Kitty Hudson: A Suitable Ensemble For Travel

"The days fly by as I continue to design and labor on the ever  growing trousseaux Mrs. Hudson has commissioned me to get her daughter, Katherine, ready for their European tour this fall.  I suppose I could have chosen lovely warm autumn colors for the Atlantic crossing, but spring caught a hold of me, so I selected a breath of mint and new leaf for Kitty's travel ensemble.  I think she's delighted with the choice, but she's especially enamored of the sheered mink collar and cuffs on the coat.  I know that this young woman will have a ball as she travels in style."  Madame Hoover

The 1920's saw many people on the move.  No longer was travel just for the wealthy, although they would continue to travel in finer style with the best compartments on trains, and state rooms on Atlantic steam ships.  Ocean liners continued to transport the wealthy on business trips and European tours, but passage for everyone was becoming more affordable and comfortable.  Trains were still a popular mode of transportation, but this was also the age of the automobile.  When a young woman like Katherine Hudson traveled, she was accompanied by a companion or her parents.  As Katherine's parents were well-to-do, only the finest rooms would be booked on the transatlantic crossing, and she would travel by boat and train once their feet landed on Europe's soil.  Luggage was required and steamer trunks were filled with clothing and every day needs for the long tours their owners would take.  Travel of this nature was still a status symbol, and Kitty would do it in the latest styles.

When I was approached to make this trousseaux, the travel outfit was the first ensemble I conjured up.  I had a vision, and I knew what I wanted to create.  I'd made luggage for dolls before, but they were always covered in cloth, usually silk or fine cotton plaids.  Those days seem an eternity ago, and for Kitty, I wanted only leather.  Heather was keen enough to find the softest, maybe not the thinnest, but thin, fine quality leather offered from a dealer on Etsy.  She bought a few pieces for me to work with, and when I saw the quality, I bought a piece in every color offered.  But, the color I most fell in love with was "banana".  I would create banana colored luggage for Kitty.  Maybe it was due in part to the name, as I was an almost weekly shopper at Banana Republic back in the early 80's.  Sometimes I'd just go in there and look and dream of Africa.  I loved that store.  It was like going on a shopping safari.

I chose spring green for Kitty's travel outfit.  Finding the right green fabric to match the green wool I'd chosen for the coat was going to be a problem.  But, not for long.  Heather set out for one of her favorite fabric stores and not only found a perfect match, but also had a beautiful leather for the shoes in the same hue.  I'd already planned on the trim being a light beige or off white, and the fur for the coat would be light in color.

After the peach and red day dress I'd just completed, I wanted to try a pleated skirt, which I assumed would be much easier to assemble.  Instead of referring to the "green book", I selected a dress from a Pinterest page of 1920's dresses.  I'm guessing these were patterns from the illustrations at the bottom of the color plates.  Down at the bottom of this post, you can see the dress in green with a leaf pattern that I worked from.  (I don't mess with photos too much when writing this blog, because they've caused me word wrap problems in the past.  So I just added it.)  While the original was most likely made up in georgette, Kitty's dress would be a sensible cotton since it needed to stand up to long days on the go.

I chose a tiny cream colored windowpane cotton for the trim.  Instead of plain cream cotton, the windowpane adds elegance and interest whereas otherwise, you'd be looking at a color block dress more in line with the fashions from the 1960's.  Shorten this dress to three or four inches above the knee, and it would fit right in with that decade.  As I designed this ensemble. I saw variations in other pieces that were brought back in the 60's.  A cloche hat for example, is very similar to the patent leather caps, some with front brims, that the girls wore.  

This fashionable little dress comprises of a bodice, a hip band, and a pleated skirt.  The trim at the neckline is enhanced with a faux tie or placket.  Two tiny mother of pearl buttons were sewn to the neckline where the placket meets the neck band.  This was a feature of the 1920's dress shown in the plate at the end of this post.  The trim at the top and bottom of the hip band is sewn into the bodice edge on top, then ladder stitched to the blouson, and the bottom band is part of the seam attaching skirt and hip band, then ladder stitched at the top edge into the hip band.  This really took me some time to figure out, but came out nicely.  The back closes in mother of pearl shank buttons and thread loops.

The next thing Kitty needed was a coat for chilly days and strolls aboard the deck of the cruise liner.  Again, I looked to a source other than the "green book" for the coat.  Seen to the left is a paper doll page that is simply adorable.  I fell in love with the simplicity of the coat below.  Simplicity in style, but elegant with the addition of a fur collar and cuffs.

I worked hard on designing the pattern for this one.  Frustrated after a couple of attempts, I pulled out my Tonner Deja Vu Emma Jean collection, to see how he handled the design of her coats.  I found one very similar in the basic shape of the coat, but it had a square velveteen collar similar to a sailor collar.  So I worked off his design for the shape of the coat and made two mock ups from wool I felt I could spare, to get the design in the paper doll page.  When the final mock up was made, the beautiful curved shape of the inside of the coat could be seen.  I knew I was on target, and with a few more design edits, I was able to get the coat I wanted.  Thank you, Robert Tonner.

