Once again I was asked to play Queen Elizabeth at
Stronghold Olde English Faire. This is getting to be a habit! After the
last two years, I think I am finally starting to get the hang of this
queen gig. One of the things that made me a bit crazy was patrons coming
up to the big group of people all focused around the woman in the big,
bright red and gold dress and asking "Which one of you is the
queen?" *Sigh* Apparently Americans can't handle the idea of someone
being the queen who isn't wearing a purple dress and a crown.......Well
alrighty then- purple dress and a crown coming up!
I found some really great plum purple damask on Fabric.com,
it was a good enough price that I could afford to buy enough for hanging
sleeves. I love hanging sleeves. I decided that the fabric would pretty
much stand on it's own, and that I didn't want to risk clashing with lots
of other colors so the trim would be purple, gold, and black.
As before, I went back to the portraits of Elizabeth for
costume details. I found this one which helped me justify the long,
straight hanging sleeves.
I knew I
couldn't afford a real crown so I looked for a design for a tiara that
wouldn't scream 'Beauty Pageant'. I found these miniatures which had tiara
type crowns that I thought I might be able to find something close to.
I also found a sketch by Federigo Zuccaro that showed
Elizabeth wearing a jeweled headpiece with a veil and a closed skirt with
large decorative buttons........hmmmmmmmm.....I was liking this design!
As usual I had not enough time to make the dress so I
decided that a decorated forepart wasn't going to happen, plus I had these
great gold and rhinestone buttons that were looking for an over-the-top
dress to go on. Sounds like the perfect excuse to use them!
So to begin the dress I had the fabric, a few design
elements I like, and some really impressive rhinestone buttons.....it was
starting to come together!
I had also seen some trim on Cheeptrims.com that had gold
fleur-de-lis running both vertically and horizontally so I could have the
design run upright all over the gown! I love that!
The sleeves had to be really good because....well, it's
Queen Elizabeth!....and without a forepart I needed to make sure the
visual interest was there. Once again, on Fabric.com, I found a silk blend
with purple and gold stripes- that seemed like a good place to start.
But as nice as the fabric was, it wasn't quite nice
enough. So I bought some narrow trim in gold, purple, and red from
Calontir Trim and applied the trim to the edges of the stripes. Boy, was
that alot of sewing!!!! I glued the trim down with Fabric-Tac- a quick
drying, clear fabric glue- to be sure that the little buggers would stay
put with all that sewing!
Now that's starting to look like something! Never doubt
the power of
embellishment! I had decided to make a back opening sleeve- where the seam
runs up the back of the arm over the elbow instead of running up under the
arm to the arm pit.
But even all that trim wasn't enough to make it look the
way I wanted it to....so I added rhinestones! Actually they are Swarovski
crystals in gold rimsets, and they add that extra element of sparkle that
makes a piece really come alive.
I finished the sleeves by lining them in a plum purple
cotton and running a line of metallic gold cord along the seam and wrist
edge to give it a nice finish. I used more of the gold, purple, and red
trim to make the ties along the top edge- I'll finish them off a little
later in the process.
For the bodice, I decided to use the classic square neck
French/English style. To match the design of the skirt, I decided to run
two lines of the vertical fleur-de-lis trim up the front with the smaller of the
rhinestone buttons down (up?) the center. The horizontal trim will
go across the neck opening. The fleur-de-lis will be embellished with
Swarovski crystals in citrine and amethyst. The gold and black braid trim
will give the fleur-de-lis trim more visual weight and add some texture
to the trim design.
