like much case furniture of the day, it's in two pieces. Good thing, too, because Mom and I moved it from the pickup into the house by ourselves. That surprised Curte later: how'd we get something heavy off the pickup, up the steps, and in by ourselves? When two women really want to do something, you'd be surprised at what's possible, I wanted to say, but grinned instead.

With the cupboard in place, and Mom's sweet loan of a little country table from New York, where I grew up, the room started to build into place. Lamps and tables moved, the few pictures and a mirror too, and when the lamps were lit, the space started to show how cozy it could be.

Now for sconces to either side of the cupboard,  the TV moved to inside it, some photos and paintings, a down pillow or two, working London shades at the windows, trim at the top of the walls, an hollow ottoman that can hold the boys' toys... Well, all of that will take lots of time but the point is, it's an echoing tunnel no longer. It's beginning to be home.

Silk and Cashmere....Mmmmmmmmm...

It's cold outdoors today, and getting dim and dampish, and the forecasters are predicting a wintry mix late tonight. Better snuggle in and find warm, soft things to cuddle with.

I can look forward to two small boys in their footie pajamas, leaning in to each side while I read to them, and occasionally read to me, and later read with my husband nearby after the boys have gone to bed, while ueber-fluffy Muffin finds a spot on my lap. Those are all very good things to think about.

There are other soft and fluffy things though, less meaningful, but nice to handle and to look at. Take this little cashmere bag, made last evening and rapidly embroidered in 1950s-style lazy daisy stitches with silk filament and silk chenille, then closed with a silk ribbon run through the top.

It's out-and-out luxury, the gleam of the silk on the pettable fluff of the bag's sides. I'll put a little cotton bag of lavender inside and there we have a pretty little gift for someone to slide into a chest of drawers, or in among the sheets in the linen closet. So long as the moths don't get to it!

How It Was Made

I've had an old cashmere sweater I could no longer wear that wasn't in good enough condition to give away. I tried to unravel it but that didn't work well either...I can't seem to follow unravelling tutorials well enough.  In frustration, I looked at the end of a cut-open sleeve, and saw the shape of a little bag looking back at me.

Out with the fabric shears, and I cut the sleeve into three parts. The end with the cuff went into this bag. Then it was but a matter of turning it inside out, blanket-stitching up a side seam and bottom seam, and in a fit of fun, pulling out my best embroidery threads for a few minutes of on-the fly embroidery. I started embroidering little flowers with lazy-daisy stitches and knots in the centers, and when there seemed to be enough of them, scattered a few leaves around.

Then I took a needle with a big eye, threaded silk ribbon embroidery ribbon in it, and made a running stitch around the top, for a closure. That's it.

It's not perfect, naturally, and it looks very homemade, but that's the point. It's just a little loving hug to pass on to a friend.

Today I leave you with Noah and Christopher and their airplane on wheels. They took our dolley, plopped a box on it, and the driveway became the runway. Christopher is en route, below.

 

*Still* the Steampunk Black Dress: Overskirt

Aren't we done with this dress yet? Goodness, no. Overskirt construction details and how the trim was done need documentation. Then we're done with describing the construction, at least.

Of course, the dod derned* dress itself isn't really complete, as already mentioned. The neckline trim needs redoing, and all the other trim needs what are called "bias folds" to finish them, and the flounce is missing an added puffing. I want to fuss  around with the overskirt: it needs more height and that might require more interior strings as well as a little built-in bustle pad. Then there's my entirely inadequate hairdo, all out of balance with the fluffy puffiness of the rest of the costume. That's the experimentiness of my blog coming out: as many fails as successes!

*straight from Mark Twain, and so of true 19th century flavor.

The Dreamstress
models her new
t-shirt.

So if you yawn and stretch at the interminability of this steampunk beast, best go visit the Dreamstress: she about always has something new to show. Besides, her take on modern t-shirts is just great and I am itching to make one of my own. Only four seams and three hems! The free pattern from 3HoursPast’s Blank Canvas Tee.

Overskirt Documentation

You already met the overskirt when it was a-toiling.

