The Theatrical French Polichinelle - For Louise and Lawrence

Do you ever feel that sense of giddy excitement when you know a project is coming to a close?  You've worked so hard, were not in a hurry, and the process seemed endless.  Then the moment comes when you're almost done.  You get this feeling of anticipation, then you realize that there is still so much to do!  This is the way I felt while working on the hats for these costumes.  And, even thinking ahead as to how I'd share  them with you. 


Its no secret to those of you who've followed my creative process, to know that I adore the Polichinelle.  The French Polichinelle, to be exact, but I also enjoy the English Punch, of Punch and Judy, and the Puchinella of Italy.  So who are these characters, and how did they come about? 

Pulchinella is a classical character that originated in commedia dell'arte of the 17th century, and became a stock character in Neapolitan puppetry.  The star of southern Italy, he is described as "the voice of the people".  Pulchinella's worldwide popularity for his versitality, has captivated audiences since his introduction in 1620.

Regional variants developed as the character was introduced across Europe.  Europeans identified with the tired, witty "everyman" that Pulcinella represented.  His body shape of the humped back, large belly, hooked nose, and wide mouth, was said to be a mix of family traits.  In Russia, a ballet had been written for Puchinella and Petrushka.  In other adaptations, Puchinella was introduced as a puppet as they commedia dell'are style was not necessarily popular across the continent.

Most famously, was his evolution into Mr. Punch in England.  The key half of Punch and Judy, he is recognized as one of the most important British icons in history.  The marionette, Punchinello, gave his first recorded performance in 1662.  The British Punch is far more childlike, and violent (menacing with his cudgel), but also providing slapstick comedy.

In the French theater, he is known as Polichinelle, and first appeared in the late 16th century performances given at fairs.  Polichinelle was popular with the public and became on of the favorite heroes of the puppet theater.  The expression "Polichinelle's secret" refers to something that everyone knows.  I don't know when France started dressing dolls as Polichinelle, but I would imagine the glorious costuming made them popular as Etrennes sold at the New Year in the late 19th century.  Automatons of Polichinelle, as well as marionettes were treasured, just as the dressed dolls were.  Today they are much sought after antiques. 

While trying to decide what next to do for Lawrence Godey (Louise's brother), since introducing him in his purple velveteen suit over the holiday season, I knew I wanted to create complimentary outfits for the two of them.  I'd already decided what to do for them for the next holiday season, and the idea to create matching Polichinelle costumes came from that idea.  After spending time in pastel pinks and greens, I needed the visual stimulation of the bright primary colors, red and blue.  I had also never worked with metallic gold trims.  And, I was having difficulty deciding which direction to take Louise's wardrobe.  After studying countless Civil War era costuming for boys and girls, I just didn't see a way to create "boy-girl" matching outfits.

What it comes down to sometimes, is what I want to see on my shelf, and what will be fun to make to get there.  Sometimes the inspiration can be in a trim, as it is for some seamstresses with fabric.  I don't think a fabric has ever inspired me, but the trims I used surely did!  Vintage French gold metallic trim.  The loveliest stuff to work with imaginable! 

There are several components standard to a Polichinelle costume, and while the actual character is male, the dolls and automatons have often been female. Perhaps this comes from the Russian idea of Petrushka.  The Napolean hat is one of them, and sometimes it has a stove pipe crown nestled between the shapes.  A lace collar, two tones of color alternating throughout the costume, and glorious gold trimming are a few of the earmarks.  Also the shoes, usually French Court shoes with elaborate bows on them.  As I studied the various ways to combine these elements and decide on how to do the trims, as normal, typical me, I was conservative in my approach.  You will often see two different colored shoes on the feet to correspond with the alternating colors of the outfit, but I did this with the pink and white costume I made for Mignonette.  Let's try something else!

Louise's costume was done after Lawrence's.  With hers, I created a center pointed top that is pointed in front and back. Here sleeves are three-quarter in length, and have gathered lace falling from the elbows.  The skirt is paneled silk.  Ten panels of alternating blue and red were sewn together, then tiny gold bells were sewn to the centers at the hem.  Her Napolean hat has two rosettes down the front of it, over the gold trim.  All the gold trim on both costumes (all three, let's not forget her doll), were hand sewn on.  Louise's sleeve have the gold trim and topped with a rosette.  Five little gold bells top the runner of gold trim down the front of her bodice.  Her court shoes are red leather with blue rosettes. 

