Dressing Alice Illustrated: Agnes Richardson

Alice Illustrated in Agnes Richardson

Remember Alice Illustrated?  She's a new look to celebrate the work of Agnes Richardson!  While I don't usually change a wig just to share costuming, I had to make an exception here for continuity.  And, why not?  Alice Illustrated is a play doll, and she loves to model the lovely fashion styles Alice was dressed in over the years.

For Alice Illustrated's fourth Alice dress, I chose to dress her inspired by the utterly charming illustrations by Agnes Richardson.  Very little is known about this English artist, or at least has been documented.  I find this terribly sad, but the precious works she created for posters, postcards and children's books are her glorious legacy. 

Richardson's Reading to Alice

Agnes Richardson was born in 1885 in Wimbledon, London, and died in 1951.  The only information on her work I could find was that she illustrated posters for the Underground Group from 1912-1922.  She attended the Lambeth School of Art.  In 1923, Geographica Ltd, London, published her illustrated version of Alice in Wonderland. 

Among Friends

There are very few images from this book to be found on the Internet, but I do know of one person who has a copy of this book, Jean, and she shared some fabulous illustrations with me from her own copy.  This book is extremely rare, and difficult to find.  And, no wonder!  With the darling pixie-ish characters, very reminiscent of Grace Drayton's work, who could ever manage to give up their own treasured copy?

A full length view

When I first created Alice Illustrated from the 12" Wendy Lawton doll, I'd collected several fabrics to bring some of these lesser known illustrated dresses to life.  One of them was this blue and white striped silk taffeta.  In my continuing enjoyment and research of costuming, blue and white stripes seem to have been a favorite to dress both Alice and other children in.  They're bright, cheery, and classic.

The Pinny

It wasn't too much trouble to make this little frock for spring as I have a good base set of patterns for Alice Illustrated now.  I did have to design the collar (wretched collars!), and the "snowball" pinny, and also a new pair of slippers.  I call it "snowball", because essentially, its two rounds, one on top the other.  Well, more perhaps like a bowling pin.  Maybe we'll call it the "bowling pin" pinny since Alice did play a sort of ball with a hedgehog.

A goose rather than a flamingo!

A bodice redesigned with a slight V-neck was the base for the pointed collar.  Why do these collars never stay down?  Iron them as I might, they still flip up.  Her attached skirt is full, but not as short (above the knee), as the 1920's style Agnes' little Alice wears.  While I love this fabulous little wooden body, her legs seemed to request just a bit more modest length to the skirt.

The pinny is just that.  There wasn't a detected tie in the back on the illustrations, and also there was the absence of straps.  Hence, it would have been "pinned" to her bodice.  A pinny.  The pockets are round and gathered on the edge for a bit of fancy.  She wears a black, flapper style, headband of silk around her soft brown curls. 

Black Cross-Strap Slippers

I have a ton of little wigs in my stash so it was no problem finding a suitable one for the look of this outfit.  Her long blonde hair just wouldn't cut it with this dress, but it is tucked away with her growing "illustrated" wardrobe, so she will wear it again.

Alice Illustrated

The most fun in making this costume was in designing the shoes.  I guess I've made enough unusual shoes by now that I don't shy away from new styles.  Agnes Richardson's Alice wears a pair of black cross-strap slippers.  I did a little research on shoes from the 1920s and found some wonderful examples of the shoes little girls and ladies wore.  One thing I noticed was that they were fastened with buttons.  None were tied in back, ballet style, so I had to come up with a design that would have clean lines and the cross-strap look. 

The shoes are of black leather and are a basic slipper with a gently squared edge.  The strap is one long piece of thinly cut leather that begins on one side, the instep, crosses around and buttons on the side with a thread loop and a tiny two-holed bronze colored button.  She wears little white ankle socks to keep her feet warm.

1920's Child's Shoes

I couldn't help but add some interesting photos to this journal.  One is of a postcard Agnes illustrated with a little girl in similar stripes.  Can we assume this classic stripe was popular in the 1920's?  I think it may also be an easy fabric pattern to paint in illustrations.  I also recalled that my Tonner Alice, who is a 12" vinyl doll, was given a blue and white striped dress, so I dressed her in it and am sharing her portrait with you.

When I was researching the shoes, I saved off a pair of cross-strap child's shoes from the 20s, and also a very alluring pair of strappy flapper heels.

