Marigold Greenaway Steps Into Summer

Marigold Greenaway

"In the Greenaway world it is nearly always May and the early summer sun is encouraging apple and hawthorn to blossom.  Children are tempted out of doors to play, wearing their new sprigged muslin frocks and summer bonnets." - Ina Taylor

There are very few people who haven't been utterly charmed by the gentle, whimsical illustrations of Kate Greenaway.  Children at play with hoops and kites and hobby horses, demure young ladies with proper gloves and graceful gowns in timeless English pastoral scenes - these are the images, whether on page or pottery, is easily recognizable as Kate Greenaway.

Kate Greenaway, age 40

When I purchased a second "June Amos" without her "Mary Ann", a 16" Lawton wood body doll needing a little TLC, it took me several months to decide just what to do with her.  Simply dressing a doll for the sake of costuming is not in my repertoire.  She must have a name, character, depict some young heroine from a book or long past child.  Maybe it was the advent of summer that drew me to create a Kate Greenaway child.  Perhaps it was the desire to try this era of costuming.  Either way, and indeed a bit of both, Marigold Greenaway was born inspired by the precious poems and illustrations in Marigold Garden, a book of poems by Kate Greenaway. 

As I sit here and write, I recall that my love affair with Kate's work probably began in 1981 when my mother sent me a copy of The Illuminated Book of Days, with illustrations by both Kate and Eugene Grasset, for Christmas that year.  I would, many years later, acquire a copy of Greenaway's Book of Games, to create one of my miniature trunk sets from.  This can be seen on my website http://www.zhibit.org/houseofmissymouse/miniatures-for-other-dolls/kate-greenaway-trunk-set-open with many little accessories included.  So yes.  I have loved Kate's work for a good many years.   

In An Apple Tree

Kate Greenaway was born on March 17, 1846 in Hoxton north London.  Her father was an artist, and is thought to have inspired Kate to illustrate, but it was her mother, a dress designer who shaped the nature of Kate's work.  Elizabeth began to sew children's clothing to assist with the household, and became so successful at it, her boutique's income would support the Greenaways and raise their status financially.

Kate would claim a childhood so idyllic that she never left it.  She was raised with two sisters and a little brother.  Since her mother ran a successful clothing boutique, there was always plenty of remnants for Kate to dress her dolls with.  By the time Kate was drawing professionally, she was creating all the costuming and bonnets for her models to wear.  The more elaborate costuming she illustrated either came from memory and sketches of clothing she had seen at parties or in the fashionable quarters of London.


The country attire, or more simple smocks and mob caps, were inspired by those worn by her aunt and the workers on their two hundred acre farm in Rolleston.  Rolleston, a place where Kate felt most at home, and spent her summers, became the back drops, the pastoral scenes in most of Kate's illustrations.  It was only when Kate's work was in demand from printers for greeting cards, calendars and the like, that Kate "grudgingly" drew scenes from the three other seasons. 

One of Kate's sketches for a mob cap.

One interesting anecdote I picked up from Ina Taylor's book, The Art of Kate Greenaway, A Nostalgic Portrait of Childhood, was that Kate had a photographic memory of everything she saw and experienced.  Ina tells that while Kate's mother created elaborate dresses for the children of society, she dressed her own three girls in plain muslin gowns.  When they went to parties, only the sashes and ribbons on the mob caps were changed from pink to blue, or blue to pink.  Society being what it was, did not favor children dressed so simply, and they were often not invited to parties.  This didn't phase Kate, as she was more interested in simply watching the children come and go and sketching what they wore.  I would add that this is not the first instance I came across this observation.  Sheila Young, the artist of Lettie Lane paper dolls, did much the same thing.  Sketching what she saw others wearing.

Blue silk slippers.

As I will enjoy creating more costuming for Marigold, I promise to share more on Kate Greenaway soon.  Let us turn now to little Marigold.  Marigold was re-wigged in the fashion of the youngest of Kate's illustrated children.  She also received a new pair of blue eyes since those in the doll had faded to pink.  While summoning a name for her, I asked my friend Betsy what she thought.  Since I was directing my attentions to the poems in Marigold Garden, I wanted to name her after the book.  Many of you might also recall the child, Marigold, from Downton Abbey.  It was then that Betsy called to my attention that Wendy Lawton had made a doll called Marigold Garden.  She did?  Its funny, but I never put two and two together to think the doll was related to anything Kate Greenaway.  Shame on my sense of research!  So I fiddled with a few more names, but I was already calling the doll Marigold, so it stuck.  Greenaway being her last name, she would at least be half original.  If I've said it before, I'll say it again.  "There is nothing new under the sun when it comes to art."  If its been thought of by you, its been thought of by others, and undoubtedly done in some fashion of representation.