Although I will be wearing Elizabethan stays (otherwise
known as a corset) with this dress, I still wanted to be sure that the
front of the bodice was nice and smooth so I put several lines of boning
down the front. I used cable ties for the boning. Yep, the kind you get at
the fix-it store and then use to hold stuff together. Those cable ties. There's some controversy in the historic costuming world over what to use
as boning for various purposes. For much of corset history whalebone
(baleen) was used and it's wonderfully suited to this use, being firm but
flexible. It's a bit like finger nails and flexes in 3 dimensions- back and forth and side to side. However baleen is now quite rightly banned
from general commerce because you have to kill whales to get it- that's not a good thing- so whalebone is no longer an option. The most common
modern type of boning is metal stays in either 1/4" or 1/2" inch
widths, painted white. These are very firm and do a great job of controlling.....um....flesh, but they flex only forward and back and not
side to side- this is not the same as whalebone. As a result I've seen women get rubbed raw around the waist (something we call 'corset bite')
from the stiff metal bones. Ouch! The other type found relatively easily
today is called spiral boning. It is several thin strands of metal braided
or wound in a spiral fashion then finished with a metal tip. These have the 3 dimensional movement but aren't quite as good at
controlling what you want to control and since the metal isn't coated with
anything, you have to be very careful washing it so it doesn't begin to
rust. In my humble opinion, cable ties actually do the best job of
simulating the effect of whalebone, so I use it. Other's opinions may
vary.
I started out the overskirt by sewing the vertical version
of the fleur-de-lis trim down both sides of the front. Although the skirt
will never open, I wanted it to look like it could.
The horizontal version of the fleur-de-lis was sewn all
around the hem......there's alot of hem!. I put the Swarovski crystals on
the trim before I sewed it down, that way the prongs on the back of the
rim sets are covered and there's less chance of them snagging anything or
getting bent accidentally and coming loose. It's also easier to deal with
setting the crystals if you aren't wrestling with 7 yards of heavy fabric!
Then the black and gold braid trim was sewn on both sides
of the fleur-de-lis trim. That's six times sewing around the hem, if
you've been keeping count......boy, was I dizzy by the time I was
finished!
A Brief Tutorial On Cartridge Pleating
If you've been doing
historical costuming for any length of time you've heard of cartridge pleating.
Cartridge pleating is one of the best ways to attach a lot of fabric (or heavy
fabric) to a smaller length of fabric (like a waistband). Once you see it, it's
pretty obvious, but I've heard descriptions that left me confused and headachy.
Here's my attempt at clarifying this process.
First: Finish off the top edge of your skirt. I like to put a wide facing along
the top edge with a bit of interfacing to add stiffness. For Elizabethans, you
are supposed to look like you have huge hips- it was the fashion. Then mark the
top edge at regular intervals (I marked mine at one inch intervals)
Next take
some really strong thread (carpet or upholstery thread is best, but two lengths
of button thread will work too), make sure it matches the fabric as it will
remain in place after the skirt is finished, and run it in and out thru the
measured marks. The width between your marks will determine how big your pleats
will be. If you are using relatively thin fabric you will want to make your
marks fairly close together, if you are using a thick fabric you will need to
make them farther apart. Also the more fabric you are trying to attach to a
smaller area, the wider apart you will need to make your marks. Unfortunately
much of this will be determined thru trial and error (see my first Queen
Elizabeth dress diary where I initially made the pleats the wrong size for the
fabric) or by experience and learning to eyeball it. Slowly draw the fabric
along the gathering thread to make regular pleats.
At regular
intervals on the finished waistband and the top edge of the skirt (before
pleating) put large headed pins to mark where the two pieces of fabric should
come together. I like to put pins at half, quarter, and eighths of the length
and then match them up during the gathering process. Remember to leave several
inches unpleated at the front of the skirt, especially if it's going to open in
the front. The 3 or 4 pleats closest to the front opening should be smaller than
the majority of the pleats too, this gives a smoother transition from flat front
to pleated sides and back
Now take some more of your really strong thread and sew the point of the pleats
to the previously finished waistband. Use a whip/overcast stitch and sew double
thru each of the pleats and once between the pleats on just the waistband. I'm
not sure why this is necessary but it seems to make the pleats stay in place
better. If you have very tightly packed pleats, you will be making lots of tiny,
close stitches! If you look at the photo, you will see, from left to right, how
the pleats become more regular after they have been sewn onto the waistband.