Tonner's Alice in Stripes

Please enjoy the final portrait of Alice Illustrated in Agnes Richardson's design.  I included a beautiful little book that can be purchased through Jean Nordquist, and the porcelain toy Humpty and Rabbit she made for me to display with my dolls.  She really is an amazing artist!

Welcome spring!

Love,
Miss E. Mouse

Agnes Richardson Postcard

I want a pair of these!



Alice Illustrated with Friends From Jean

The Alice Doll Furniture

The Alice Doll Furniture

Two of my very favorite books of all time are unmistakably Alice's Adventures in Wonderland and Through the Looking Glass.  Whether its due to the intriguing fairytale that Dodgson wrote for his little friend to entertain her, or because of the marvelous illustrations Tenniel (and other artists), came up with to accompany the stories, they simply are.  Certainly the combination of the two have inspired readers and artists ever since the first publication in 1865.  In fact, this year marks our story's 150th birthday!  Exhausted as I am from this recent endeavor, I could never, ever tire of reproducing Tenniel's illustrations on every imaginable surface possible.



My Two Beloved Books

The last time I did this, if you recall, was on the lid of the Storybook Toy Chest I painted for my friend Betsy.  (And, on the inside of the lid with Tweedle Dee and Tweedle Dum.)  I seldom bring out the paints and tiny brushes these days as I've been so happily absorbed in doll costuming.  But, then Betsy sent to me three pieces of Gail Wilson doll furniture.  Two were made specifically, years ago, for a 9" doll.  The pouting chair, I believe, was made for Gail's Hitty doll.  I was asked to paint on the pieces to accompany and compliment the toy chest.  Displayed together, they would form a 9" doll's play room or nursery.

The Alice Game Table

We began the creative process by considering individual characters to paint on the pouting chair, and perhaps flowers on the table and ladder back chair.  The selected images would have been from the same favorite stories as the toy chest.  Yet, for some reason, the furniture asked that I step back and think carefully as I approached this project.

We had darkly painted pieces in a deep teal and rust-brown.  I was concerned that the small images might be lost somehow in the dark palette chosen by Gail.  One thing I did notice was that the table had a little drawer beneath it, and to me, this made it a game table.  Then my mind took off.  A game table would require a chess board painted on it, and this was very Through the Looking Glass.  I knew, also, that all three pieces should be themed as such to compliment each other.  How do you take three seemingly unrelated pieces of furniture and make a "set" from them?  By what you enhance them with.



The Pastoral Chess Board

The first effort with the chess board was a "wipe out", literally.  After completely painting the chess board in the center, I went to clean the edges, and off the entire work came!  How could I be so stupid?!  Anytime you paint on wood, the surface must be prepped.  Especially if it has been sealed with a finish.  Nothing will adhere to it.  So I went back to Betsy and explained the situation to her.  I was quite nervous she'd ask me to send them back when I described that I'd have to sand the surfaces (to paint) down and prep them with gesso to do it right.  However, she explained that these pieces were "seconds" in her collection and told me I could do with them as I see fit.  In that case, I asked, would she allow me to "go for it" with an idea I had, and she said yes.  She knows my work, and she knows how I think. 



Red Royalty in Pen and Ink

The result was a couple of days of heavy sanding and prep work to the pieces, and the plan to cover the surfaces with elaborately painted illustrations from the Alice books.  I began with the table since I already had a plan for it.  What I attempted to achieve was the look of one of those intricate Italian micro mosaic tables we see in museums and high-end antique stores.  I would repaint the chess board, centered, and around it, a pastoral background to situate chess themed characters in.  Tenniel provided me with the Red King and Queen, the White King and Queen, Alice crowned, and the Unicorn and Lion who fought for the crown. 

Color Choice for Red Royalty

I had to "be an artist" to accomplish this since the characters were scattered throughout the book.  The White King and Queen were on different pages, and the Red Queen and King were in black and white, pen and ink.  The Red Queen, on another page with Alice, would be the color theme I would use to paint our "looking glass" pieces.  I took the Unicorn from the inside of the book cover, and the Lion from his illustrated page.  In order, I painted Alice crowned, the red chess pieces, then the white, and finally our Lion and Unicorn.  Do, please, click on the photos so you may see their detail.  They were quite a delightful experience to paint.  Each is around 1" high.

I finished the table with a mix of colors to match the deep teal, by painting the beveled edge to frame to the pastoral chess board.

