The Tale of a Storybook Toy Chest

A Storybook Toy Chest

Its been a very long time since I've done any miniature painting.  So long in fact that I had serious doubts that I could still manage to hold a tiny brush steady and remember how to apply paint to a surface.  And, therein lay the challenge before me. 

About a month ago, my friend, Betsy, sent to me a small wooden chest that she'd picked up at a crafts store.  The dimensions were approximately 5 1/4" long, 3 1/2" wide and about 4" tall to the top of the decorative back.  She had an idea for me to paint scenes, or characters, from her favorite childhood storybooks on the piece, and turn it into a toy chest for her little dolls (probably most specifically her 9" Lawton dolls). 

In the beginning, there was wood and paper....

Since I'd not painted in awhile, and especially since she requested Alice and the White Rabbit, I readily agreed to give it a go.  What I didn't anticipate was how rusty at the brush I would be. 

The first task was to prepare the box for paint.  In the past I've gone out to the garage and with my miniature table saw, cut up pieces of bass wood to make my own little trunks.  I thought, "Cool!", the box is already made!  Ha-ha!  But, the wood these boxes are made from require just as much, if not more prep work. 

I sanded the piece by hand, then gessoed it, covering the exterior and interior.  Because the lid was stationary, I had to apply the gesso in thin layers so the lid wouldn't stick to the interior of the box.  I let it dry over a couple of days, which is more easily done in dry summer conditions, then sanded the heck out of it by hand, trying to achieve as smooth a painting surface as possible.  The very nature of the wood with its deep grooves would prove a problem on several sides as I began the actual painting of the characters. 

The First Panel Painted

The next stage was choosing an acrylic base, and Ceramcoat is my bottle paint of choice.  I chose Ivory White, and gave the box several coats for an opaque finish.  Again, dealing with the stationary lid would be tricky in getting as much surface covered as possible.  While coats were drying, I selected images from the four stories she chose.  Alice in Wonderland, Beatrix Potter (Peter Rabbit), Winnie the Pooh and Raggedy Ann and Andy.  In the long past, I became familiar by paint, with these characters, as I've made the tiny 3 1/2" Storybook Trunk Sets from all these beloved tales.  It would be interesting to combine them into one piece.

The Second Panel Painted -" Is there any honey for me?", Piglet asks.

One of the most important things an artist must do is create a balanced design, pleasing to the eye, to encourage the eye to travel naturally and enjoyably over a painted surface.  I must have spent several days just looking over my books and selecting images that worked in coordination with the shape of the box.  Pooh was the most difficult.  Pooh and Piglet were requested, and it was hard to find one illustration by Shepard (from A.A. Milne's book) that featured them together in such a way to compliment the slanted side of the box.  I finally found two separate images and combined them together for the side panel.  Also requested were bees and the honey jar.  Initially I wanted Pooh's face to show, but in the end, I selected images from three separate pages to paint, and Pooh's nose appropriately stuck in the honey jar.  A good place to be for Pooh. 

What's all the fuss?  Again, the design must be correct and often the pre-work, the brain work behind the piece isn't taken into consideration by a commission.  That, to me, seriously, is where half the work comes from. 

Peter Rabbit getting ready to make some trouble in McGregor's garden was the first panel I painted.  With this, I had to relearn the techniques I'd practiced long ago and had forgotten.  No, its not like riding a bike.  And, its been that long!  But, by the time it was done, I was ready to move onto Pooh and feeling more confident.



Marcella's Treasured Companions

Another factor to take into account is that the illustrations were all done by different artists.  So after you've gotten into the hang of painting "Potter style", you have to learn a different style like Shepard's and so on.  We are not doing "master forgery" here,  but we are giving our best representation of the artist's work.

From Pooh I moved onto Raggedy Ann and Andy by Johnny Gruelle.  I love Gruelle, and everyone knows it.  The gentle, sweet stories and very loving characters who always make a happy ending for every situation they come in contact with in their adventures.  We should all live and behave so generously as Raggedy Ann and her companions. 

Finally, it was Tenniel's time.  Alice came first, then the White Rabbit.  Betsy sent me a book, The Nursery Alice, so I could have a color plate to work from for his costume.  Of all the characters I painted, I truly feel he came out the best.  I cannot tell you why...maybe because he was the last, but I just love his checkered jacket and that wonderful pocket watch!

