A Story of Giving

July 31rst and the end of a very full month.  If one could envision a month with wings, July certainly flew by. I'm sitting here nursing a virus I picked up at convention, blowing my poor little raw nose, hoping the virus takes the wings July did and flies as quickly away as it came.  At least I was well for the duration of the week, and I suppose this summer cold is the Universe telling me to STOP and slow down.  Me?  Slow down?  Never.  I have so many projects left in stages on my table, and so many I can't wait to begin.  I had an idea last night that just may supersede the others as well.  One thing at a time.  With love and intention, one thing at a time.

I'd written a post a couple of weeks ago.  One on Anne Fitzpatrick's gold skirt paper doll outfit, and for some reason, the Internet goblins blew it away.  So, I decided to wait until I had two more outfits completed for her, and then I'd write another journaling on all together.

Sounds like a plan!  One thing at a time.  

Having just returned home after a very wonderful week in Kansas City, seeing friends from afar all gathered together, it is now the end of one story, and the beginning of another.  One that began in perhaps February when my friend, Rosemarie, suggested we make a gift to present to Ruby Ho at her event dinner, during the UFDC convention that took place last week.  So much has taken place since those initial conversations, that I must tap into the recesses of my own computer banks and remember well, a story, an adventure that will be with me a long time from now.

My journaling, my blog, is my memory.  Just today my friend, Betsy, was asking me to remember something I made for her Hitty, and I didn't, couldn't remember it.  She loved it, and that is all that matters.  I go from one project to the next without stop sometimes, most times, and if I don't complete the project by 

sharing it, it is simply lost in the fray.

This is the story of two friends who through the vast miles apart, halfway around the world, Bali to California, shared ideas by phone, sent photos back and forth, and eventually created a very special gift for a woman we both admire and hold dear in the doll world, Ruby Ho.

Even more, this experience gave me a visual and practical experience of what goes on behind the scenes in the professional "factory doll costuming" business.  While we'd all like to believe in the 

magic, which it truly is, wrought from talented minds and hands, it is a lot of hard work, stops and starts and do overs.  What I remember most clearly is that even the best in their class have do overs.  And here I thought it was only people like me that foodle around with doll costuming!  Its common, it's part of the process, but no one talks about it.  Everyone wants their finished product to look like magic.  Not me.  I'm too stinkin' honest about the process.  But I saw magic.  Magic in the hands of one Indonesian woman who does all the embroidery, by hand, and quickly!  It was her splendid embroidery that I would have to recreate

on silk doll slippers.  That was my task.  The shoes.

Here are examples of her work and how they become the finished product.  WOW.  I'm still blown away by her work.

The gift was essentially two silk Chinese costumes.  One for Ten Ping and one for Yu Ping.  I would make the silk slippers to match.  No biggie?  Well, I was getting a set of the costumes, Rosemarie was keeping one, and Ruby Ho would receive one.  That's six pairs of hand embroidered slippers.

This little pink tunic was a mockup for size and how the collars would fit.  

Let's go back a little further in our story.  Rosemarie did not own a Yu Ping doll.  Just a Ten Ping.  So, in order to create a costume for Yu Ping, I needed to accurately provide measurements, measurements drawn on paper, photos, and eventually more measurements after an outfit was shipped to me for sizing.

While the initial designs and selection of fabrics were being done in Bali, I was thinking to myself, "Holy crap!  Is my work good enough to pass Rosemarie's inspection?  Will I embarrass myself presenting my impossibly novice work in shoes to Ruby Ho with these extraordinary costumes?"  A question of confidence and bravery once came up in conversation.  For me to even consider being a part of this venture, I had to have some measure of both.  Right?  I would do my best and that is all I could ask of myself.

The first pair of Yu Ping shoes were in the light teal silk sent to me from scraps of the tunic's fabric.  I would embroider elements of the floral design on the collar, onto the shoes, so they would match.  I realize these photos are not good.  It was always my intention to take GOOD photos at the end, but I didn't.  Frankly, when I was done, I delved into the next project and didn't look back.  Big mistake.  So, the photos you see here are all the ones that were sent to Bali.

I created a mockup shoe first, just to see what I'd need to do to embroider them.  Unlike the collars that were embroidered on a piece of silk, I made the shoes first, then embroidered them so the embroidery would fit and work evenly around the front and sides of the shoes.  Crazy, yes, but this was how I did it.

After the initial light teal shoes, I wanted to try a pair in white.  I felt that the white would complement the white of the collar best.  Eventually, the white pair would go in the gift box.