Lawrence's costume took a bit more time, which is why I made it first.  It was were I figured out the look of the two costumes.  His pant legs have three rows of gold trim, and the jacket is more elaborately designed.  Vintage gold piping trim was used at the shoulder where the sleeve attaches, is at the waist, and also at the wrist where the sleeve blousons.  If the sleeves had been straight, as I originally planned, they would have had three rows of trim like the pants.  As I did them, it gave me the chance to work with the piping which was attached to a ribbon that easily frayed.  I didn't do this with Louise's costume, although I had just enough to, because I wanted a completely different and more feminine look.  The trim on his jacket emulates the round belly of the Polichinelle, but it was not done for this purpose.  Its an observation of the finished jacket.  Lawrence's hat boasts the rosettes on the ends.  His shoes are blue leather with red rosettes.  I might mention, too, that the beads at the center of all of these rosettes are 24k gold plated.

To close the backs of both costumes, I used three tiny gold buttons.  This can't be seen on Louise's dress due to her long hair.  Both jackets were also designed on the dolls to annoyingly accommodate the doll stands.  Lawrence's jacket has three tiny gold bells going down the front over the trim.

 

The shoes took a couple of days to make.  I couldn't figure out why they weren't coming out the way I wanted, until I realized the soles had to be the shape of the narrow square toe court shoe.  Although they are not visible behind the rosettes, the shoes also have a flap up the instep.

I chose leather for two reasons.  Durability, I actually had colors to match!, (okay three) - and they were easier than silk shoes.  I've made ballet slippers, but I'm never quite content with the fit around the top of the foot and its strength.  You can line the silk, but if the silk isn't a heavy one, they are rather thin and flimsy.

I chose not to give them a shoe of each color, for in this case, I thought less was more.  And, I like girls in red shoes.  I can also give them one of each shoe later if I get bored with the look.  Or switch hats.  Or switch tops!  Their bodies are the same shapes. 

While making these costumes and spending the necessary fiddly time hand stitching all the trims on, I wanted an accessory for Louise.  I had this 3 1/2" doll, a reproduction mignonette, that Barbara DeVilbiss made for me some twenty years ago.  I was delighted by the photo of the large Kestner (?) in the photo below, with all her Polichinelle dolls.  My guess is that the Kestner (?) is probably about 24".  And, I also wanted a little Polichinelle paper theater for Louise and Lawrence to enjoy.

The little mignonette is dressed in the same colors and basic design concept as her two 14" admirers.  However, I needed to make his tiny costume as unique to him, as theirs are to them.  I was pretty "done" with the project when I started working on wigging and dressing him, but I also felt that this was good practice since I've not done a miniature outfit in awhile.  I wanted him to stand out as a little jewel in the display, so paid extra attention to decorating his hat, and added two beads each to his sleeves (faux bells), as well as three down his front to sparkle him up.  The outfit is sewn up the back as I don't believe I'll ever wish to remove it.  However it is made well enough to unstitch it and preserve it should I change my mind...but, I won't.

 

I'd asked my friend, Jean, if she could send me a copy of her little Punch theater to go with this set because it was done in reds and blues, but after I found the French Polichinelle paper cut out on Etsy, I thought best to keep it all French.  The little Punch theater can be used for another project, and will be.  I enjoy cutting out these paper toys, as its a very soothing, calming play-time thing to do.  I chose the Polichinelle puppets for it from another antique French publication.  It was not a sharp print, but has a pleasing appearance.  Not all people scan and share on the Internet thinking someone will want to play with it in the future.  Then, of course, I had to assemble it.  In another time, I would have adhered the paper to thin basswood and cut it out on my miniature table saw, but those days are pretty much over.  Maybe someday I'll do things like this again, when the sewing bug isn't so appealing any longer.

And, finally, I had cut out three tiny images of Punch and Judy with the baby thinking they might make good puppets for the theater.  They were too large.  Judy and the baby were fine to dangle behind the curtain, but Punch didn't fit.  The puppets for these theaters varied from marionettes to hand puppets shown from the waist up.  I attached the "jumping jacks" to sticks, and gave Lawrence and Louise one each for a final photo. 

I think these outfits were worth the month I spent on them, and I'm ready to change direction and work on another Alice project.  We simply had no winter here in California this year, yet now Spring has arrived in all its green drapery.  Time flies and each day is precious.  Live each well, and play often!  Enjoy some of my favorite Polichinelle images below.