The most challenging though was the addition of the fur collar and cuffs.  I had a box of scraps that Stacy (dimitha on Ebay)  had sent me many years ago.  I chose the white sheered mink for Kitty's coat.  Please let me note that I would normally use faux fur on modern and contemporary doll garments, but when it comes to dressing an antique, real fur is best.  Here is what I discovered.  Line the fur first.  As you go about pinning the lining to the fur, tuck the fur in and towards the center.  When cutting fur, turn it over and snip carefully through the hide to enable the fur to remain long on the edges.  Once the lining is sewn to the fur, turn it inside out, and stitch (I always use the hidden ladder stitch) the lining to the coat.  For the ends, carefully stitch them together.

I lined both the coat and the fur with a low slub quality white silk dupioni.  In the photo to the right, you can see the shape of the curve at the top of the coat that creates the look so prevalent on coats in the 1920's.  I'll be using this pattern again.  It may not be for Kitty.  It may be for a larger doll, but it was hard won and a treasure to me.

The next thing I focused on were the accessories.  The shoes and the purse.  You might recall me mentioning the Life magazine celebrating the 1920's.  In it was the photo (at the beginning of this post) with a woman and Dalmation standing in front of a luxury car.  It wasn't the car I was interested in.  Her coat is similar to Kitty's, although the collar is larger and it lacks the cuffs.  It was her shoes that caught my attention.  I had to bring this photograph under my magnifying lamp to have a really close look, and they're incredible.  I had to make them for Kitty's ensemble.

As I mentioned earlier, Heather had provided me with a nice piece of leather that matched exactly, the color of the outfit.  I wanted to try the shoes with this green, paired with a light beige.  Again, this would be a "two toned" pair of shoes for Kitty, yet this design is completely different than her red and tangerine t-straps.

I recall when I first started making my own shoes for dolls, thinking that the top stitching I saw on doll shoes was actually one piece of leather sewn to the other.  Sometimes it might be, depending on the size of the shoes, but with little shoes like this, the leather is stitched before being cut, then glued to the shoe base.  I keep reminding myself that I'd like to do a high heeled shoe tutorial, and when I do, it will be for a much simpler pair of shoes.  I'm running out of little buckles, too.  I have a ton of miniature metal buckles, but only a few shapes are nice for such shoes.  And, I also believe that a doll's garments should be able to be played with, so super tiny buckles just won't do. If the doll's foot would have been larger, I would have chosen to do a button closure with a slit in the strap to button them with.  The button would of course be a bead.  However the strap is too narrow to do this with.  For

me.  Other people may be able to do this, but I know my limits.  I'd also like to point out that the shoes can be wiggled onto the foot due to the softness of the leather.

So with the shoes made, Kitty needed a purse to match.  I'd already made the valise out of leather (we'll get to that in a minute), and I wanted to try a leather purse with gussets similar to the valise. This little purse took an awfully long time to make because the gussets were hand sewn in.  That involves taking a very thin and fine John James needle and using a pair of jewelry pliers to help push the needle through the two layers, then pull it through the other side.  Gluing the leather together for "basting" or even fastening, doesn't work.  The top sides of the leather won't stick together as you curve the bottom edge of the gusset.

I have the patterns for both the envelope purse I made for the peach and red day dress, and this one.  But they are only the patterns for length.  I simply measure the height of the front of the bag and the bottom width and cut a gusset from those measurements.  A rectangle with curved edges at the bottom.  I have not had luck trying to sew something this tiny on a machine. There's a lined cardboard base glued to the bottom of the purse so it can sit on a surface, and it gives it shape.  The handle is top
stitched and attached to the purse with jewelry findings.

One thing I haven't mentioned is the hat.  The cloche hat is made from the same wool as the coat.  It is in four pattern pieces that are sewn together, then a brim sewn on.  The brim on this hat is top stitched so the wool doesn't stretch.  Its very narrow in the back with just a whisper of eye shading in the front. A pleated silk band from the same silk I used to line the coat, is sewn to the hat's crown, top and bottom.  I had these lovely vintage white sprigs that I found at a doll show and used a few of those to decorate the hat on one side.

Finally, we come to the luggage.  Which in truth are the first pieces I made for this ensemble.  I think I as waiting for fabric to arrive, or I just needed a break from sewing.  Or maybe I just wanted to play with that beautiful banana colored leather.