Alice and the White Rabbit

I know it will sound silly, but I was ready to be done.  Each character , on each panel had been painted to perfection with all the tiny, thin black outlines - all done with a teeny weeny pointy brush with about three bristles on it.  But, it wasn't done.  Betsy wanted more.  So on came the radish and carrot with Peter Rabbit, and the Gruelle garden flowers for the curved back decorative panel and corners.  Hmmm....  Still not done.  She suggested a tea cup for Alice and the White Rabbit.  So I drummed up the Tenniel teapot pouring a "spot of tea" into the gold rimmed cup.  Hmmm...  Still not done. 

With Corner Illustrations and Tea

By this time I'd photographed everything several times, including the last photo at the bottom of this journaling post (which is why you don't see the cards!).  However, the inclusion of cards would come, and those were just painted yesterday.

 I love ending of the first book when the cards fly up and over Alice, so I took a short "spray" of them, and in a half semi-circle, painted them in below the White Rabbit.  And, added a few in the top left corner for balance.

But wait!  There's more!  Before the inclusion of the corner art, I'd pulled all the stories together with an illustration I made up of my own.  Open the lid and there are old books with different characters from each story "coming alive" from them.  Timmy Willie with his, what looks to me like, a gingko umbrella, Beloved Belindy, Tweedle Dee and Tweedle Dum, and Eeyore, the sweet, silly donkey whose very name is a donkey noise.  I love this interior panel piece.  It, alone, was a full design combining the stories and I enjoyed painting it so much. (photos further down)

Lastly, a thin coat of matte Mod Podge to seal the artwork was done, and of course, I signed the bottom.

From the Front, But Not Quite Done

What surprises me more than anything when I finish something like this, is that I actually do sit back and admire it.  Gone are the struggles and re-dos and trials of creating the piece.  In the moment, is the satisfaction and wonder that I even did it in the first place.  Was able to create it.  I know I can.  I know I can do anything I put my mind to.  We all can.  But, still, it humbles me that someone would have such confidence in my abilities.  Betsy is good for this.  She understands what I'm capable of and pushes me to excel.  I had to laugh as I imagined her Pope Betsy and me Melissangelo.  "Keep painting!"

Thank you so much, my friend, because I know you'll treasure this piece for years to come! I love you!

Please enjoy the following photos I took, and remember to enjoy each moment.   We grow by challenging ourselves, learning new things and thus, further discover who we are.

Please remember that you can click on the photos to enlarge and see them better!

Love,
Miss E. Mouse

Close Up of Radish and Carrot

Gruelle's Garden Flowers

Storybook Characters

How It Looks Opened

The Cards - "Time for tea?", inquires White Rabbit.

Complete

In the Works.  That's my great magnifying lamp.

Itty Bitty Brush Tips

A Storybook Toy Chest For Dolls

Botanical Garden Stroll for 9" Beatrice Louise

Alice Liddell and Beatrice Louise

I don't normally like doing things twice.  The first time you make something there is the challenge, the intrigue, the curiosity that asks, "Can I do it?  Can it be done?"  And, yes, my 16" Alice Liddell's Botanical Garden Stroll dress was all of the above.  However, when  a friend of mine, Jill (the lady I made the Matinee Dress for), approached me for an outfit for her Katie Grace (Wendy Lawton's exquisitely sculpted Beatrice Louise), I suspected she'd want a tiny version of Alice Liddell's outfit. 

We discussed Lettie Lane costume ideas, maybe Polly Pratt designs, or possibly a sailor dress as well.  I was hesitant to try and recreate Alice Liddell's outfit in a smaller scale for two reasons.  One, there was the price I'd have to ask, and the other was knowing how too much embellishment can overwhelm a small doll.  However, my motto has always been  making dreams come true, so I accepted the commission, and set to work.  Back to blue!

Botanical Garden Stroll for Katie Grace

I had on hand, this lovely blue and white shirting cotton that was earlier purchased as an alternative fabric for the 16" doll's dress.  I would use the lighter Pima batiste for the collar, paper lantern sleeves and bells.  When you have so very many gathers, layers and ruffles, you need lighter fabrics so they'll sew together and drape nicely. 

I must have worked an entire day on the collar alone just getting the lace sewn in between the layers.  So many pins.  So much deftness and dexterity to get the small pieces together and tugged between needle and plate.  Slow stitching and careful turning of pieces under the needle.  I must seriously be one of the quietest, if not craziest, seamstresses.  My machine seldom makes the rumble-rumble-rumble noise of fast, straight stitching.