The Unicorn and Lion - My Favorites

Next, I approached the very limited space of the ladder back chair.  I began searching through the Looking Glass book and could not find an appropriate character or flower set, so I turned back to "Adventures" and spotted my subject right on the paper jacket.  The flamingo croquet mallet would be wonderful stretched into three sections.  Whimsical and colorful.  Sometimes simplicity in design is more.  I love this little chair. 

Its funny but as I thought about what I might be able to add to the ladder back chair, I'd considered a hedgehog "ball", and could paint it on the seat.  Seat?  Where was my mind?  The seat was roped.  And, so the ladder back chair maintained its simplicity.

Flamingo Ladder Back Chair

The pouting chair would be an Alice Throne.  Here I had three "large" spaces I could cover as I desired.  I love Humpty.  Can't help it.  He's quite a character, and so much fun to work with.  I'd painted Humpty once on the inside of one of my Alice Storybook Trunk Sets, and would now get the chance to elaborate on the theme.  The sides would be decorated with the garden of talking flowers. 

Humpty Dumpty

The most difficult thing I encountered while painting the pouting chair was its dimension.  Although the table had legs, it was still a flat and large enough surface (at approximately 6" in diameter), that I could position it at an angle to rest my hands on the edges when painting the tiny features.  The chair was awkward and difficult at every angle, especially painting the lower half of Humpty's wall since I could not hold the tiny brushes close to the surface.  All of this is extremely intense work done under a magnifying lamp, and my eyes did take a toll on this project.  Our little pouting chair is only 4 1/2" high.  I have to chuckle (insanely) just thinking about it.

Yes, this is "crazy work", but the results are what drive me to create such pieces.  One thing I can be assured of is that by now, my painting skills are once again in top form.  Yes, I always worry I will lose them.

The Lilies

The flowers were lovely to paint, and I always learn a lot about Tenniel's style when I reproduce his work.  He accents the foremost areas of his watercolors with pen and ink outlines.  He uses the standard pen and ink cross hatching, or straight hatching to give depth to his shading and shadows.  Since I was using only brushes, I outlined the "fore-mosters" in Brown Iron Oxide and Dark Umber with my four bristle brush, and did the "hatching" in color.  Sometimes you have to be innovative and PUSH the work, and yourself, to achieve lovely results.



The Talking Flowers

For those of you  familiar with Tenniel's work, you might have noticed something interesting about the flower scenes.  In designing the artwork for painting the flowers, I did a "horizontal flip" on the lilies to balance the sides of the chair.  Those not familiar with this illustration should know that the two flower scenes are from one illustrated page that includes Alice talking to the flowers.  I simply split it in two, and reversed the lilies.  Orange is my favorite color, and these lilies were the last scene I painted on the furniture.  A delicious was to wrap up the project.

I use a both  a watercolor approach, and an old master oil technique in painting with acrylics.  I build the color layer upon layer for luminescence and richness.  I also love painting clouds.  When working in this style, you must be very careful with the washes since the paint is not absorbing into watercolor paper, but dries on a hard surface (puddling).  I could talk about painting for hours, but I'll conclude.  I'm tickled to pieces with the way the furniture turned out.

Please celebrate with me the 150th anniversary of Alice's Adventures in Wonderland.  Enjoy the photos, and I'll be back with doll costuming in my next journal.  I do miss it.

Love,
Miss E. Mouse




A Side View

Another Side View

A Little Masterpiece

Meet Louise Godey, The Godey Girl

Louise Godey

Several years after I bought my first Bleuette, I was introduced to the French Fashion doll.  She was a 12" lady doll that seemed to be the natural progression for collectors of French reproduction dolls to own, and a new direction for seamstresses desiring a new challenge from costuming the child doll.  Not wishing to be left behind, I bought one.  I had a seamstress make me up some of the dresses, then I sold her.  I didn't like her body.  I bought another one.  The same thing happened, and I sold her!  I bought another French Fashion doll, a larger one that was very beautiful, never sewed for her and sold her.  It seemed I was simply not going to embrace the French Fashion dolls.  Its not that I didn't enjoy looking, for I find them extraordinary - the antiques.  Then I began sewing for Alice Liddell, and the notion of sewing French Fashion took a turn.  So I thought I'd try it again.  This time my way, and instead of buying an "accepted" doll to dress, I chose to dress a child doll of my own design.  Enter Louise Godey.