Love,

Miss E. Mouse  

  

Mignonette as Little Bo-Peep and a Special Valentine

How sweet, and wonderfully portrayed in story books, are the rhymes of Mother Goose.  Doll artists and figurine sculptors have portrayed the image of Little Bo-Peep many times over - and yet still, there is a freshness to each rendition.  She is the young child or youthful miss who wanders the meadows and hilltops with her crook in hand, shielding her eyes from the sun under a straw bonnet, in search of her flock that ambled off on a spring day. 


The romantic portrayal of the shepherdess was used in formal portraits as early as during the reign of Marie Antoinette.  Elizabeth Vigee-Lebrun (my favorite portrait painter), painted her queen as a shepherdess, upon request, however in luxurious blue silks and flowers.  The simplicity of the shepherdess, innocence of the young girl in the meadow, was popular as a way for painters to describe springtime and eternal youth.

Little Bo-Peep has been dressed in period costuming from the early 1800's by Kate Greenaway, with full skirts and paniers from the days of the French Court, and in short, simple little dresses from the 1920's.  She's timeless regardless of the period costuming, but one detail always denotes Bo-Peep.  Her shepherd's crook.  Otherwise mistakes can be made between "Mary Had a Little Lamb" and Bo-Peep, if Mary's school books aren't visible.  I noticed this recently when researching Bo-Peep.  I guess the easiest way to tell the difference is that Mary's lamb followed her around, while Bo-Peep's were never present.

The history of Little Bo-Peep is not as endearing as the nursery rhyme connotes.  But, this is true of many English nursery rhymes as most had political origins.  The phrase "to play bo peep" was in use from the 14th century to refer to the punishment of being stood in a pillory. For example, in 1364, an ale-wife, Alice Causton, was convicted of giving short measure, for which crime she had to "play bo pepe thorowe a pillery".  The earliest record of this rhyme is in a manuscript of around 1805, which contains only the first verse.  There are references to a children's game called "bo-peep", from the 16th century, including one in Shakespeare's King Lear (Act I Scene IV), for which "bo-peep" is thought to refer to the children's game of peek-a-boo.  Needless to say, these early references are seldom considered when we think of the sweet little shepherdess weeping after the disappearance of her naughty flock.

Little Bo-Peep for Mignonette has long been in my hopper.  Maybe for as long as I've owned  Mignonette and Her Malle du Voyage, by Wendy Lawton.  I always feel it necessary to begin a new journal posting, describing an outfit I've made for her, with a little background.  "Mignonette" is not a true mignonette, which was a tiny French pocket doll, but a doll inspired by an antique Simon and Halbig mignonette who came with a trunk and trousseau.  Wendy Lawton procured this treasure from an antique store while attending a UFDC convention in New Orleans.  Mignonette and Her Malle du Voyage was the Masterpiece Edition from Lawton Doll Company for 1999.  Boneka had done the wardrobe for her faithfully reproducing each costume in the antique doll's trousseau.  Mignonette is my favorite Lawton doll, and will remain so through time.  What inspired me to create Bo-Peep for her, was that her trousseau came with two little lamb figures made in bisque.  These, too, were faithfully reproduced, however, in the Lawton doll factory.

Pink was the color theme for the Simon and Halbig doll, and this was also the color theme used for the 9" Lawton doll.  So whenever I've made her a new costume, I choose shades of pink.  I was tempted to use silk, but Bo-Peep is a little shepherdess, and simple cottons were more appropriate.  I chose this precious print in tiny pink flowers for her over dress with paniers, and a lovely green and white stripe for the skirting.  The stripe is so thin and fine that it could be described as a lawn. 

When designing the pattern, I chose the illustration (third down) for the basic look.  I was attracted to the sleeves of the over dress and the little white apron.  The fluted sleeves are not a gathered piece, but a semi-circle of fabric that is pinned to the upper sleeve length, very much the way you would inset a sleeve at the shoulder.  There is an under dress of a white, sleeveless bodice that the skirt and apron and sewn to - very much in "doll dressing" fashion.  This allows the over dress to fit comfortably over all.  There is no "one way" to design a Little Bo-Peep costume, so I used elements from favorite illustrations to design Mignonette's.

Her little bonnet was made on a PNB hat mold and I added a pink ribbon to hang loosely behind her so as to not overcome the details of her bodice.  Below are "must share" illustrations that were just a few of my favorites.  But, read on below them! 