Just a close up!

Would it be interesting or worth the time to describe how I got the paper lantern sleeves sewn into the bells?  Or how I hand made the 1/3" blue batiste ruffles - that turned and twisted miserably as I tried to pin them on?  Probably not.  But, I can tell you that I did try - for four hours - to make the pleated trim, which in the end overwhelmed the edges of the bells.  This is when I sat back at the cutting table and once again cut a very long 1" strip and ironed it over twice in a mock "bias" style tape, then gather stitched it twice to create the ruffle trim to cover the edges of the bolero jacket, the bell edges, and the embellishment on the top edge of the white skirt.

Full View

Two rows of tiny silk ribbon, tiny buttons on the cuffs of the paper lantern sleeves, and a belt that dresses up the waist much nicer when the doll is not on a stand.  Doll stands can be quite an impediment.  I actually create garments that will accommodate the metal stand around the waist.  That typically means many fittings as the dress is being made.  I wonder how many other designers consider the doll stand when creating a costume?  Or am I just a Type A?  lol

I have to admit that the collar came out perfect.  And, I cut just the right width for the two layered skirts.  One inch more and the tight gathers would not have sewn onto the bodice.  This dress, like many of the jacketed Lawton doll outfits, is made with a lined, sleeveless bodice, so the arms slip into the jacket sleeves nicely.  The doll is much easier to dress this way. 

Lastly the little hat was made.  The dress is a variation in theme of the original, but it fits our little Beatrice Louise perfectly.

The back.

For the next few weeks I'll be solely devoting my time to miniature painting again.  Its been a very long time since I've done this kind of work, and I'm finding the task a welcome change.  I've been working on a toy chest for a 9" Lawton with illustrations from beloved storybook characters.

We've been blessed with a cool day today.  It feels like late September outdoors, yet I'll not be fooled.  The sun is strong and the triple digits are on their way back to make certain we know summer has only just begun.  Make each day count.  They fly by all to quickly.

Love,
Miss E. Mouse

Salt Water Taffy for Amethyst and Sterling

Root Beer Salt Water Taffy

I like stripes.  Especially in summer. They can be found in some of nature's most beautiful designs, even when they follow in concentric circles.  The shell of a snail, the beautiful design of seashells, striation in rocks - these are but a few.  Summer stripes come in circus tents, window shop awnings, patio furniture coverings, writing paper...and pretty clothing.  Its the uniformity, the geometry, the consistency of pattern that pleases the eye and asks us let the design enchant!

As a designer I appreciate the stripe, and the check or plaid, for the ease of placing the pattern pieces together.  You can count them across, or you and simply match up the design.  You can also cut them out on the bias creating a completely new and fabulous accent.  Stripes can be thick or pinstripe thin.  Regardless of which way you wish to use them, they always appear fresh and bright.

For Amethyst and Sterling's second matching set, I chose a root beer pinstripe silk taffeta.  I'm calling the collection Salt Water Taffy.

Sterling and Amethyst

When I was little my parents would take us to the Santa Cruz Beach Boardwalk as a summer outing.  The road we had to drive, Highway 17, was terribly steep and windy, with narrow lanes.  Because of this, we would only go once a year, but when we arrived, I could not wait to get to the shop where we could purchase bags of freshly made salt water taffy.  I'd stand in front of the glass window watching with delight as the taffy machine pulled and wound the bright colors and flavors into the cream colored candy.  It was magical.  And, root beer taffy was one of my favorites.   Since my father was not a confident driver, we'd leave early in the morning to avoid traffic, and arrive at the boardwalk an hour before it even opened.  The anticipation of entering the fun house, riding the roller coaster, and putting a nickel in the fortune teller's booth was a huge part of the day's entertainment.

Summer!  A favorite season for all the memories it will carry into fall.

1905 La Mode Illustree

When I set out to design this latest matching set for Amethyst and Sterling, I gave some consideration to designs in La Mode Illustree.  I knew I was going to create the boy's outfit from 1905 for Sterling, but with Amethyst's dress, I had my own design in mind.  Earlier, I'd attempted this bibbed front with a colorful check and piping around the edge, but the piece came out too small - even through I'd done a mock-up.  So I considered it practice, and launched into the blue sailor costumes.  For her dress in stripes I readdressed the bib, but with a tiny ruffled trim.