A dark navy silk was used for Ten Ping's outfit and the shoes can be seen three photos down when we were designing the gift box.  Each pair of shoes was embroidered to match the embroidery done on the collars.  With one thread.  Imagine.  ONE 

THREAD.  I studied the tiny work on the collars to determine what stitches were used and did test flowers to see how they would come out.  There was a lot of thread pulling and rework, but eventually I had six pairs of perfectly matching Chinese silk slippers.

I was done!  Hooray!

Then Rosemarie decided to add one more costume.  I called this costume, Gigi's.  Gigi was Ten Ping's best friend, so it made sense, but to Rosemarie, it just looked nice in the set.  One more pair of shoes would have to be made.  I was only going to do the one "gift" pair.  And chose a lovely red to pick up the colors in the new costume.  In the photo, you see Ten Ping standing on a photo I used to create them.  This was seriously tedious work, but I sure learned a lot of new embroidery techniques!

Next, we needed a box.  I knew just the kind of box that would set this off.  When I was a little girl, we went to Chinatown in San Francisco one year and when I saw Katsuraningyo With Three Wigs, I begged my father to buy her for me.  I still have her.  

When I showed this to Rosemarie, she liked the idea and took it to her son-in-law, Kadek, and he made us a beautiful red box with dividers for the costuming and shoes.

I took measurements around Ten Ping's dark blue slippers so the dividers would just fit three pairs of shoes,

Rosemarie designed the other elements to fit the costumes that would go into the box.  The Gigi outfit would tie into the lid.

Things were coming together!

Kadek's lovely box

With the ribbons tying the outfits in.

Now comes the tragedy of the story.  

The night before the dinner event, Rosemarie and I put the box together.  She already had the costumes tied in, but we would select the best of the shoes for Ruby Ho, tuck them into the partitions and put a ribbon around the box.  I had brought along with me some needle felting wool and the peach color worked nicely to nestle the shoes into place so they wouldn't move about.  

The lid went on.  Rosemarie tied and an incredibly beautiful ribbon design around the box and we were all set.  The gift was presented at the dinner and Ruby seemed so pleased.  It was an incredible moment to be a part of.  However!  I never took a photo of the pieces in place!

I came home so disappointed in myself, as I always photograph and archive my projects.  I was just shaking my head in sheer disgust.  I was out of my element in the hotel room.  That's what I attribute it to.

Then a day later I thought, hey!, Fred, Ruby's son,

took lots of photos there at the dinner.  Maybe he'll come across a nice one and share it with me.  I wrote to him, pleading my case and asked.

He did me one better.  Ruby said she'd pose for him with the box, and he could take a photo for me.  I was beyond grateful!  He took one of the opened box, and one with his mother holding it.  Big sigh!  Thank you, Ruby and Fred!  Her photo is at the end of this journaling.

The photo here is of my own dolls wearing their beautiful costuming by Rosemarie, that incredible woman that embroiders, and my little slippers.  The third costume will need its own slippers - eventually!

One more note.  The photo at the top is a vintage doll costume that served as inspiration for these costumes.  

Somewhere in the midst of all this, my friend, Heather had a birthday in February.  I was smitten with Doug James's 1470 Circle bathing costume and wanted to make one in a similar design for Kitty Hudson.  However, I couldn't find the right knit fabric.  There was a lot going on back then.  Not all of it good.  So I sent Heather the antique picnic basket I'd picked up at convention the summer prior, to go with the bathing costume, and that would have to do for the time being.  

Probably in May, I'm thinking, I had an opportunity to go into Roseville and stopped in at JoAnn's.  There it was.  The perfect knit fabric.  Let's get to work!  I've typically brought a gift for Heather each convention I've attended, and this would be perfect.

Doug's fabulous bathing costume belongs to my Emily, but this is Ed's photo.

I did a lot of research on bathing costumes of the 1920's.  There are tons of vintage photographs of bathing beauties from this era, but one thing in particular that you'll see, are a number of designs!  Almost as if these girls just set out to make something unique just for themselves.

There are still the long dress lengths transitioning from the Edwardian days.  There are some that look like costumes just for show!  But one thing was certain, these women were free and having a ball!  The 20's to me is all about shedding tradition and challenging all that was taboo.  That included the length of a garment and how much leg showed.  It also included how much under arm was showing.

Beaches would have monitors walking the shores in search of girls brazen enough to test the rules.  Here is a fabulous photo of one such monitor with her measuring tape.  I'm sure this would have been equivalent of today's string bikini!

After several days of reading and reseach and Pinterest photos, I found this darling image of five young women testing the waters in very fancy bathing costumes and headwear.  