When it's
all done, it looks like this. The side with the facing where the pleats protrude
is worn on the inside. I know that sounds obvious, but I am trying to make this
idiot proof, because I don't want people making idiot mistakes the way I did the
first couple of times I tried this. It's easy once you know the
secret........And in case you are wondering, yes, you do have to sew most of
this by hand. If anyone figures out how to sew the skirt to the waistband by
machine, please let me know! Actually, it's not bad to do the sewing by hand,
once you have all the prep work done and the pleats pinned to the waistband, you
can throw in your favorite costume drama in the DVD player and sit and sew. It's
kinda relaxing. Don't remove the gathering thread, it will help the pleats hang
properly.
And here's
what the skirt looked like before I got the big honkin' rhinestone buttons sewn
on it.
Now the bodice, under
sleeves, and skirt are finished, I just have to finish the hanging sleeves. I
love hanging sleeves. I will admit that putting hanging sleeves on a French
bodice was not typical of the period, but there are one or two portraits that
show it. That's good enough for me!
These sleeves are designed to hang open. I couldn't close them if I wanted to.
Many styles of hanging sleeve did actually close functionally... these are not
them. I put the vertical fleur-de-lis trim along the front edges and the
horizontal trim along the bottom along with the gold and black braid.
I lined the sleeve with
an antique gold dupioni silk so that there will be some texture and shine but no
additional pattern. There's a lot of pattern in the dress fabric and sleeves so
I didn't want it to be too much.
I sewed the hanging
sleeves into the shoulder of the bodice by hand. It's the best way to get a
smooth seam and a good hang.
Here's what the sleeve
looked like before sewing it into the bodice. The top curve goes just in front
of the round of the shoulder and the bottom part of the curve goes under the
arm.
Here's a preview of
what the two sleeves will look like together.
I took small gold
filigree beads and tipped the ribbons on the under sleeves. They are subtle but
give it a nice finished look without adding bulk.
Here's a close-up of
what the two sleeves look like when worn together.
Of course, this still
leaves what I will wear on my head. If you will remember back at the start of
this, one of the thing which seemed to confuse the public was the lack of crown.
I am now the proud owner of a rhinestone tiara- who would have thought it? I
will wear it with dressed hair and an antique gold tissue veil. Think I'll look
sufficiently queenly?
And I know that you
were all worried that I was sewing this without appropriate feline supervision.
Not a problem. Isabeau was watching me every step of the way.
For anyone who has been
following along, you know that this page is caught in a time warp. I finished
this dress almost a year before this update was posted (9/13/05). Bad me.
Therefore I am able to present to you the dress in it's finished form pretty
much immediately.
I am pleased to report that the dress did everything I wanted it to do. People
got the hint that the lady in the big purple dress and tiara was probably the
queen. It looked good and was comfortable to wear. The only thing I want to do
is make a pair of stays in eggplant purple silk with gold trim to finish off the
outfit. Standby for another update......but please don't hold your breath!
Here's a full length shot of dress next to the gorgeous fireplace in the
guardroom of the castle.
A closer shot on the
stairway so you can see some of the details.
(To the tune of a
famous Broadway show/movie- everybody sing....)
Don't cry for me Stronghold Castle.....
Here's an outdoor shot
with Katherine who plays Thomasina de Paris a woman who was actually in service
to Elizabeth as a jester. Katherine is a complete hoot as Thomasina and does a
great job of keeping everybody in stitches. It's so cool to have a Mini-Me!
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If you've been doing
historical costuming for any length of time you've heard of cartridge pleating.
Cartridge pleating is one of the best ways to attach a lot of fabric (or heavy
fabric) to a smaller length of fabric (like a waistband). Once you see it, it's
pretty obvious, but I've heard descriptions that left me confused and headachy.
Here's my attempt at clarifying this process.