Louis Antoine Godey

I'd been studying the fashions of La Mode Illustree for quite some time, then started looking into Godey's Lady's Book illustations as well.  The name The Godey Girl appealed to me, so I began looking for a doll that would represent the children in the illustrations from both publications. 

Louis Godey was born to French immigrant parents in New York, 1804. His family was poor and he had no formal schooling, but he was self-educated. At age 15, he took a job as a newspaper boy in New York. Several years later, he moved to Philadelphia and became an editor for the Daily Chronicle. In 1830, he published the first edition of the Lady's Book, composed of reprinted articles and illustrations from French magazines. The publication was quite popular becoming America's highest circulated magazine in the 1840's reaching over 150,000 subscribers by 1858.  It was the American counterpart to La Mode Illustree.  When searching for the perfect name for my little muse, I chose Louise in honor of Louis Antoine.  For her story, she becomes his niece.

Hair Fashions

Louise Godey is a reborn doll who was once a Wendy Lawton Mirette, from the storybook, Mirette on the Highwire, the story of a little French girl who learns the tightrope under a master acrobat.  Perfect.  However, she needed a new identity including new eyes and a new wig.  Louise is a 14" wood body and porcelain like the others I've recreated.  Her first outfit would be one I'd been studying in La Mode Illustree, probably one of the most fussy and complicated, but aren't they all?

As I began designing the patterns and slowing making (many) mock ups, I was searching for wigs for her.  Her blue eyes had been replaced with hazel ones, and I wanted her to have auburn hair since she already had freckles.  This style of hair you see in the bottom left hand corner of the hair fashions plate is the one I chose.  Two French braids.  It is also shown on the right bottom side of the page.  Easy.  Right?  No.  I must have bought six wigs before I settled on an auburn human hair wig, the same style Alice Illustrated wears.  At least I could style it myself.  Boy, was that a learning curve!

Louise's French Braids

I knew the basic steps to a French braid, but to try it on a little doll wig?  Something else all together.  Each part of Mirette's transformation into Louise Godey had to be well thought out and well executed.  It might be warming to know that I do have a "first" Mirette and she will remain as she is.  When I transform a Wendy Lawton doll, she is typically a second purchase of a doll I have in my collection.  One that is in need of "love" that I find on the second hand market.

Sewing for her would require a new set of patterns.  Alice Liddel is 16".  Alice Illustrated, and the "not forgotten" Delight of Fairytales, are 12" dolls, so I couldn't use their pattern pieces.  I had exactly two yards of this silk taffeta that I bought at Britex two and a half years ago.  It would prove one of the greater challenges of this project since every single edge of this costume has a binding cut from the bias.  Add to this, each ruffle is also cut on the bias.  By the time I was done with this outfit, I felt like I'd been in an E.M. Escher painting.

This outfit was far more complex than Alice Liddell's Botanical Garden Stroll.  I did as much sitting, thinking and stewing over how to approach each piece, as I did sewing most of it by hand.  The sheer measuring and cutting of all the bias bindings and ruffle lengths would send me off for many a break while I wrapped my head around what I was doing.

I began with the jacket.  One of things I feel helps when I making something is understanding what it is.  I know how silly that might sound, but this jacket did not have traditional lappets.  Lappets are those "tongues" or rectangles that are sewn into the bottom edge of a jacket the way a peplum is.  The shape of this jacket is like someone didn't want to bother with lappets and made them a part of the whole.  Then decided to add tiny ruffles around all the edges, with bias binding.  What was I thinking jumping into this project?!  The challenge.  Learning something new, of course.  Determined to get this right, I made at least three mock ups of the jacket alone. 

Since the jacket is shown only from behind, I had to "make up" how it would look in the front.  I studied some of the other jackets in La Mode, and chose to decorate the front edges with 14 little antiqued brass buttons.

When it came to the skirt, I chose to make it in two, no, three pieces.  There is the under-skirt with two bias ruffles edges in bias trim.  They lay on top of the skirt as decoration.  Click on the image of the outfit-only and study it for a few minutes and you'll discover some very interesting designs.  The waistband on the skirt is a simple band giving way to the one the apron and attached bustle own.  If you look carefully, you'll notice that the bustle overlaps the edges of the apron.  I sewed these together on one side to hook on the other over the underskirt.  Not wishing to be left out of the fuss, the waistband on this piece has its own bias bands at the skirt edge and one on the top of the waistband.  Its a miracle I didn't go blind creating this.