It just so happened that JoAnn's had a diamond knit that was the perfect size for a bathing costume for Kitty Hudson.  Do remember that it was Doug's swim costume that I was trying to replicate.  Not the one in the photo.  And isn't it sometimes fun to make something unique?  So I took elements of both costumes and a little bit of my own designing to create Kitty's.

Its funny.  I knew when I saw Doug at convention that I would approach him about the design.  I just hoped he would be willing to share "how he did it".  I had the circle suit turned inside out and pulled this way and that way, to not only trace out a paper towel pattern, but figure out how it was assembled.  I never did figure out how it was assembled at the shoulders.  The rest is pretty true to the original though.

The knit that is the under suit with shorts, serves as a lining for the bodice area only of the outer swim dress.  I can't explain this any further, but the only way I could get a nice look was to hand stitch the "straps" at the shoulders and close them with buttons and thread loops.  This actually worked out better when dressing the antique 1469, so she wouldn't struggle into the suit.  

Credit given where credit is due.  The swim cap is Rosemarie's design.  She sent me a pattern that I reworked a bit for how I wanted it to look, but it was the perfect fit.  Thank you, Rosemarie!

The hat is in four sections.  Two lilac and two orange, and the lining is of the same.  Its a fun, stretchy little cap that picks up the colors in the diamond print.  The under bodice with shorts is of the lilac knit.

A black cotton belt was made with a mother of pearl buckle, and I painted a pair of Doug's cream heels in black to go with it.

For those of you familiar with Kitty Hudson, she would have insisted on being the star of the show.  The one and only mermaid on the beach.  Madame Hoover always aims to please.

Thank you for staying with me through this long journaling, but when a story begs to be told, I enjoy putting the time into it.  Some day in the future when my brain is going soft, maybe I'll be able to read through these and relive a special time in the first half of 2024.

And of course, we need to turn our attention once again to sweet little Anne Fitzpatrick.  I have two projects for her on the table, one in the works that's perfect for the summering days of August.  And upon completion, I'll blog on three costumes.  Maybe a fourth!  Because remember, I had that brilliant idea last night!  I'm just itching to get that one started!  And I need to get well.  Priority.  Get well.

If any elements of the past six months should be prized, they are patience and perseverance.  Honestly, I don't have the confidence people think I might.  I'm sensitive, easily hurt, and try not to show this.  When we look at others, maybe through the work they do, we form impressions of the person that are seldom accurate.  One of the reasons I admire and love both Ruby Ho and Rosemarie Ionker, is because they are real people.  Humble and hardworking.  They are superstars, yes, but they are role models at least to me.  I'm honored to know them.

Let's see the rest of summer out with new adventures and fun with dolls.  Rachel will be starting her subscription boxes soon and I hope to get into all three this time around.  What a brilliant woman to bring such fun and adventures to the chair we sit in at our computers!  Here's to August and pleasant days ahead!

Love, Melissa

Fred took this of his mother, Ruby Ho, for me.

A great lady.  Rosemarie Ionker.

 

A is for Eiffel - Anne Fitzpatrick

Hotter than noon on the 4th of July!  We've been in a serious heatwave for the past four or five days, and this weekend is when the temperatures will peak.  

Today is the 4th of July.  I've had to enjoy sharing my personal celebration of the holiday on Facebook only.  It's just too doggone hot outdoors for comfort.  Sure.  There are crazy people out frying in the sun, boating on the lake, standing over barbeque grills in parks and backyards, but with temperatures in the triple digits, I prefer to spend the holiday in the comfort of my well air-conditioned home.  And this is what I've been doing for the past few days.

I'm never bored.  Never!  Dolls keep me busy.  Reading keeps me busy.  My dog, Brighton, keeps me busy, and of course, the day to day of living fills the hours of the day.  Then there's sewing!

I couldn't wait to begin Anne's second outfit, which I'm calling 

A is for Eiffel.  Of the paper doll outfits for Anne that Diana Vining illustrated, I purchased fabric for only two.  I'm watching what I spend with the UFDC convention coming up on the 22nd.  And with fifty-thousand pounds of fabric stuffed into my cabinets, I really do try to use what I have in my stash first, before purchasing more.

I was charmed and intrigued by this printed dress with a large, floppy red beret, and adorable red t-strap shoes.  There is so very much to this outfit, so many details, and yet deciphering it to begin planning to create it, was quite a puzzle. I've looked under a magnifying lamp at the print, and I'm pretty sure Diana drew hundreds of little "A's" all over the dress.  And yet!  And yet, with the beret, it looks very French, and those symbols could be artistically conceived Eiffel Towers.