Next take
some really strong thread (carpet or upholstery thread is best, but two lengths
of button thread will work too), make sure it matches the fabric as it will
remain in place after the skirt is finished, and run it in and out thru the
measured marks. The width between your marks will determine how big your pleats
will be. If you are using relatively thin fabric you will want to make your
marks fairly close together, if you are using a thick fabric you will need to
make them farther apart. Also the more fabric you are trying to attach to a
smaller area, the wider apart you will need to make your marks. Unfortunately
much of this will be determined thru trial and error (see my first Queen
Elizabeth dress diary where I initially made the pleats the wrong size for the
fabric) or by experience and learning to eyeball it. Slowly draw the fabric
along the gathering thread to make regular pleats.
At regular
intervals on the finished waistband and the top edge of the skirt (before
pleating) put large headed pins to mark where the two pieces of fabric should
come together. I like to put pins at half, quarter, and eighths of the length
and then match them up during the gathering process. Remember to leave several
inches unpleated at the front of the skirt, especially if it's going to open in
the front. The 3 or 4 pleats closest to the front opening should be smaller than
the majority of the pleats too, this gives a smoother transition from flat front
to pleated sides and back
When it's
all done, it looks like this. The side with the facing where the pleats protrude
is worn on the inside. I know that sounds obvious, but I am trying to make this
idiot proof, because I don't want people making idiot mistakes the way I did the
first couple of times I tried this. It's easy once you know the
secret........And in case you are wondering, yes, you do have to sew most of
this by hand. If anyone figures out how to sew the skirt to the waistband by
machine, please let me know! Actually, it's not bad to do the sewing by hand,
once you have all the prep work done and the pleats pinned to the waistband, you
can throw in your favorite costume drama in the DVD player and sit and sew. It's
kinda relaxing. Don't remove the gathering thread, it will help the pleats hang
properly.
And here's
what the skirt looked like before I got the big honkin' rhinestone buttons sewn
on it.
Now the bodice, under
sleeves, and skirt are finished, I just have to finish the hanging sleeves. I
love hanging sleeves. I will admit that putting hanging sleeves on a French
bodice was not typical of the period, but there are one or two portraits that
show it. That's good enough for me!
I lined the sleeve with
an antique gold dupioni silk so that there will be some texture and shine but no
additional pattern. There's a lot of pattern in the dress fabric and sleeves so
I didn't want it to be too much.
I sewed the hanging
sleeves into the shoulder of the bodice by hand. It's the best way to get a
smooth seam and a good hang.
Here's what the sleeve
looked like before sewing it into the bodice. The top curve goes just in front
of the round of the shoulder and the bottom part of the curve goes under the
arm.
Here's a preview of
what the two sleeves will look like together. 
I took small gold
filigree beads and tipped the ribbons on the under sleeves. They are subtle but
give it a nice finished look without adding bulk.
Here's a close-up of
what the two sleeves look like when worn together.
Of course, this still
leaves what I will wear on my head. If you will remember back at the start of
this, one of the thing which seemed to confuse the public was the lack of crown.
I am now the proud owner of a rhinestone tiara- who would have thought it? I
will wear it with dressed hair and an antique gold tissue veil. Think I'll look
sufficiently queenly? 
And I know that you
were all worried that I was sewing this without appropriate feline supervision.
Not a problem. Isabeau was watching me every step of the way.
For anyone who has been
following along, you know that this page is caught in a time warp. I finished
this dress almost a year before this update was posted (9/13/05). Bad me.
Therefore I am able to present to you the dress in it's finished form pretty
much immediately.
A closer shot on the
stairway so you can see some of the details.
(To the tune of a
famous Broadway show/movie- everybody sing....) 
Here's an outdoor shot
with Katherine who plays Thomasina de Paris a woman who was actually in service
to Elizabeth as a jester. Katherine is a complete hoot as Thomasina and does a
great job of keeping everybody in stitches. It's so cool to have a Mini-Me!