Remember where the pattern came from -- January Peterson's Magazine, 1869, right figure. The pattern is right in the magazine, and it's available on Google books.

To make my toile, I displayed the pattern on my computer, laid out a large length of muslin, doubled in half, and drew the pattern pieces by eyeballing them. Peterson's gives some basic measurements in inches, and this helped me, but I also and checked the proportions by examining the fashion plate. As in: okay, the front wings come down to about to thigh level on the figure.

Note: I cut the back a little longer than the Peterson's pattern: I just wanted extra length to pull up for extra pouf, or to let down for a more flowing look.

Here are all the pieces for the toile all cut out, and lined up ready to sew together. There are two "wings" in front, two side pieces, and a very large back piece.

Ladybug tests the toile.

Look closely, now. Why do you suppose the little wings pieces, which will sit at the front over the tummy, have a curve that goes opposite to the shape of the pieces they sit next two? That's to help create some puff and drape in the front. I didn't care for the drape, when I finally wore the dress, even though I liked it on the dressform. Next time I'd make the wing pieces longer and pleat them into the side pieces with three small pleats. The finished length would be the same, but the pleats would add some shadowing interest.

Then I toiled up the pieces to test for fit, as per my past post. I followed the construction directions that came with the pattern. They included putting several sets of upward-facing pleats in the side pieces. What a neat way to create drapey poufs and shadow lines! An upwards-facing pleat pulls fabric up, not down, poufs it out, not smooths it. You can see the effect clearly in the photo below.

I also curved the front edge of the wings a little more than in the original pattern.

Once I had the toile the way I wanted it, I unpicked the seams, and recut and marked the pieces to reflect my alterations. Then I laid the pieces out on the fashion fabric, and cut the fashion fabric pieces. The toile pieces became a lining.

Yes, the overskirt is fully lined. My original 1870s dress, including the peplum or basques, is lined with e very light but crisp polished cotton. I felt that lining it would give the drape extra oomph as it did, sort of. In retrospect (fall 2020) I might have lined it with organdy or book muslin/tarlatan rather than cotton muslin. The muslin is quite heavy and body it gives is heavy, at odds with the puffiness of the era. Something feather-light but slightly stiff would work better.

Just as with the extant dress (which see the post "Building the Underskirt", the lining is a flat-lining: the lining and fashion fabric are treated as one, and seamed up that way. That means that the seams show on the underside, but that was normal. I finished the seams by overcasting them. Then I slipstitched the bottom and sides to hem them. The big stitches you see in the photo below? Those are the tacking stitiches that hold the trim in place. You would find that on extant dresses too.

Then it was time to add the waistband and finish it. Because an overskirt is drapey, it is 3-D, and so I pinned it together on the dressform, not flat, to make sure it would make up the way I wanted. Sure, I had a toile, but what if adding heavier fabric changed things?

First step: gathering the back piece tightly. Note that I matched the side back seam on the bodice with the side seam on the overskirt.

Here's the gathering, from the interior (after the overskirt has been sewn to the waistband):

Next, I pleated the sides of the overskirt. I set in very, very wide pleats. Look on the back side of the overskirt, and see that the pleats are inches wide, in some cases. My finger points them out in the photo below. Is this because the pattern was too big? No, I don't think so. It just took a lot of fabric to create such pouf on the overskirt, and all that fabric has to be pulled in tightly in order to pouf well.

The pleats are set on a backwards angle, as you see below. This will help pouf the fabric towards the back.

Then the overskirt sides were pleated with those upwards-facing pleats.

All the sets of side pleats added.

Half the overskirt pleated. Notice how the side pleats create a pannier pouf, that is, a pouf which sticks out at the sides, which was very popular that year. It was towards the middle of the 1870s that most of the bustle effect was concentrated in the back, leaving the sides slim. In 1869, width was still important -- a nod to 18th century pannier hoops and skirt polonaising.

Next I pinned the second side. Then the overskirt was carefully removed from the dressform, and all the pleats and gathering backstitched, by hand, into place. I used a spaced backstitch, with tiny stiches showing outside, as below.