 

 

 

 

 

Prior to making Little Bo-Peep, I wanted to make Mignonette a Valentine's Day dress.  When I was pulling pinks and greens together from my stash, I once again came upon this little silk plaid in dark peach and light gray.  In my lace and trims stash, I found this vintage silk jacquard that appeared like it might go well with the plaid silk.  The question, of course, was what to do with it?!

This basic pattern, which was used on two Christmas dresses two Christmases ago, is one of my favorite looks for these 9" Lawton's.  The drop-waist with puff-topped sleeves.  I had to be very careful since I didn't have but a bit of this vintage silk jacquard trim, yet I used it as a main design to the dress.  There are four rows on the long bodice, and one row at the hem of each sleeve.  I pinned them on at equal intervals of the checks on the bodice.  I enjoy sewing on checks and plaids as the lines are so easy to match up.  There's no question in placement.

I also found this lace that I've had in my stash for quite some time, and used it as an overlay for the skirting.  I wondered as I was designing this dress if I was over doing it.  But, what is a Valentine other than flowers and lace and frou-frou?  A large bow in the same fabric tops her pretty sausage curls.

So which dress is she wearing right now?  Well, she'll be Bo-Peep for awhile and enjoy the little sheep that came in her trousseau.  I wouldn't want this precious little girl to weep for having lost her sheep.  Oh, and one more thing!  I almost forgot to mention her crook.  Wire and needle felting wool!  And, of course, its prettied up with a pink bow. 

Wishing you a Happy Valentine's Day and wishes for an early spring.

Love,

Miss E. Mouse 

A Chinese New Year with Ping Li

Sometimes we need to dig really deep into a challenging project, and this was one of them.  What better way is there to spend the long, chilly days of January, than to exercise some of that brain in front of an array of beautiful fabrics and a pair of scissors?  Its during this time of year when my creativity feels like the tender green shoots of  narcissus bulbs pushing through the hardened, cold earth.  I want to burrow.  I want to read or lose myself in episodes of Victoria or Outlander.  But, then the sun comes out and my restless spirit wants to grow and surface, and shine again.

It is no secret that I love the Ruby Red Galleria dolls.  The Ten Ping family line is one of the most remarkable doll offerings out there right now.  Years ago when I was collecting only Asian dolls, Ruby Red Galleria came out with their first doll, the Senson.  There were three and I'd bought one of them.  However, when I began to go in another line of doll collecting, she was the first to go.  Why?  Well, one of the reasons was that she didn't have a good offering of extra outfits...and I wasn't sewing at the time.  However, when I began collecting the Ten Ping family of dolls, I once again desired to own one of the Senson dolls.  Their articulation is incredible, and she is a pretty doll.  So my friend, Jenny, sent me one for Christmas...nude.  She was the Ping Li doll.

The first thing to go was her wig.  I kept it, but if Ping Li was to be a friend to my other dolls, she needed to have their look, which would include a beautiful black mohair wig.  These are extremely hard to come by now, and I could only find one in a size that was slightly smaller than needed.  It had the elastic band around the crown, so I clipped it and glued the wig on to fit Ping Li perfectly.  Now it was time to dress her.

For winter, I had my Mia, friend of Ten Ping, dressed in a gorgeous little Ruby Red Galleria costume that consisted of a pair of pants, a Chinese wrap top, a split-side pinafore, and cloth shoes.  I thought, Why not try a larger outfit like this one?  A lot of people would have gone for the Cheongsam dress look, but I love the way this doll sits, so pants seemed more logical.

Its a good thing I have a great stash of fabrics.  Ruby Red Galleria only uses cotton, and often poly-cotton blends.  If it works for them, it will work for me.  I chose a khaki linen for the loose leg pants.  If she was going to be able to sit comfortably, cross-legged (indian style), she needed to be able to move freely. 

 

It was kind of fun sorting through all the cottons I had, to come up with a pleasing combination to somewhat replicate this outfit from an 8" doll to a 12" one.  I spent a great deal of time studying the construction of Mia's costume in an effort to design the patterns for Ping Li's winter costume.

I know so very little about authentic Chinese costuming, so it was important to me to get this correct.  I noticed that piping was used only along the collar of the wrap jacket.  And, it closed exactly at the side seam when fastened.  Ruby Red Galleria used snaps to do this, although frogs can often close such jackets.  They may not have done this since a pinafore went over the jacket.  But, the most amazing thing to me was the design of the front piece that lays under the wrap.  It was designed with a curve, exposing the waist, where if full, would bunch up when you sit.  With this curve, you have a cleaner line to the jacket, more slimming.