The Bustle

When it came time to design the blouse, I began with the attempt to make the one in the illustration.  Two things happened.  One is that I felt if I did, I'd toss the project.  The pieces where just too tiny to make.  The second was that this heavy blouse, which is almost a front closing jacket in itself, would not lay nicely under the jacket I just spent so much time making.  Decision made, I improvised. 

At first, I'd sent away for white jacquard trim since this seems to be what they used down the front of the blouse and also on the "cuff" of the sleeve (edged then, in lace).  Made up for a life size child, this would all be quite doable.  Try it on a small doll?  Time to improvise.  This blouse is not a delicate batiste affair.  Even the illustration imparts that information to you.  So I chose a white silk dupioni and decorated it in French cotton laces.  Four little pearls make the buttons down the front, and it fits very nicely, smoothly, under the jacket I have no name for. 

I'd even bought Sylvia Mac Neil's book, Chiffonette, looking for the style name of this jacket.  She has plenty of jackets with lappets, but even she wasn't crazy enough to try this.  This book, by the way, can be purchased at Dollspart from my friend Barbara Froelich, and is just gorgeous. 

I'm getting tired of writing, and I'm sure you're getting tired of reading this.  So I'll wrap it up.  Louise needed boots.  I bought a few goat skin hides from my favorite Italian Ebay store Rolipel.  I chose, for Louise's first garment, a mustard colored leather for her side button boots.  It was called "Smooth Polished Mustard Beige".  I had to make a pattern for these from the boots Mirette wears.  These took a few tries as well, so when I got it into my head to make her real fingered gloves, I had to stop.  We will do this another time, and I will make her a pair.  After seeing what Sylvia did for Chiffonette, I'm convinced I can make this happen.

It has taken me nearly a month to make this costume, and it was only through sheer will and determination that is found completion.  The next outfit I make for her...well, I'll try to find a less complicated design.  I do think it would have been a bit easier to construct for a larger doll, but Louise is petite and she due to have as lovely a wardrobe as I have the patience for.

Please enjoy the following photos with details of this fussy, frilly, elaborate little costume.

One more note.  Louise is holding a tiny valentine I made from one of Jean Nordquist's Make and Take kits.  These little valentines are made for a 12" doll, so don't tell Louise.

Happy Valentine's Day!

Love,
Miss E. Mouse

The Back of the Jacket Over the Bustle

No Name Jacket

All Lined and Bias Trimmed

Little Boots



Another View of the Boots



Happy Valentine's Day Louise!

An Etrenne for Alice Liddell

A New Years (Etrenne) Gift

When I began this blog on the creative process, I was primarily making what I referred to as modern day Etrennes.  Etrennes were New Year's gifts offered in France during the mid to late 1800's.  The craftsmanship of dolls in presentation boxes, games, gowns for French Fashion dolls, and their accessories, were some of the exquisite items offered in the market stalls along the streets of Paris.  And, for this new year, Alice Liddell receives her own Etrenne in the form of her little Morning Glory Parasol.

When I began sewing for her last year, I acquired an antique parasol to re-cover for her trousseau.  Its is just now, in between sewing projects, that I decided to give it a go.  I have re-covered parasols before, but never an antique.  This one's cover was in such a state of disgrace, that I wasn't tempted to keep it "antique".

The illustration.

I pulled out some lovely lilac silk taffeta, and a oordinating "morning glory" silk for the ruched ruffles.  As I carefully observed the original cover, I noticed that the underside was sewn with French seams.  Since I normally don't make them, but knew this would be the best approach for neatness-sake, I decided to photograph the steps I took along the way - just in case you might like to try this the way I did it.

At the beginning of the story The Other Alice, she and Dodgson take a row boat out for a picnic with her sisters Edith and Ina.  "It was perfectly quiet that hot summer day on the river.  There wasn't even the sound of an oar, or the chirp of a bird, or the buzz of a fly.  The boat moved slowly forward."  After much ado about telling a story, Dodgson began, "It was just as warm and sunny as today.  Alice sat on the riverbank with her sister."

A long story to be told.  Alice in the middle with her parasol.

And, while Dodgson tells his story, I'll share how I made her parasol.

Paper towel pattern and mock up.