Then again, you have the A's on the knee socks, so the dress must be printed with the letter A for Anne.

But such a fabric does not exist.  If I can't find it, it doesn't exist.  I've been sewing paper doll outfits for twelve years now and finding fabrics to match the illustrations is second nature to me now.  It's like going on a treasure hunt. Instinctively, I knew I wouldn't find anything close to Diana's vision, but it was fun going for a spin around the internet just to see.

In the past, I've actually created my own fabric before.  Whether it was painting on silk, running an image through the printer on printer fabric, which is horrible, worse than Kona cotton, or creating iron-on appliques.  The most important thing for me in this creation, was to make something charming and inspired, and create it in a way that would make Anne feel pretty and Oh-so-French!

This dress is one of the more challenging I've done, if only in the design of the collar.  I have a love-hate relationship with collars.  I know how to make them, but it usually takes a few whacks at it to get them designed to lay properly and nicely on the neck edge.

This dress was also drawn with elements of off-white, or light beige, and white.  Digging through my stash to see if I could come up with the correct knit for stockings, white for the inset in the bodice and again, color tint for the collar took some time.  I have silks.  Tons of silks, but this dress required cottons as the print I chose was cotton. Where I could go wild, if I ever do, was with the trim.

I chose a lightly ribbed white shirting cotton for the inset, a light cream cotton for the collar, off-white-cream for the knee highs, and thin red cotton velveteen for the trim.  My thought was, what would a little girl find in a French couture shop to wear on a visit to the Louvre?  What would she delight in, spin around in, visiting The Jardin de Tuileries in Paris?

This print has tiny Eiffel towers on it.  Little A shaped Eiffel towers.  It's a simply quilting cotton, not my favorite doll dress fabric, but it worked for my inspiration.  I worried constantly that it would not come together in a pleasing way.  I'm such a stickler for authenticity, exactness.  Its what I do.

The red velveteen makes the dress elegant.  I remember loving the feel of wearing velveteen as a child.  I used to pet it.  It was soft.  Felt like a kitten.  So the cuffs, hem trim and beret are made from the lipstick red cotton velveteen I had in my stash.  It came from the U.K. and I will have to try and purchase more in the future since the two-yard order I purchased has been used for so many other costumes, and Red Riding Hood capes. 

The buttons are pearly set in brass and were purchased from a French Fashion seller. The white sold out quickly, so using all six of the ten I had was a special gift to Anne.

But the real fun was in trying to make the knee socks and t-strap shoes.  

I didn't want to let Diana down.  I know in the past she's enjoyed seeing her illustrations come to life, and I did my best to do this.  She really spent some time drawing all those A's, and this I could only attempt to replicated with Eiffel Towers.  On the other hand, I could do the accessories.

I spent a great deal of time in May embroidering silk slippers for the gift my friend and I are presenting during a UFDC event.  Eight pairs of tiny silk slippers if my memory serves.

So embroidering A's on the socks wouldn't be too long a leap.  Or would it?  Embroidering on stretch knit is a whole other thing though.  I make no excuses if the two A's aren't exactly alike.  I did my best (LOL).  Not an easy, no brainer task.  But gosh, they turned out nice.  Hence, so many photos attached!

And of course, those precious red t-straps with the tiny bows.  What child would not fall in love with shoes like this?!

These photos just show the shoes and knee socks from different angles.  I truly enjoyed the creative process in both these accessories.

The large, floppy beret was made from the same red velveteen as the cuffs and hem trim.  Oversized, but fun and playful.  That's our Anne.  Playful!

Now Anne has TWO of her paper doll outfits by Diana Vining.  Diana's artwork inspires me daily.  It truly has that voie d e vivre, and what could be better for a little French outfit?  

Below, I show her with a large red bow-ribboned ponytail.  This was how I imagined her looking.  

I hope you've enjoyed both this outfit and the journaling of the creative process.  Thank you for joining me on these dolly endeavors!

Love, Melissa 

 

Anne Plays Cinderella and Ellowyne On Carnaby Street

Gosh, it's good to be back writing my journal!  Where have I been?  On the lake kayaking.  On the patio in the mornings with my tea, writing and reading.  Talking with friends, working with friends, preparing for the UFDC convention July 23 - 27th.  Oh, and knocking myself out making things for it!