I started with the suitcase.  I was pretty sure that I remembered how I used to make suitcases, but wasn't quite prepared for covering it with leather.  I'd just purchased some packs of chip board, which is study cardboard for crafting.  I bought it in two densities.  The lighter one is good for use in making the inner soles of dolls shoes, but the thicker one was purchased to make the luggage.  I used to make my doll luggage from basswood covered with fabric.  Why?  Because you could use hardware on it.  I'd drill holes and use real screws and nails, which is what wood is perfect for.  But, with using cardboard, that all went out the window.  So I had to find a way to close the luggage without miniature hardware.  By the way, metal doesn't glue to leather very well.  I tried.  I'm not in the habit of gumming up delicate pieces with epoxy glues like the kind that need to be mixed.  You also use a lot of leather in covering the luggage, and I didn't have extra for mistakes.

Go back up to the top of this post and take a closer look at the poster of the young flapper with her travel luggage.  This illustration was my inspiration for the valise and hat box.  I love this poster!  I found so many darling travel posters from the early twentieth century, but the ones from the 20's were ingenue, sexy, and sometimes just inspiring.  These posters were advertisements made for day dreamers and people who loved to, and had the means to travel.

The suitcase is lined with a plaid silk.  The lining is separate pieces of chip board covered in silk, then glued into the halves of each side of the suitcase.  All the trim was double top stitched.  I have this beautiful thin cognac leather that I've used for straps before, but never on this scale.  I spent a day, it seems, sewing top stitched lengths of leather.  That's a lot of trim on one suitcase.  The handles?  Too hard to describe how I made them, but they are glued on at the ends to the top of the suitcases.  The straps on the suitcase that keep it closed are loose.  They are not glued to the suitcase at the bottom or top.  I decided to make them this way since it just seemed right after studying vintage luggage.  The hinges are made from leather, too, then glued on.  Real buckles were used for the straps.  I don't think this design, using leather and cardboard rather than wood and hardware, detracts in any way from the overall look or functionality.

Then I tackled this darling valise.  I love the look of old doctor's bags.  I once had Diana Wieler make me one to go with my Bleuette nurse's disguisement.  She was a genius.

I started with covering the chip board pieces with a striped silk to coordinate with the suitcase interior.  I glued these pieces to the length of the leather to define the shape and functionality of the piece.  Big mistake.  I should have sewn the gusset pieces in first, which I could have done since the size of this would have permitted me to do so (larger than the purse).  You cannot machine sew the gussets in once the chip board liners are in, so once again, I had to hand sew the gussets to the bag.  It was a nightmare to turn inside out, but the shape was good.  If I ever make one again, I'll do it differently, but I'm happy with the results.  I'm wondering how sewing without a foot, and just the needle, would work?  I may have to try this.

Delicate leather straps were added and this time, glued to the base of the bag.  With bits of cognac leather sitting about the table. I tried to make luggage tags.  I wasn't taking this very seriously.  I think Heather has luggage tags she may want to use, but I made a couple of "cute" ones and tucked in a slip of paper with Kitty's initials inside.  The luggage tags are one piece with the loop in the center.  You top stitch the edges, cut out the piece, cut out the center of one, fold it over and glue the two "flaps" together.

I was also very attracted to the hat box in this poster, so I attempted to make one.  Normally I cover them with fabric, but this time I used scrapbooking paper.  I had to order it online since crafting stores are closed at this time.  Scrapbooking paper is just too fancy these days.  I wanted just a plain black and plain white gloss, but it seems these are hard to find, or simply out of stock.  So I used Tiffany Blue.

The best way to do this using chip board is to mist it, moisten it, then curve it around a can or bottle, and secure that with rubber bands until its dry.  I connect the edges with a piece of muslin and lots of glue.  Its more permanent that way.

One of things I forgot, I do forget, about making  things like covered hat boxes, is that you have to account for the minimal thickness of what you're covering the pieces with.  For instance, you need to make proper allowance for the top to fit over the base.  Because I didn't plan properly and wanted to move on, I was not able to line the top.  And, I really didn't like the thickness of the paper I used to cover the pieces.  It was not pliable like cloth, and was miserable to cover the chip board with.  The fact remains, that I seldom do something twice so even though this was a practice, it probably won't get perfected in the future.  Its a cardboard hat box.  Its large enough to hold one of Kitty's hats.  Task accomplished.  And, it looks cute for a display.  The umbrella was one that was purchased for Bleuettes when Joe (can't recall his last name), the vintage Barbie guy, had made in China for us.  These lovely little umbrellas are completely functional.

Heather had provided me with these lovely mini travel stickers to decorate the luggage with.  However, after all the work I put into the luggage, I didn't have the heart to cover that beautiful banana leather with sticky paper pieces.  They'll look darling on the luggage once selected, but I'll let her do this.  This way she can play with it once she gets it.

This has been a terribly long post, and I thank you for reading it to the end.

If Kitty were my doll, she'd be displayed in the outfit with her luggage for a year.  I had such an enjoyable time creating the travel ensemble, and it came out exactly as I had envisioned.  Can't you see her waving good-bye to America as she boards the cruise liner for Europe?

During this time of quietude, play dolls.  Create something wonderful each day.  Stay safe and enjoy the beauty of spring.

Love,
Melissa