Close up for Sterling

Amethyst's dress is a bodice lined dropwaist with fuller, longer puffed sleeves.  The shorter "long" cuff was made with the stripe going horizontal, and this accent is also present in the banded waist.  I really had no plan for the pattern of the stripes, but created the look as I went along.  I'd made many sketches of potential dresses to go with Sterling's little suit, but in the end used none of them.  I created "on the fly".  This was not a difficult dress to make, which helped make up for the intense work in designing Sterling's little suit.

Close up for Amethyst

Sterling's suit jacket is a blouson affair with two box pleats, one on each side of the box pleat button panel.  Full sleeves with horizontal cuffs were my deviation from the original design in the illustration.  His onsie beneath has a lined, sleeveless batiste top with blouson knickers sewn to them.  Again, the cuffs of the knickers are on the horizontal.  There is the collar, too.  This collar is attached to a collar band, then to the neckline so the collar folds over and down.  This was not easy!  I'd done this earlier on Katie's blouse, but when working so small, it takes a great deal of patience.

Behind the Scenes

The hats were enjoyable little accents to make.  Sterling's boater hat is turned up with silk ribbon around the edge.  Amethyst's is a wide brimmed, short crowned summer hat with a silk ribbon around the crown.  This, I took with artistic license from La Mode Illustree. After all, the illustrations are but a few, and only suggestions to the historical content of costuming.

I'm pleased with the outcome of this matching set.  It was entirely enjoyable to create, and I loved the detail work with Sterling's outfit.  He is such an adorable "little boy" to design for. 

Little Chapeaus

And here, we make a departure from their wardrobe, for a short while, as I launch into a couple of  new projects.  They'll be smartly dressed for the remainder of the summer...unless I think they need bathing costumes (and that just came to me!).

July is the mid summer month.  The mornings promise the rise in temperatures.  The days can be filled with the promise of good books to read, small crafts on the rivers and lakes, tree shaded picnics, and adventures in vacation travels.  Whether its a day trip to the beach, or a flight to somewhere new and exciting, relish each moment and make those memories.  Each day can be a wonderful adventure when July is in the air!

Love,
Miss E. Mouse

Yes, I still do mock ups!

Happy Summer Days for Sterling and Amethyst

Off to the Matinee!

Mary Marie's Matinee Dress

As early as 1840, the term Matinee came into existence to describe taking in a show or performance in the afternoon.  The word "matin", is French for morning, and matinee was the derivative.  Today, when we consider attending a matinee, it is usually to see the earliest showing of a featured film in a theater.

Sheila Young must have been a fan of matinees, for in her paper doll illustration of "A Little American Girl" from Lettie Lane's Around-the-World Party, she depicted a dress that would have been worn for this special event. 

A full view.

Its been awhile since I've created something from Sheila Young's collection of paper doll illustrations for Lettie Lane.  And, I guess I'd forgotten just how tough these little dresses are to make!  While the illustrations give these outfits an ease of appearance, there is simply nothing easy about bringing them to life.

I was recently commissioned to create the Matinee Dress as a gift for a UFDC official's Wendy Lawton Mary Marie doll.   I thought, no problem!  After all, I'd just created two Alice Liddell outfits on the same size body.  The 16" wood and porcelain spring jointed doll body.  However, and I do like a challenge, this one kept me quite busy and pulling hairs for a couple of weeks.

Sheila Young's Lettie Lane Illustration

I had to begin with a fresh pattern since there's a huge difference between the gowns from 1860 to 1909-11.  Collars, as I've mentioned in the past, seem to be one of the primary decorative accents to distinguish these dress designs.  This collar is very unusual as its part butterfly wings, part flower petals.  At least this is the way I would think of the collar while designing it.  Its all one piece with drapes over the shoulders and petals down the back.  The sleeves are notched, and there's a curious long box pleat down the center of the dress.  It also has darts running along the waistline to create a skirting effect.

The lace on the collar and sleeve edges had to be all hand sewn on.  Top and bottom.  I did not use a gathered lace by pulling the "hidden" thread in the lace edge, but applied it flatly making tucks as I went along.  This seemed to produce a much smoother effect as the illustration depicted. 

A side view.