Idle?  Never!  After my last posting, I've been working with a dear friend, making a special gift for the presenter of the event we are both attending.  And, making a gift for one of the special friends I chum around with when I attend these conventions.  Yup.  You guessed it.  It's all a big secret.  Gifts are just that until they are given, and in this world of social media and the Internet, you cannot let even one photo slip through the cracks. 

However, once home, I'll share all of these and more.  And I can't wait to do so!

In the meantime, I caught Ellowyne fever again.  I have a lovely and incredible vintage Ellowyne collection, and when these dolls came out for their second debut through the Virtual Doll Collection, I purchased one, but I didn't bond with her.  I know.  Stick in the mud.  I loved what I had of old Ellowyne and Rufus and was much too busy with Grace and Dolly to go there.  

It's not so much a matter of changing one's mind but falling in love all over again.  And the Cleveland Regional did it for me.  No, I didn't go, but I saw the collaboration set of garments that Robert and Rachel had made for it, and that did it.  Mod 60's outfits.  With shoes in each pack!  Purchased the three costumes from a UFDC regional director, and the Chasing Rainbows Ellowyne, at great cost on Ebay, and took off on a new adventure.  Trust me.  I needed this.  After what I'd been through at the beginning of the year, I was fully ready for some new fun.

And summer is always a time when I become sentimental for the British Invasion both in fashion and music.  It's light, it's fun, it takes one back to an exciting time in the 20th century.  I was just a child, but I absorbed everything around me and couldn't wait to grow up to enjoy what these girls were doing.  However, by the time I was old enough, that era had ended, and I was stuck in the stinkin' 70's.  They weren't all that bad, but growing up in them was challenging for me.  So, I wax sweet on the 60's.

I intended this set of three outfits to take me through the summer, but it lacked something yellow.  Mellow Yellow.  Sunshine yellow!  And the introduction of the go-go boots that the VDC offered recently, set me on the track to make an outfit to go with them. 

I might also mention that I was purchasing wigs for this doll as well.  I fell in love with the flip wig in red, which is so reminiscent of Ginger from Gilligan's Island.  This is her 60's wig and while dressing in the style of this era, it stays on her head.

So, let's talk about Carnaby Street.  While rich in history, by the 1960's Carnaby Street was popular with followers of the mod, hippie and peacock revolution.  Many independent fashion designers like Mary Quant, had premises on the street.  Various underground music bars opened in the surrounding streets to provide hot entertainment in the evenings.  Bands like The Rolling Stones and The Who appeared in the area to shop and socialize, so it became one of the coolest destinations associated with the 1960's Swinging London scene.  So I named this outfit, Carnaby Street.

Starting with one of Tamara Casey's patterns as a sloper, I created an A-line dress in yellow and white checks.  When I purchased the fabric, I though the checks would be much larger, but that's just the way it goes when you cannot hand select fabrics at a store.  Still, it's a fun pattern and works well for this outfit.

I saw the boots, conceived the outfit, and began sewing prior to the sale of the shoes, in the hopes of snagging a pair of the yellow ones.  Colors on your computer screen are never reliable.  I did my best to get a good color match but considering that the green shoes that go with the green and white checked daisy dress from the collaboration, my favorite, are a shade different, I felt okay with pairing the outfit and the boots.

The A-line dress sports a sewn-in belt that runs through four belt loops.  This was a very popular style in the 60's.  But just the dress wasn't enough.  We needed a hat.

Newsboy caps were popular in this fashion era, so I made a pattern to create this hat.  It had to be sized larger due to Ellowyne's wig as its slightly teased in the up-do style, ending in a great flip.  

I added a covered button to the top, and Ellowyne's off to shop and socialize on Carnaby Street.

 I was lucky enough to purchase these great boots that fit like a dream, in black and red as well.  I fully intended on making a couple more outfits from the 60's for Ellowyne as summer carries on.

I also intend on making a purse or two, but these are time consuming, and I had Anne's first costume to consider.

Around the same time, the VDC released Anne Fitzpatrick.  Grace's little sister.  She's a 12 1/4" doll with high articulation, and not even close to Tonner's Marley, who was Tyler Wentworth's little sister.  She's completely different.  

As I'm writing this, I've become aware that I forgot to include a photo of the Anne doll I purchased which has a removable wig in a long brunette style with bangs.  She came with a pair of white sneakers, and I'm not a "sneakers" person, so I made her orange espadrilles to go with her dress.  (I just added a photo to the bottom of this posting.  The blog site doesn't like you messing with the photos once you arrange them and begin writing.)  That would be the first thing I made for Anne.

But one of the greatest things about purchasing an Anne doll, was that you received a pdf file of Anne paper dolls that Diana Vining drew!  I was a goner.  