I suppose I could have designed it the easy way since "who's going to see anyway" with the pinafore over it?  Can't do that.  If I'm going to do something, I'm going to do it right.  That's how I learn.

I chose a burgundy fabric with pink roses on it for the jacket, and lined it with a muted yellow cotton with a tiny pink rose pattern.  Making a longer sleeve, then lining the whole thing, allows you turn up the hem of the sleeve for the cuff-look.  The jacket can also be worn alone without the pinafore over it, and I might display her this way at some time in the future, with perhaps, a different pair of pants or a skirt. 

I wasn't looking forward to making the pinafore.  LOL  I studied and studied Mia's little pinafore and had the most difficult time trying to figure out what the heck they did!  When a piece of garment like this is completely lined, sometimes the only thing you can do is take it apart to see how it was put together, and I wasn't going to do that.

The pinafore consists of 15 pieces.  There are three little lined apron pieces that hang below the top pinafore piece.  It was my goal to see how it could be done.  With splits up the side, and completely lined.  It took me a week to figure this all out, but that's the kind of persistence and patience it takes sometimes.

What I discovered, was that the lining is in pieces with the lined apron nestled between the seam lines.  I took a photo of this to share how its done.  But, also to archive the process in case I want to do it again.

You have the front and back pieces of the pinafore (3).  The lining is two front pieces, and four back pieces (6).  The hanging apron pieces including the lining (6).  Then I had to put this together on the machine.  I'm laughing as I write this because it took me two days just to figure out how to sew it all together.  The incredible thing is that I only had to do a half mock up to see what was going on.

When it came to sewing the lining on, You have to sew the bottom edges and sides up to where the hanging apron begins and this allows you to have the lined side splits.

All of this then has to be pulled through the shoulder seam between the armhole and the neckline, to turn it inside out.  I attached a photo of the completed (lined) pinafore to share how it compares to Mia's in an earlier photo.  Completing this was a proud moment.  But, there was still more to do. 

Mia's little pinafore has faux frogs on the shoulders for decoration.  I went to Michael's and bought two skeins for Patons Grace, 100% mercerized cotton yarn.  This is what was used for Mia's faux "frogging".  But, I couldn't figure out how they tied the knot and made them, so I went back to the way they've done their frogs on other garments.  Forgive me for not recalling the name of this stuff, but its a narrow twill tape.  Ruby Red Galleria dyes theirs for the garments, and I had a length of dyed twill tape left over from when I did the Yu Ping outfits two Christmases ago.  I considered sewing two of them to the front of the pinafore, but in the end chose to put them on the shoulders like Mia's.  Now we needed shoes.

I didn't want to make the shoes.  Although I'd made ballet slippers for Tara Tree-tops, cloth shoes are much more difficult to make than leather ones.  Leather stretches.  Which means that your pattern has to fit the foot perfectly in order for a clean look with no gaps.  I got lucky.  I guess I've made enough shoe patterns that it only took a half hour to get a good start to the shoes.

I was going to use a tiny plaid wool, but instead selected a completely different color than the rose theme.  Primarily because this fabric was a coarse cotton and a shoe needed stability.  The Ten Ping shoes all have white soles.  It looked to me like they used a white linen for this, so I dug through my fabric stash knowing I had some left over from a long ago project.  I chose a corrugated cardboard to cover for the soles, so that there would be a thickness to it.  With a good basic shoe pattern like this, you can add straps, embroider the fronts,, etc., which are various ways Ruby Red Galleria has done their Ten Ping shoes.

I wasn't done yet, though.  I stayed up until 10:30 last night making her socks, and then a floral headband to set the whole outfit off nicely.

After finishing that pinafore, I swore up and down that I'd never make another and that this was Ping Li's one and only outfit.  But, today, I feel differently.  She will need at least two others.  And, I may have to go through figuring out another complicated Chinese garment, but at least I know that I can do this.

The only thing I regret, is not knowing what kinds of accessories I can make for Ping Li.  She's too old for dolls (don't say it!).  She lives in a rural and poorer country setting, like Ten Ping, so I guess a little research is in order.  They did house chores, cooked, sewed, took care of the little ones, but what did they do for amusement? 