Even while the hand sewing took a very long time to do, it was the pleat down the center and the darts that gave me the most difficulty.

The top of the box pleat was set during the application of the fancy collar, but it tucks in at the waistline, then flares out at the bottom.  You just kind of have to make this up as you go along.  But, don't I do that anyway...with each and every outfit I create?  I had to pin this waist "indent" and manage to sew four tiny MOP shank buttons on to set the pleat - giving it definition.  And, then I had to measure and machine stitch fourteen "half moon" darts along the waistline.  Five on each side of the front, two on each side of the back.  All of this was just a nightmare.  This was not an easy dress to make.

The back - pretty collar detail.

The dress is made from the beautiful Kaufman cotton silk I love so much, and French cotton lace.  The "bodice" is lined with a pima batiste edged in the same lace used on the collar and sleeve edges.  A pretty double-sided silk bow dresses up Mary Marie's hair.

Wendy Lawton's Mary Marie - 2003

The little doll in question was one made by Wendy Lawton in 2003 - Mary Marie, from the Mary Frances Sewing Book.  I've done work for Mary Marie, and I've created many of the Lettie Lane outfits.  It was interesting to combine the two experiences to create this one-of-a-kind dress.  Too bad it was not designed for an 18" doll like my "Lettie Lane" so I could eventually make her one.  But, that's what makes one-of-a-kinds so special.  They are just that.

At present I am working on another boy-girl matching set for Amethyst and Sterling.  I want a bit more experience sewing with the quality dupioni before attempting to make a larger scale dress in the same for my Alice Liddell.  I also tend to stay "on a roll" with a certain kind of doll for a spell, then launch into something completely different just to keep things lively around here.  And, yes, the Matinee Dress is blue, too.  I think I'm done with blue for a little while.

The other day a neighbor approached me suggesting I get into the business of making doorstops.  You know, those long, sand filled door stops that look like animals or whatever.  Really?  Really.  Fear not!  Its not going to happen, but the look on my face must have been priceless.

Love,
Miss E. Mouse

Born By the Silver Sea



 

 

Sterling and Amethyst



The sailor suit was the first popular children's fashion trend.  The impulse that set the ball in motion was Queen Victoria's decision to dress the four-year-old Prince of Wales, Albert Edward, in a scaled down version of one worn by the British Royal Navy.  The young prince wore the sailor suit on the royal family's visit to the Channel Islands in 1846.  This was also when his portrait was painted.  The painting, as well as a series of engravings, helped to popularize the sailor suit among the British public.

 

This little sailor suit was designed after one worn by the regular sailors instead of the officers.  In the 19th century, England was the most powerful colonial "power", and the Royal navy, the biggest in the world.  The sailor suit helped to strip away the class distinctions that were a prominent aspect of British culture.

 



British boys began wearing the sailor suits in the 1860s, but the fashion trend really took root in the 1870s when advertisers began marketing it.  By the 1880s, the sailor suit was a popular fashion trend for girls as well as boys.  These versatile suits were ideal for a variety of social situations, from formal to informal, making them all the more popular.

 

As you may well have deduced, I'm a collector of Wendy Lawton's dolls.  The last Masterpiece Edition she designed was called Born With a Silver Spoon, in 2008.  This collection was comprised of two little 9" wood body and porcelain dolls, a boy and girl, Sterling and Amethyst.  They were created to be privileged little children who would have everything imaginable a wealthy child could want. 

 

The collection came with an extra outfit for each and an array of accessories (by Catspawonline), all tucked away in a beautiful Bombay Company chest.  The dolls would reside in the glass doored sections.  As lovely as this collection was, it needed a little bit more!  And, this is what I intend to make happen.

Born With a Silver Spoon

While I've made several outfits for the 9" girl dolls, I was hesitant to begin my journey with silk taffetas and quality dupioni.  I sometimes think it was a cruel joke someone played on us, giving us silk to sew with!  How it ravels!  And, yet, the costuming is simply gorgeous made up from these fabrics.  So I decided while I was at it, to master piping as well.  That meant making the piping and figuring out how to best sew it in.  Until sewing with dupioni becomes second nature to me, I'll be sewing with nothing but.  (Well...I do have something I need to make not in it, but will come back to it right away.)  I think the key to sewing with this fabric is less handling.  Take your time, try to stitch just once, and make the seams a little larger.

