JAFA 2011 - Sunday Program

It was a blessfully late start to the day. It made for a lovely morning, a slight sleep in and an easy breakfast before packing up our picnic food, popping on our gowns and heading to the park. We started off the morning with a costumed promenade. We had a very large assembly of costumers that proceeded to stroll around the grounds of the park before heading back to the chessboard for some light dancing. I thought the chessboard dance that they did was lovely and would have really liked to learn how it was done. Obviously you need enough people to fill all the chessboard places.

We finished the morning off with a full picnic, some chatting and pit of photography. It was a lovely park and a not-too-hot or cold sort of day, but I was a little disappointed in the picnic location. There were only a couple park benches located a long way from the main group. It made it difficult for those of us who had travelled interstate and were not comfortable sitting on the ground in our costumes (not easy in Georgian). I did try to wrap up against the sun as well, which turned out to be a good thing as the shifting sun left very little shade.

But after filling ourselves with picnic goodness, we headed back to the hall for an afternoon assembly and some dancing. By then we were rather pooped and about ready to head home.

The costumes for the day were all particularly lovely. It seems that the Ball and the Picnic are the events that everyone dresses up in their finest gowns.

As for me, I had my brand new late Georgian ensemble, complete with my huge felt and buckram hat.

We rounded out our stay in Canberra by heading out to dinner for the night at a historic pub. Half of our group decided that they had had enough of the costumes, but me, I had brought down my Georgian dinner gown from last year to wear for the night. It was lovely to sit down to juicy steak cooked just the way I like it. After hopping on back to our unit, we sat down to share some wine and cheese and some photo swapping. It made for a lovely end to our weekend away.

JAFA 2011 - The Ball

The Ball. Who doesn't love a ball? The gowns, the dances, the flirting. Well, the gowns at any rate. I do love me a ballgown. We ended up arriving a little late, but only so that we were fashionable. More because we just weren't quite ready on time. Four women sharing a bathroom is not going to work out too well when it comes to being ready on time. At any rate we had a fantastic time. I was a little disappointed in the photographer that was in attendance (I take better photos), and rather perplexed that she didn't seem to know enough to bounce her flash rather than full frontal.

I think we all looked marvellous. It seems that the ballgown is the one gown that we put the most work into. Some of us, more work than is really sane.

Me for one. While I simply adore how my gown turned out, I can remember all the cursing over how to go about making the wretched sleeves. And all the handsewing to get them to an appropriate historical level. In the end it was well worth all the frustration and sore fingers. I think the only part that I was not overly happy with was the fact that I made it a little too tight in the bodice and we had to stretch to get it on and that I could have put more padding in my quilted hem. It did hold the skirts out nicely, but it could have been stiffer. To complete the look, I was going for a mid 1820s hairstyle. I found a great sketch of "Apollo Knots" that I had a go at replicating. Essentially it is three large barrel curls pinned the crown of the head. They could have been larger, but my hair is only so long, and I don't have any hairpieces that match at the moment. I am pleased though with how it turned out and am actually really looking forward to wearing this gown again some time. Especially after all the work that I put into it.

JAFA 2011 - Saturday Program

Looking at the program for Saturday morning, my fellow housemates and I weren't really interested in any of the sessions on offer. We were however, supremely interested in heading to the local shopping centre to pick up a few food supplies and the blessed morning coffee (or in my case, hot chocolate). Of course, this leads to us taking photos of ourselves while in our modern surrounds. I think there were a few shoppers who got a bit of a surprise, and thanks to my cousin for having her little camera on hand for our happy snaps.

We headed back to the festival in time for my presentation on regency hairstyling. For those interested, my next post will be my presentation notes, but those in the actual workshop got to see a whole hairstyle emerge on two lucky candidates. The first having her hair curled and wrapped in a turban, the second (my cousin with very straight hair) having it styled into a rolled hairdo with large barrel curls that were very similar to pinned victory rolls. It was a little nerve wracking but, I had a very good turn out, so much to the point that one of my friends that was running late turned up to a sign on the door "session full". And then there was the camera. ABC news were filming at the festival and decided to shove the camera in our faces for the session. As it turns out, I ended up with a very small flash appearance on the news.

Donna also gave her second workshop session on Saturday - picnic games. It was neat to get up and have a go at some of the games that we have not yet tried in our historical re-enacting. I adored her handmade battledores and could not help but laugh at the perfect poses she pulled for a game of graces.

The afternoon session had me doing my final presentation on regency cosmetics and how to get the look using modern makeup. I found that I was really very comfortable in this session. Mainly because it is my strength. I'm a trained makeup artist and am very comfortable talking about makeup. I know what I am doing. Again, I had a good turn out for the session and two models who came out with appropriate regency makeup.