Chinese New Year is on the horizon, and now Ping Li is dressed and ready to join her young friends to hear the large bells ring from the temple in the center of town on New Year's Eve. 

Love,

Miss E. Mouse 

 

Original Ping Li

Pattern pieces from paper towels

 

Happy New Year! Meet Hetty!

I'm a morning person.  I used to look forward to the first day of school.  I love Mondays!  The beginning of a new month...that first day of the month, always lifts my spirits.  And, so does the beginning of a new year.  I like fresh starts!  And 2018 has a nice ring to it.

Winter, where I live in the Sierra Foothills of California, is not like most winters others experience.  We don't get snow for one thing.  In a good winter, we'll get plenty of snow in the upper elevations of the Sierras, and this ensures a good water supply to many parts of California, and also happy times cross-country skiing.  But for the most part, our area remains sunny and moist, with leafless trees to expand the horizon, and green grasses growing aplenty.  The inescapable presence of blue as seen through the wintering trees, the ever-green of the pines, and emerald of the grasses, are the colors most vivid on any given day.

As solemn as January can often be after the frivolities of Christmas, we must find ways to cheer our spirits, and for me, color is one of them.  So when I began pulling out silks to dress my new reborn Lawton doll, Hetty, it was the color of this striped silk that drew me in and inspired me to make her debut dress.

I'm always on the look out for inexpensive Lawton doll offerings listed on Ebay, to rework and begin dressing anew.  Hetty began her life as the 12" Victorian Christmas doll.  She's the same size as Illustrated Alice, and a fun size to sew for.

In her former life, she lived as a blue eyed blonde.  Finding a nice wig for her wasn't easy, as most of the wigs these days are styled for BJDs, not Victorian misses.  So when I came upon this one in a different color, I asked the seller if she had any others.  She found this one for me, and I bought it.  I think I bought four wigs total to try on her, but this one was quite similar to the styles the girls wore in La Mode Illustree during the early Victorian years. 

Her dress is also from La Mode Illustree, in an illustration from 1874.  What I liked most about it, was the cut-out in the bodice-jacket-vest, whatever you call it.  Seriously, I have no idea what you would call it.  As with most of these dresses, I just design it from careful study of the illustration.  It did not appear to open in the front, but had the lovely details of decorative buttons down the front of the "vest" and the skirt.  It also boasted the bias cut of same fabric, edging the "vest" as a decorative touch.  I never shy away from this type of hand-work, but it does require patience and dexterity.

I began with a nicely front pleated chemise to go beneath the dress.  Not really knowing if the skirt had a waistband, I decided to design the dress for a doll, rather than a person.  In doing this, I attached the hem of the chemise to the skirt's waist edge.  I also felt that the "vest" would lay more nicely over this, instead of trying to tug it around a waistband.  Make sense?  And, as usual, I always design the dress to fit nicely over the metal wire bends of a doll stand. 

I wasn't sure what it was the original dress design intended for the button row, and I tried many different ribbons, including grosgrain, as a "row" to sew the buttons on to.  None of them looked quite right.

The main problem was that I didn't plan well.  I really didn't have enough fabric to play with, did not make a mock up of the "vest" (shame on me), and made a first "vest" that was too small.  Too small in the arm holes, so I had to rework my pattern and make it again.  The sleeve bits, again I have no idea what you call this piece of the garment, are in two pieces, and both edged with the bias cut banding.  All that bias cutting really chews up a small piece of silk quickly, yet I was able to do it, reluctantly so, but necessary.

I had just enough fabric to make a placket, cut horizontally, for the button placements.  I also needed a wider length for the skirt, but resolved this by piecing another width to it.  I cut that in half, then sewed both to the longer length, giving it a look that could have been "intended".

The buttons are little brass ones, and the chemise is closed with five little pearly buttons and thread loops.  The "vest" closes with hooks and thread loops.  The result of all this work is a little frock that rings of evergreens and blue skies and new year cheer.

If  January's palette in nature begins to bring on the doldrums, try spicing up your surroundings with a bit of color.  Open the drapes and let the natural sunlight in.  Immerse yourself in a good book, curled up in a cozy corner, and dress your dolls in colorful frocks.  Hetty can agree that it "does the trick"!

Happy New Year, my friends!  Resolve to make January a "favorite" month!  Find a little magic in each day and celebrate new beginnings.

Love,

Miss E. Mouse