 



1892 illustration., La Mode Illustree

For Sterling and Amethyst's seaside sailor suits, I attempted to combined everything I'd just tried (on three little cotton dresses), and add two styles of hats, a girl's and boy's (as well as using silk and piping).  That's the way I do things.  I jump right into the tough stuff.  Then when it comes time to make another, most of the trials will have been met.

I used a French blue dupioni for the sailor suits as well as a pinstriped silk taffeta for the inset bodice on Amethyst's dress, and the piping - on the bias of course.  I only had a silk fat quarter to work with (18" x 27"), and this was all but used up.  Just laying out the pieces took time so as to conserve in case I'd made a mistake.  Its not that I couldn't order more, which I have, but I would have had to wait for the purchase to arrive.  It is also not only a challenge to do this, but wise for future outfits where less fabric may be available.

 

Both little boys and girls wore "dresses".

When I think back on the process of creating these outfits, I'd have to say that the hats were the most difficult.  I have lots of similar outfits and hats made by the Lawton seamstresses, Betty and Mary, but these sisters have devised a way of making them with sergers - and they've also been doing this for eons.  The hole for the head is so small, that just getting a sewing machine foot inside, with all the pins, is daunting.  So I finished the bands as I would the hats I've make in the past, and this is by hand.

 

One of the reasons I was driven to make this set was that Sterling's original gold outfit was designed for a smaller wood body, yet Wendy used the best mahogany bodies for both dolls.  Poor Sterling's outfit did not button in the back, and he had a perpetual wedgie.

 

I set out to make these quite sometime ago and had Sterling's outfit pattern already designed.  Amethyst's dress was created from the patterns I'd just made from the summer cotton dresses.  Today, I have a full set of patterns that I can use for both children, and intend on making them many more matching sets.  I also now feel I can really play with these dolls!

 

Blue seems to be a theme with me this summer.  Its not been intentional, but blues and greens cool our senses on the hot summer days, and make us dream of seasides and gathering shells.

 

Michelle Mahler of Doll Artist's Workshop (online), provides exceptionally lovely little metallic buttons.  I feel they're the perfect scale, at 4mm, for decorative buttons.  I also used the gold ones for closures and they worked well here, too.

Another inspiration is the Dover Publications journal Children's Fashions 1860-1912, 1.065 Costume Designs from "La Mode Illustree".  I've had this volume since it came out in 1994.  When I bought the book, I was simply enjoying the artwork and had no idea I'd one day be using it for my own costuming designs!  Its fabulous. 

 

So while Sterling and Amethyst head for the parks and seaside to fly kites and sail folded paper boats, I'll be thinking up their next outfit sets, in silk!, for other occasions.

 

Love,

Miss E. Mouse

 Seaside Dreams

Born By the Silver Sea

Alice Liddell In the Botanical Garden

Alice Liddell In the Botanical Garden

 "Today there would be no lessons; instead, they (Alice and her sisters), were allowed to go with Mr. Dodgson to the Botanic Garden, not far from Christ Church."  In our story The Other Alice, this is where she is introduced to Gingko Biloba, the oldest kind of living tree in the world, "Many millions of years old!".  It was a magical day for Alice, a white stone day.  And, Alice was dressed for the occasion.



The Illustration

As all is supposed, or fictionalized, in the book, she would have seen many strange plants, met funny animals at the zoo, and learned a great deal from her scholarly tutor and friend.  The Botanic Garden, or Botanical Garden, would have been tenderly cared for by professional gardeners and scientists, neat and trim, each living object a wonder to behold. 

Botanic Gardens have been around since 1544.  This type of garden is one dedicated to the collection, cultivation and display of a wide range of plants labelled with their botanical names.  They are often run by universities or other scientific research organizations for preservation and research, but also for the pleasure and education of visitors; little children like Alice was!



Ready to take a stroll.

For this special day Alice wore an elegant dress, topping her bobbed head with a pretty straw sun hat.  When I set out to create this as the second piece in Alice Liddell's wardrobe, I was a bit ahead of the game since the pattern for That's Where I Live, was the basic same pieces save for an overskirt and lots of pleated and ribbon embellishments.  I took my time, and thoughtfully, methodically, reasoned out what was to be done for each part of this beautiful dress.  Around the time I was ready for the handwork, I truthfully felt I'd sewn together a blue and white striped wedding cake.