Some of you might remember that Diana had done a Grace paper doll set that was all in tropical prints for summer.  This was the reason I purchased a Grace doll.  Just to make all those costumes, which I did.  It took me the summer to do so, but I had a great time finding fabrics and bringing Diana's artwork to life.  Why not do it with Anne?  No darts!  That's why I love dressing child dolls.  No darts.

When I first saw the paper dolls, I was naturally motivated to create the Alice dress on this page.  But then Club Grace's final subscription box was a Cinderella costume with PVC glass slippers.  I'm done crying that I had to cancel my Grace subscription, but it was what I had to do at the time.  This was a very traumatic time for me in my marriage, and since then, we've come to terms and are somewhat back on track.  That said, I felt crushed once again, that I would not receive the Cinderella box for Grace.  Dolly would have been dressed as the fairy godmother.  Remmie Lou?  A coachman?

However, I have Robert's Cinderella and Prince dolls, and doggone it, we can't have everything, can we.  BUT!  Diana drew Anne a Cinderella costume to compliment Grace's, and I would make it.  First.  I'd get to play Cinderella with the VDC after all.

Rachel offered the Cinderella wigs, which we were told fit Anne's head.  And she offered the necklace for Grace as well as a mini Cinderella book in a hard case.  With these pieces, I had a nice start.

Grace's gown is gorgeous and its perfect for enjoying Grace as a Cinderella princess.  But what of a child's costume?  Well, it would be different.  It's a dress-up trunk, pretend costume, so naturally would be made with a child in mind.

With very little time to spend looking for perfect fabrics and very little money since I'm now shopping for all three dolls, I selected a light blue cotton sateen from Farmhouse Fabrics.  And a light blue sparkle tulle from Etsy.  While these were on their way to me, I was finishing up Ellowyne's Carnaby Street outfit.

I also purchased a pattern from Tamara to use as a sloper to create the costume.  One of the difficulties in using thicker fabrics is that you can't create the volume you might wish, as the gathers at the waist need to fit onto the width of the bodice.  

There was also the addition of the little skirted waist that had to be included in the bodice.  I probably could have used two layers of 

tulle, but it was a tight fit at that.  And it's a little girl's costume.

Diana likes flutter sleeves on her paper dolls.  They're a nuisance to make, but that's what I do.  Fiddly work.  

I created a little tiara after her illustration as well.  This was made from stiffened gold metallic leather and trimmed with teeny tiny rhinestones.

Here's a view of the side-back.

Shoes were next.  I actually have some PVC clear fabric in two weights coming, to see if I can attempt making "glass slippers".  I do not think I'll be successful with this.  My guess is that heat is involved.  Like warming up the plastic to mold around the foot.  If it works, I'll post on it and the process.  

So instead, I did the next best thing and made her silver shoes with little rhinestones on them.  A child would love them.

And I did a little reading on the story and the inception of the glass slippers.  Glass slippers were not introduced until Frenchman, Charles Perrault wrote his version of the fairytale.  The original Cinderella had fur slippers.  It's a common misperception that when Perrault's version was translated to English, the word vair (fur) was mistaken for verre (glass).  Not true.  There's an entire head banging write up on all of this that would dismay many a Disney purist, but the bottom line is that the story is older than dirt and originated in China, or rather it's the oldest known story of Cinderella,

Add to that, Cinderella was first aided by her dead mother, who reappeared as a domestic animal, typically a cow or goat rather than a fairy godmother.  She also makes three visits to a ball, festival or church, and her true identity is revealed by a ring that will fit no other.  The story we love and know best has its origins with Charles Perrault.

Finally, Diana drew a little pumpkin and mouse to accessorize the Cinderella paper doll dress.  These I did in needle felting.  Sometimes accessories like this take as much if not more time than an actual costume.  Perhaps I should have spent a little more time structuring the mouse, but this is a very tiny needle felt character, and it's a toy, so if he resembles something other than a mouse, give me a pass!

If you've gotten this far, thank you for staying the course and reading this lengthy posting, journaling.  It's been a long time for me since I've written a blog and there were two outfits and two new dolls to cover!  This has been fun.  Rachel has been keeping us in dolls, doll clothing, accessories and excitement, and things to look forward to!  Many thanks go out to this fabulous entrepreneur.

Summer.  Let's make this the best summer ever!