Inside, the stitches look bigger: they are the vertical lines of black stitching below. If I want to redo the look of the draping, I can take out the stitching and redo it easily, without bothering the hems.

Then the first inch or so of the overskirt top was turned inwards and whipped to a waistband, just as for the underskirt. I built in about three extra inches at each end of the belt so I could add a real belt buckle if wanted, or just pin the band together, as desired. Here's the effect from the outside. I used strong quilting thread to do the whipping: unfortunately it's white and shows.

 However, that's the case on my extant dress, too: look at the little white whipstitches on the waistband of my extant 1870s skirt in the photo below.

Phewee, that's the end of the overskirt construction. Last bit? Trim...next time. I am worn out, aren't you?

Steampunk Black Dress: Building the Underskirt

Edited September 8, 2020

In the rush to get the steampunk dress ready for the Halloween tea, I neglected to share with you several aspects of its construction, most of it based on my extant 1870s dress, and/or on Harper's Bazar instructions. So here they are, after the fact, in the next few posts.

Let's talk about the underskirt. Watch out: this is an image-heavy post.

A Late 1860s Extant Dress as a Model

I used a late 1860s dress as a model for many construction decisions in this dress. Recently a dress historian and costumer, Cassidy of A Most Beguiling Accomplishment, analyzed the dress in detail in her video and post "Ca. 1866 Brown Gown - A Close-Up Look". I had sent the dress, along with many other antique garments, to her several years ago, believing she could analyze and conserve them better than I could. The analysis dates the dress to 1866-1867, probably altered for a first time in the early 1870s, and she walks viewers through a number of minute construction details and later alterations that I entirely missed, while confirming some of my findings. I hope you will view the video, because the construction certainly affects how the dress would look when worn.

The Underskirt Pattern and Seaming up the Pieces

The extant late 1860s dress that I used

as a model for construction methods.

This garment was straightforward: I used the TV201 pattern again, the same as for the petticoat, for the pattern pieces, except that I added a bit of a train...just adding some inches to the back piece. I did not, however, follow the Truly Victorian construction directions, but instead the construction of my extant dress. You'll see why in a bit.

The skirt is entirely lined in lightweight muslin. Why? Well, my extant dress is, and I wanted the solid effect that most non-summer 1870s skirts have. They drape crisply and a bit heavily. You can see that in the image of the extant dress here. That silk, by the way, is light as air, and backed by polished cotton and "book muslin" at the hem.

Had I been able to find polished cotton, it would have been great, because then I wouldn't worry it would cling to the petticoat. In the event, it didn't anyway, which is good. It would have been NOT good if the skirt had clung to the petticoat and crept out of alignment or pulled up or something.

After seaming up the skirt pieces, I overcast the seam allowances to finish them and keep them from fraying. In this skirt, the two allowances are placed together and overcast as one: the skirt is thick enough to do this without it showing on the right side.

The Placket

Next, the placket. It sits on the wearer's right side, just in front of the back piece. This makes the skirt a bit of a pain to put on, because the opening is so far back, but it's well hidden by the overskirt.

Each side of the placket opening was turned inwards into a hem, and the lining ditto: then the lining and fashion fabric were slip-stitched closed. Easy peasy.

How the 1870s extant skirt did the placket was a little different. Here below is the placket from the outside. See the big running stitches where the lining and the placket are sewn together. No slip stitches here.

On one side of the placket, the fashion fabric is brought inwards, and hemmed down. Note the tobacco-colored polished cotton lining. Pretty color, isn't it?

On the other side of the placket, the lining is brought out to the edge, turned in, and sewn together. Note the old repair at the bottom of the placket. This dress has layers and layers of repair; at one point it may have been used as a costume.

Skirt Hem and Facing

Then the bottom hem was completed. As with any mid-century skirt, the skirt is "balanced" so the hem is made even by adjusting the waist, not the bottom hem. This makes finishing the bottom hem infinitely easier.  You just turn it up and sew it. Plus you have the extra fabric handy in case you want to make the skirt longer in the future.