Costume wise, again we found some time for a photoshoot session or two - exploring the lovely grounds of the church and the beautiful roses. I have it on good authority that the roses smelt divine, but I was not really in the condition to go smelling flowers. I had contracted a case of hayfever since touching down in Canberra.

It tuned out that I chose the perfect day to wear my cashmere half robe. The day turned rather cold with a whipping wind. I'm glad that I thought to make something to wear over my white muslin gown, but it was nice to get photos of it all again. The bonnet was a last minute endeavour that I threw together the weekend before we left. I'm not sure that I like it with this ensemble and am contemplating something a little nicer for the next time I wear my robe. I have to admit I am rather partial to the top hat styled hats and am more than willing to give it a go.

JAFA 2011 - Country Dinner

After our day of fashion sessions, we raced home for a quick shower and a change of costume, before heading back to the hall for our country dinner. The food was well cooked, but sadly lacking in vegetable quantity to be to my taste. We followed dinner with a quick performance of Pride and Prejudice in 10 Minutes. It was complete with lines like "no time for that" and cross dressing, put on by a cast of four. I think we all found it uproariously funny. We rounded out the evening with dessert, some light dancing and of course a bit of gossip.

The gown I decided to wear was my ballgown from last year with a slight revamp on the bodice and hem - a smidge of silk ribbon embroidery. Looking at the photos I find that I don't mind the gown even though in the past I have found it to be slightly "meh". I think it probably helps that I now have stays that actually fit me well. It really does help out the shape of the gown. Too bad that I didn't get any full shots of my outfit. Maybe someone else did...

JAFA 2011 - Customising your Regency Gown

 Below are the notes from my presentation that was given during the Friday program of the 2011 Jane Austen Festival...


Please note that this session is a demonstration on how to go about changing a standard pattern from “Sense and Sensibility Patterns” to get something uniquely different. In doing so, we will treat the factory pattern as a “block” guideline from which we will be tracing off the pieces and adapting them. These skills can easily be applied to other patterns.

I will warn you though, that pattern drafting requires a certain amount of spatial reasoning. Being able to imagine what a pattern piece actually looks like that will create your garment. Browsing historical patterns of extent garments will help you visualise the pattern pieces you would like to create. Believe me, it gets easier over time, and there are a lot of books out there that will help you.
Materials for pattern draftingThe list below is a guideline of the implements that I use for pattern drafting and a description of them.  

Pattern
This is the factory printed pattern as it arrives and will be your block for drafting. Depending on your design, you may need more than one of the Sense and Sensibility Patterns (1). The three patterns most applicable to Regency are “The elegant ladies gown”, “basic gown” and “spencer” patterns.

Drafting Paper - There are numerous types of drafting paper on the market, however I like to use Burda tracing paper (in a pink packet) available from Spotlight and Lincraft for the larger pieces and a roll of unwaxed lunch wrap available from your local supermarket.  
Pencils - I like to use a 2B pencil because it is a softer pencil that will not tear the drafting paper when your are tracing and sketching, yet it is still hard enough that it will not break too readily.  
Pencil Sharpener  
Eraser 
Ruler - I use a pattern grading ruler, however any ruler would be suitable. I would however, recommend using at least a 50cm ruler.  
Sticky Tape - To join tracing paper if your sheet is too small and when making further adjustments. I recommend a quality tape such as scotch that will allow you to draw on it with pencil.  
Tape Measure - To check your measurements as you go. It is far better to measure twice, and cut once.   
Scissors - Sharp paper scissors with a comfortable grip. A longer length set of scissors is best.  

Before we begin
Put on your historical undergarments (or the undergarment that you intend to wear under your dress). They alter your figure quite a bit and give a different lift to the bust line. Take your measurements and note them down in a memorable place (not on a scrap of paper that you may just toss away by accident). Make sure that you note down both the inch and centimetre measurement as many of the patterns that we work from are American.

Measurements you will need:
Bust
Waist
Underbust
Hip
Shoulder to bust
Underbust to hem
Upper arm width
Sleeve length 

Fitting
Like using the correct historical undergarments, having a regency dress that fits well really makes a huge difference in your appearance. Fitting your dresses all depends upon the style. But there are a number of key elements to making your dress fit well. A mock up (a trial out of cheap fabric) allows you to work out where your body shape differs from the commercial pattern.