As with any sewn creation, I began with a pattern.  I measured the triangular sections, of which there were six, one for each rib, and added a 1/4" or so to make the French seams.  Then I made a mock up, just for length and size.  When stitching up to the top where the points meet, there is always a hole that you have to do something with.  With hats, I stitch across in several places, but with the parasol, it would be left open to thread the stem through.

If you've never made a French seam, its not too difficult, but takes a little thought.  You begin by making the seam on the right side of the fabric.  Then you turn the piece over and encase the edges in a folded seam.  The results are tidy and perfect for a parasol whose underside can be seen when open.

I then cut a length of silk on the bias and stitched this to the edge, to fold up over the top.  This encased and neatened the edge.  Since I added two rows of ruched "ribbon", the bias strip would be concealed.



The original cover and new.

Then I cut three long lengths of the "morning glory" silk and ironed them into a non-bias tape.  I folded over the edges to meet in the mid section.  After this, I made gather stitches along the two edges, and began the very tedious process of "ruching" them.  The fraying was extensive, but all these silk strands were trimmed at intervals.  A mess?  You bet.  But worth the effort.  The idea was to keep the trim as light and flexible as possible since the parasol would be closed at times.  In other words, one folded edge instead of two.  With two, it would not have frayed, but would have been too heavy and thick for the delicacy required (especially if you stitched the double fold down). 

The bias edge pinned to the underside.

After stitching all the rows on, I threaded the stem through the center and sewed the rib nips to the end points of the cover.  I love the tiny metal ribs on the antiques.  Once you've successfully re-covered an antique, you'll never give another thought to the chunky, clunky bamboo ones with the Battenburg lace.  When shopping for an antique to re-cover the only important thing to research is the condition of the ribs and mechanism.  If the metal is terribly scratched, I'm sure you could spray paint it over , but I'd be reluctant to since the holes could get gummed up.  A black alcohol marker would take care of the scratches nicely.  A brown alcohol marker was used to tidy up the tip of the wood stem. (Thanks, Jean!)

The bias edge when folded up over the top.

At this stage I had to pay very close attention to how this stem was made.  The original cap was there, but how was I going to affix it to the silk cover and stem?  Then I noticed a small hole that ran through the stem about an inch and a half down from the tip.  There would be a pin or wood splinter peg in this to keep the metal crown secure.  There is another "peg", an original on the underside which keeps the parasol cover and ribs from slipping down.  IF you were going to make a new stem, you would drill these holes as done on the original stem.  Not all parasols are made this way, but as this one was, I'm making note of it.  Study how your parasol was made, very carefully, and then it will become clear, the steps to take in refurbishing it. 

I decided to leave the stem as it was.  There's a bent nail wire that functions as the piece that collapses into the stem when closed, holding the mechanism up when open.  You'll notice that the wood was split to accommodate this wire.  Again, not all parasols were made this way, but I wanted to retain the antique feel of this one for Alice.

Now, since the top peg was missing, I used a technique for making one that I've used in the past for other projects.  I took a metal head straight pin and cut it short with wire cutters.  The pin head act as a stop on one end.  For the other end, to secure the pin, I used a seed bead and a touch of Super Glue to secure it.  That pin isn't going anywhere until I say so.  Should I ever wish to recover the parasol frame again, I would snip the pin off and begin again.  No glue will ever touch the silk cover.

How it looks on the underside with French seams.

If you've ever tried to re-cover those bamboo Battenburg lace ones, you'll understand why I'm detailing this for you.  The bamboo decorative tip is gunked with glue, then affixed to the lace cover.  This a mess and very difficult to disassemble without ruining the tip.  Often times you just have to crunch the tip away with pliers, then make another decorative tip.

Should I not have been attempting to make this parasol as close to the illustration as possible, and retaining the integrity of the antique stem, I would have hand carved a new stem...but, that's another story.  For this one though, I might have drilled a little hole about an inch and a half up from the bottom and added a tassel. 

This is fussy, fiddly work.  Its one of the things I love best to do because I have to think, and ponder long, on how to create it.  I hope the photos help if you've a mind to try it yourself.  This is but one way to re-cover an antique parasol.  Good thing the days are sunny here.  Alice Liddell is bound to get a lot of use out of her new Etrenne.

Love,
Miss E. Mouse

The nasty job of ruching.

Two edge rows.

The third and final row.

A very tidy underside.

Assembled

Alice Liddell's Morning Glory Parasol