Love,

Melissa

 

Grace and Dolly in Wonderland

April 24, and almost exactly month since I last posted a journaling and it's been a busy time for me.  April has not been as rainy as one would expect an April to be, but what resulted in the off and on again sunshine, was a chance to take my kayak out on the lake.  I'd promised myself that I would begin early this year, and I did.  I need this upper body exercise, but more importantly, being out in nature is healing and rejuvenating.  Not to mention that a good, hard paddle on the lake can be therapeutic mentally, too!

April has typically been the month of Easter and what a surprise to find no holidays or special events this month after so many from January to March!  However, no sooner had I completed Alice Illustrated's Easter with the White Rabbit taking a turn as the Easter Bunny, then Rachel of the Virtual Doll Convention, releases the Club Grace subscription box to top then all!  The Alice box!  I just about fainted.  The very box I would have hoped for these past years. 

But, Oh no!  I'd had to cancel my subscription last January due to some marital problems and I was crest fallen.  For those of you who know me from Facebook and have been purchasing some of my Club Grace boxes or were questioning why I was rehoming a few of them, I'd like to gently share what happened.  

My husband got angry about my doll spending and froze my accounts.  Changed my passwords.  In the 27 years we've been together, this was the most awful thing he's ever done, and I was numb.  I owed money and had no way to pay my debts.  So, 

I began selling what I could, that I thought would sell, to pay off this debt and build a nest egg.  A month into this, we worked things out, sort of, and while not all is right in the world, this is a marriage and people go through complications.  I'm okay.  I still love Grace and hope to renew my subscription next round.  

The Grace in Wonderland box was simply divine and the fashion concept for Grace was beyond perfect for our times.  Illustrators have been drawing Alice to keep up with the current decade since they wished to put their own signature on the story.  She's been drawn in Edwardian costuming, Bleuette style dresses from the 20's, imaginative inspirations throughout the decades and costuming that was inspired by the country they lived in, making Alice a personal part of everyone's lives.  She's been cartooned, animeed (if that's a word), and even - ahem (clear my throat) - shown in "Lolita" styles.  

Rachel's classy, streamlined fantasy for Grace is phenomenal.

To top it off, Diana Vining pulled out the stops and illustrated a beautiful costume for Dolly.  And of course, I had to make her costume.  This was doubling intriguing for me as I'm currently working on the very long-term project of Halva from the story Sister Bear, where her costume is literally, fully embroidered.  Dolly's pinafore would give me more practice with the needle and thread.  I'd just taught myself bullion roses and hoped to incorporate this tricky little stitch into the apron.  The design is so reminiscent of Boneka's work, which also thrilled me.

So many beautiful and enchanting photos of Grace in her two, yes, TWO costumes, were inspiring as well.  Rachel had ordered as many of the black and white card dresses, as she did the light blue version so she could decide which one would be part of the box.  These were offered as add-ons, with a pair of black gloves, and I quickly purchased a set so I could play Grace in Wonderland.

An example of the incredible photography of the Virtual Doll Convention.

Someday I'd like to learn how to put a doll in back drops like this.  So far, no one has offered to share the type of software they use and how to use it with me, so some day when I have time on my hands, I'll begin researching this.  

I mean, WOW!  Isn't this great?!

So, I embarked on designing Dolly's Alice costume.  She is one of the most difficult dolls I've ever dressed.  You'd think that after all I've made for her, it would come easier, but when each costume is distinctly different, it's not.  And this pinafore was no exception.

You always have the base of a costume.  The background of the canvas.  Then typically the bodice is where all the design, focus and charm is.  In this case, it was the pinafore. But selecting just the right lace to gather and trim the neckline with was a challenge.  Again, when interpreting a paper doll illustration, sometimes you have to go with what feels right.  In this case, trimming down Swiss lace was the answer.  I can't begin to tell you how much work this was, just to get the scallops showing and in the right directions both in the bodice piece and at the waist.  Yet, this is what I enjoy (?) doing.  Can it be done?  Can I actually do this?  

The dress is a fine silk taffeta and a color that I've used on other Alice dolls.  I have very little left of this now, so I'm very careful in placing my patterns and saving as much fabric as possible.  I don't know what's going on in the silk trade, but I'm finding it more and more difficult to get the beautiful silks I once did.  Why?  Because the shops like Farmhouse Fabrics where I've usually purchased my silk, can't get them either.  I asked.

One of the most fun things about the Club Grace boxes are the paper toys and print outs that Diana Vining draws.  For this box, she created a teacup paper toy featuring Grace in both outfits, assorted pretty flowers and a charming little tea bag.  I can't wait to meet this incredible artist this summer at the UFDC convention.

I printed two of the pages at a reduced percentage to make teacups for both Grace and Dolly.  I added the "tea" with a round of paper colored with alcohol markers.  I love paper toys!