Harper's Bazar recommendas and my extant dress features a deep facing at the skirt hem. It makes the skirt hang better. I simply followed the extant dress as closely as I could. The skirt's fashion fabric was turned in about a half inch and pressed flat.

A wide facing -- about 9 inches -- was cut in black muslin, following the bottom of the pattern pieces, and seamed together.



Facing seamed up.

The facing was placed on the outside of the skirt, right side to right side, and sewn. Then the skirt was turned inside out, and the facing was turned inwards, and pressed so that the fashion fabric shows a little on the interior.This prevents the facing from ever showing on the outside of the skirt. Then the top of the facing was turned down into a hem and was slip-stitched to the skirt lining. This was kind of a pain, because sometimes the needle would go all the way through to the outside of the skirt, and I'd have to take it out, or hope that the trim would cover up the stitches that showed :)

Facing pinned in place.

Completed facing. (The black fabric showing on the ouside of the skirt is actually flounce trim.)

Skirt Waistband

Big fun, this part :} Really? Well, maybe. Depends on your point of view.

Let's look at the extant 1870s dress and see what it tells us. When I first bought the thing, I was a bit flummoxed, because it seemed to have a petersham waistband. You can see it clearly in this image below...the big ribbon-like band at the top of the photo.

It turns out that the original waistband was either worn out or fragile or didn't fit the new wearer, because the petersham waistband is a later addition, made in a hurry with a combination of machine and hand stitching.

The next picture might tell the story better. I've marked where the petersham band begins: we're looking at the inside of the skirt at the waistband level. The petersham band was sewn to the outside of the skirt. The original skirt features a wide-ish waistband. The skirt was leveled at the hem, probably while on the wearer, with the raw top edge turned inward and pulled down until at the floor level the skirt hem was positioned where it was wanted. The raw edges were loosely overcast to protect them from raveling. Then the skirt was pleated as needed until it fitted the wearer's waist, pinned in place, most likely. Then, probably while off the wearer, the waistband was whipped to the skirt with thick, strong thread. You can see all of this below, with my annotations.

The original skirt wasn't pleated all the way around, of course, since fashion required a nice flat front. Instead, a very few wide pleats were taken at front and sides, and then the back of the skirt, where all the fullness lies, was cartridge pleated, and then sort of whipped to the waistband so that the pleats would swing clear of the band and stand out in back, helping the bustle pouf. You can see that below. Note that the lining goes right up to the top of the skirt fabric! This gives the pleating more strength, of course, but also helps to make the pleats stand out more.

When the skirt was redone the seamstress just sewed the cartridge pleats flat.

The Truly Victorian pattern directions ask that the skirt pleating or gathering be fitted inside, encased, in the waistband, and this is easy to do, of course. Yet it makes for a thicker waistband, and forces the skirt fabric downwards. When you want a bustle pouf, you want that skirt going outwards at the first available opportunity, so cartridge pleating is a better bet for that effect.

Now, what did I do? What the extant skirt did. I just put a few fitting pleats at the sides and front, and then cartridge pleated the skirt in back until it fit tightly at the waist. This is key: you can make the cartridge pleats bigger or smaller, so do that part last: get the smooth parts in place first. I set each pleat while on my mannequin, pinning it in place. It's all eyeballed, not measured.

Memo to file: it took two tries to get a good fit. The first time round I box-pleated the back of the skirt, but didn't like the effect.

Then I whipped the skirt to a waistband. The waistband was made of a tube of both muslin lining and fashion fabric, sewn right sides to right sides, turned, and then one long edge topstitched so that the tube laid perfectly flat.

I made the waistband about two inches longer than needed, not being sure if I might need to make it bigger down the road. To wear the skirt, I just pinned the waistband ends together with straight pins, like an 18th century garment would be. That way the skirt will always fit pretty well, whether I lose weight or, please not, gain any.

So that's it for the underskirt construction. No one sees much of the underskirt when it's worn, so it's not that exciting a garment, but the shot below gives you an idea.

Next up, overskirt and trim notes. Then it's on to the small finishes that will make this a better dress, and lastly, better hair!