Drawstrings - Many regency dresses are gathered and tie up with drawstrings. This allows for a lot of flexibility as you can simply pull in the tie to make the gown fit better. This also works on some of the more fitted gowns; by simply adding a drawstring underneath the bust, it will pull up any extra fabric.

Underbust-line / Bodice - Make sure that the seam where the skirts are sewn on sits in the correct position (under your bust). Nothing says ill-fitting like a gown with the bust-line sitting on your bust instead of under. If you have this problem, it is quite simply a matter of extending the bodice length. Slash the pattern piece across and the bust and spread out to add in the needed amount of fabric. You will most likely have to do this for the back pieces as well if they are sitting too high. This will also apply to those who are short in the body where the bust line is too long, slash your pattern and overlap the pieces to take out fabric. There are a few other places in the bodice that may need to be changed. If you are wider or narrower across the chest in front or back, you could again slash your pattern (vertically this time) and spread or overlap.

Sleeves - I have found that a lot of pattern sleeves are way too tight around my arm. To resolve this, slash your pattern in three places following the grainline and spread the pattern. You may only need the extra room at the top of the arm, so spread the pattern in a v-shape angle. The length of the sleeves is easily adjusted as well. Work out where you need the extra room (or to remove room) in relation to your elbow. Slash the sleeve and overlap or spread the pattern to add or remove extra. For ball-bodice armbands, simply measure your bicep and tailor the armband to fit (making sure to add seam allowance and a small amount of ease). You can then cut a large size of the puff sleeve to get the extra pouf.

Once you have adjusted the original pattern to suit your body shape, you now have a block pattern to work from. This pattern that you have adjusted is the standard pattern for your body. From this, you will be able to your new custom-fitted styles.
Drafting your pattern

Before you go straight into altering your pattern, you need to come up with a cohesive design. If you are using a fashion plate, make sure that you know how you want the gown to look both front and back. The best way to go about this is to make a simple sketch of both the front and back.

I have found it useful to look at pattern pieces of extent garments in drafting up a pattern. This will give you an idea of what shape the pattern pieces should look like when flat. I will also suggest that you familiarise yourself with the standard sense and sensibility patterns by making up a gown from an unadjusted pattern. This will help you to understand the different components of the garment and how they sit.

The first step is to choose the pattern that most closely resembles the gown you are trying to create. For instance if you want a bodice with a v-neck and gathering at the underbust, you would most likely use the cross-over gown bodice. Or if you want a high-neck gown that is full in the front you would choose the drawstring front gown. You can also use a couple of different patterns to get what you want.

You will then start the drafting process. Lay out your pattern pieces (you will need a large flat surface like a dining table or a tiled/concrete/wooden floor). Choose the pieces that you want to start working from first. I generally start with adjusting the bodice and sleeves before moving onto the skirts.

Make sure that you trace out all the pieces you will require - back, side back, front, lining and sleeve. Use a ruler to make sure that your measurements are even. When redrafting a curve, either use a set of French Curves to mirror the shape or mark out the curve with small measures and join the dots.

Making a skirt fuller is generally a simple matter of adding more room along the centre front fold line. This will allow for extra gathering, and can be done to both the front and back of the skirt pieces.

Remember to add seam allowances to any extra pattern pieces. (The standard is 1.5cm). You will also need to remember to remove seam allowance if you are joining pieces and changing seam lines.
Regarding Outer-garments

The same guidelines can be applied to the outer garment of the regency era.

The sense and sensibility spencer pattern does not necessarily match all of the gowns. The design with a lower bustline and fuller sleeves is more akin to the spencers worn in the late 1810s and into the 1820s. A very simple way of making the spencer more appropriate for earlier gowns is to raise the bustline and to take a dart of fabric out of the spencer sleeve above the elbow. The other way to remove the extra fullness in the sleeve is to start cutting down the shape in the seam. Just make sure that you leave 

Mock up 
It is also advisable that any time you make an adjustment to your pattern, you make a mock up. This is just a quick version of your garment to see that the pattern pieces fit together correctly and that everything is sitting in the correct position.

I keep a roll of cheap fabric on hand for my mock ups. You will just need to make sure that your mock up fabric is of a similar weight to your gown fabric. Please note that any stretch in your fabric will also change the results of the pattern.

Resources
1. Sense and Sensibility Patterns

2. Patterns of Fashion 2, by Janet Arnold
ISBN: 978-0896760271

3. Costume in Detail, by Nancy Bradfield
ISBN: 978-0896762176

4. Costume Close Up: Clothing Construction and Pattern, by Linda Baumgarten
ISBN: 978-0896762268

5. Period Costume for Stage & Screen, by Jean Hunnisett
ISBN: 978-0887346101
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