The embroidery on this pinafore took me a couple of days to do.  But first I had to transfer Diana's design to the cloth, and I do this with a light box and a very sharp pencil.  

I chose to follow her style as carefully as I could and stitched six strand embroidery floss as lines for the leaves and stems rather than making actual leaves.  The rest is a series of bullion stitches and French knots all individually knotted off.  AND, I found three hearts drawn in there.  So, I satin stitched those.  One is upside down.  Whether these were done on purpose, or the shape just made an interesting flower, I wouldn't know, but I went along with what I observed and stitched three hearts.

Her little leather shoes are very typical Alice with a squared edge.  

Okay. you got me.  No lace on the socks.  I tried!  I really did!  But I couldn't get the effect I wanted using the scallop edged Swiss lace or another.  The lace doesn't stretch.  It was just too much for me.  And I had to get busy with something for Remmie.  We can't forget Rachel's dog Remmie Lou.

I considered making her into the Hatter.  I thought of all the reliable and easily recognized Alice characters and chose the White Rabbit just because.  Yes, I want to get back to Halva's costume, but I was also working with a friend of mine by making a mockup of a pattern she's been working on for a doll she doesn't have.  It can be done.  Not by me, but I'm eager to help where and when I can.  So White Rabbit it was!

Remmie's wild costume was inspired by the work of Tamara Casey.  Tamara owns and operates Fletcher Pattern Company with her Designs by Jude line.  Tamara's work is extraordinary and her contract with Rachel to design a pattern each month to correspond with the Club Grace line is outstanding.  For those who aren't subscribed or have multiple dolls and like to sew, the VDC gives everyone an opportunity to dress their dolls with Tamara's patterns.

Tamara's first pattern was for the Tonner doll, Marley Wentworth back in 2005.  In 2008, she acquired Fletcher Pattern Company from Gary Fletcher and has since produced fabulous patterns for every kind of doll imaginable under Designs by Jude.  I am in awe of her talents and success with her company.  My 10/6 hat's off to you, Tamara!

Here's Remmie in her White Rabbit costume.  Certainly not as grand as Tamara's Hatter costume, but you get the idea.  I wanted to make her something that would complement and make her stand out among Grace's beautiful dress and the Alice dress I made for Dolly Dingle.

The ears are needle felted on a pipe cleaner that forms a little headband.  I have to tell you that Dolly and Remmie have been fiddled with and dressed so many times that they are seeing better days.  As careful as I am, playing with dolls can wear them down a bit.  While we're admitting things in this journal, I must tell you that Dolly had an accident when I was dressing her in the equestrian costume.  So, I'm extra careful with her now.  Remmie could use a little poking with the felting needle, too. 

She carries the pocket watch in her teeth as her paws are solidly on the ground.

This striped vest was made from the one of patterned felts I purchased when I created my Twelve Days of Christmas doll.

I poked together a little rabbit tale to top off (or bottom off) the costume.

Grace's shoes are from two boxes back and I ballet ribboned them to match her dress and give them a twist.  Love her shapely legs!  She's the perfect model.

Here's a close up of one of the mini teacups.  The original size would hold a very small doll.  I'm just nuts enough to cut out and assemble two in miniature. They're so sweet.

In one of the photos below, you'll see Grace sitting on this beautiful Alice trunk that my friend Jean made me for my birthday one year.  Not only was it beautifully decorated, but it was filled with adorable Alice paper toys and cut outs.  Thank you, Jean.  I still love and treasure it!  And you!

What a fabulous adventure this has been.  Rachel continues to dazzle us with some of the greatest doll fun we've ever experienced.  And if you're attending the UFDC convention this year, she and Christopher will be hosting a Gathering.  

The irises in our yard, along the fence line, are just beginning to bloom.  It's a cool and cloudy day and April is still deciding if its ready for a steady stream of warm temperatures yet.  I'll take a cool day like this.  More rain, please!  I just ordered a raincoat and red galoshes for Grace!  This offering from the continuing Land and Sea collection is fabulous!  I already know what I'm going to do with it to display Grace.  From my earliest doll collecting, all my dolls had to own a raincoat.  Now Grace has one.  Thank you, Rachel!

Enjoy these days of spring when everywhere you look, buds are blooming and gone are the bare branches of winter.  Baby animals are being born.  Its spring's renewal.  Until next time, keep an eye out for rabbit holes!

Melissa

Jean's beautiful Alice box.

Under the tray, more treasures.

Tamara's stunning Hatter costume.