Detail

For the fabric, I chose two Italian shirting cottons.  One was a white, semi-sheer, almost gauzy fabric with blue thread lines running through it.  The other was a luxury shirting cotton with teeny tiny woven chevron stripes running the length.  Unable to find what the artist of the illustration intended, I chose textured fabrics to compromise. 

In my struggle to find the best ribbon trims for this dress, of which it needed several in different sizes, I chose a 2mm silk for the tiniest double bands, a 1/8" silk for the mid-band on the overskirt, and a lovely double-faced silk for the hat.  I had on hand the tiniest "crochet" lace for the collar (which was just as much a pain to insert as was the lace on the other collar!), and the pleated ruffles were all hand made.  Yes, they were.

I had on hand a blue voile which I cut many long lengths of, folding over once, and then adding a fold over edge to encase the trim.  Each time the trim was added to the edge of the bolero jacket, the double-bell sleeves, and the 32" width of the skirt, I pleat-folded and pinned each pleat in place before machine top-stitching it on.  Just for fun, I counted how many pleats this outfit took.  No less than 350.  But, it was a meditation, a quiet, pleasant pastime to build the embellishments of the costume.

Alice did not like snails.

 And, as with That's Where I Live, false sleeves, or my lantern sleeves, were made to fit under the double-bells.  The cuff on these were done in the blue stripe fabric. 

I noticed a sash, which I will playfully call a dish towel sash, because it looks like a fancy dish towel or guest bath hand towel to me.  I wasn't quite sure how to handle this piece, so I made one long length with identical ends, and draped it over a thin belt that is held in place by waist-side thread loops, then buttons in the back.  It, too, has the pleated trim, and silk ribbon trim.

Lovingly tying her hat's ribbon on Gingko Biloba

Different from the first dress, this one had two skirts, or an over-skirt, which I sewed to the under-skirt and then to the bodice.  I studied this over-skirt for many hours deciding how to approach it.  In order to give it the smooth finish it deserves, I cut strips of the striped cloth and sewed these to a full white skirt.  After the striped strips were sewn on, then the ribbons and pleat trim was sewn on.  It was all quite a bit of cloth to gather at the waist and get pinned and sewn onto the bodice. A jeans needle works well for these thicknesses.  I created the over-skirt as a "separate" piece by stitching up the back seam on it, and then stitching the back seam on the bottom skirt.

Hat Detail

The buttons down the front, of which there are five, are white shell, and sewn on with light blue thread.  The buttons in the back of the dress and the one that closes the belt, are light blue shell with white thread.  I chose not to show photos of these so as not to overwhelm this journal post.  But, they are very pretty.

When all the hand-stitching was done, it was time to make her pretty straw hat, which I did today.  I do enjoy making hats and decorating them.  This one has blue vintage forget-me-nots with pink stamens that I hand-painted over the yellow.

Close up of fabric and trims.

Alice will most likely wear this frock for the next couple of months, and its perfect for the hot summer days ahead.  The blues are so soothing and cool to look at.  She must feel very dressed up indeed.  I may make her a petticoat and pantalets, but I do so with a heavy sigh, as I just don't enjoy making undergarments.  You never see them!  But, they are a part of her wardrobe, and so each piece will be made.  I have the skeleton of an antique parasol I wish to cover for her which would be a fine accessory for this outfit. 

My table is once again neat and clean, and ready for the next project whatever I decide to do.  I have some silk dupioni coming in the mail, and have threatened to make two Jumeau style dresses for the 9" Lawton dolls.  I don't know why I've been a stubborn mule about making such pieces, but they fall into the category of why I don't sew French Fashion.  Its been done, done and done again.  But, I do want the challenge (and new dresses for my little ones), so they will get made.  Why not?

Earlier this year, my friend Betsy pointed out to me that Robert Tonner had made an Alice Liddell many years ago.  What?!  So she directed me to the archival catalogs on his website, and there she was, two little Alice Liddell's made in 1999.  How I would love to own both for the novelty of them.  I do remember the catalog, but I would have skipped over these dolls (back in 1999), as they did not come with a trunk and a few other dresses.  We keep learning and growing...

Love,
Miss E. Mouse (If the text wrapping looks strange, sorry!  I tried to fix it and couldn't)

A Side View

 

The Back

God Bless Robert Tonner!

San Francisco's Botanical Garden - The Moon Garden

 

 

Mr. Dodgson's Little Companion and Friend