Tip-A-Toe

I began dressing her in May.  It was only during this time that I'd picked up a copy of Ina Taylor's book and began reading it.  I very much tried to have her first outfit done in May (Kate's favorite month), but it just wasn't going to happen.  I had all but her coral necklace and gloves done, and felt I'd best wait to share her until she was properly attired according to the illustration of the poem In An Apple Tree.  The first stanza of this poem begins, "In September, when the apples are red..."  Oh dear.  A May or June blog with a poem for September?!  We couldn't have that, so I quickly decided to make her one more costume for this journaling.  Type A?  Quite right.  Eccentric?  Ditto.

I'd been also wishing to create something from the poem Tip-A-Toe.  These delightful little girls were dressed in colonial costuming, and the charming illustrations of the children dancing in step, urged me to at least create one of the costumes.  I had, on hand, a blue for the skirt, and a rose Lecien print for the jacket.  Yet, the yellow frock with red and white skirt appealed more greatly to my delight of bright colors - and I do love yellow.  Its my second favorite color, orange being the first.  So now she has two frocks to take her through until I make the third, which will be the other dress detailed in In An Apple Tree.

The first one is made from a white quilting cotton with tiny blue flowers on it.  The green of her ribbons and sash are the lovely double sided silk I enjoy using.  I gave her a pair of blue silk slippers to wear on her feet.  She wears this frock with the coral bead necklace I made for her and a fashionable pair of elbow length gloves which are simple tubes stitched between the thumb and forefinger. 

Milk

I spent a good deal more time designing Tip-A-Toe (do click on the poem and read it, its sweet).  Here, her overdress, coat, smock, whatever you wish to call it, is made of yellow cotton sateen.  I chose a sateen primarily because I saw this as a party gown or costume.  It was interesting trying to design this piece.  It is not shown open at the front, so I assumed it would open at the back.  However, Kate has drawn the exact same costume opening at the front in other poems.  This was very confusing to me.  I simply followed what the drawing looked like, and had it close in the back with hooks and thread loops. 

Sugar

The skirt's fabric was very difficult to find.  I spent several days searching for red and white stripes, floral red and white stripes, etc. and finally decided to spring for this Milk, Sugar and Flower cloth by Penny Rose Fabrics.  I liked the name.  It felt very Kate Greenaway, and looked fresh and summery for this costume.

I made a second mob cap so that each outfit would have its own, yet I also tack stitch the ribbons down so they appear tied on, but stay in place.  Tip-A-Toe's is accessorized with a light blue ribbon and red tinted silk flower.  I used one of the alcohol pens I referred to in an earlier post, to color a large pink and yellow rose.  The same blue ribbons in a smaller width trim the three-quarter length sleeves above the white ruffle.  Marigold also received a pair of white silk slippers with little bows on them to complete her outfit.

& Flower

I designed a nice little pattern for the slippers with a straight edge rather than curved to resemble those in the illustrations.  These were quite simple to make.  The effort is minimal, so I'm sure she'll end up with a matching pair of slippers for each costume.

Two fashions.  Longer journal entry.  One thing I will remember is that when ordering from Farmhouse Fabrics in Florida, its best to expect the delivery (to California) at the end of seven days.  I don't know why it took so long this time, but I normally receive my parcels from them in two or three days.  They always send a little gift of fabric, and or ribbon, so I do enjoy purchasing from them.  They also have an extraordinarily fine selection of silk ribbon sizes, as well as beautiful fabrics.

Welcome Marigold Greenaway!  Welcome Summer!  It surely was a glorious June Moon.

Love,
Miss E. Mouse

Marigold in Tip-A-Toe

Wendy Lawton's Marigold Garden

Milk, Sugar & Flower

White Silk Slippers

A Portrait

London and Rolleston

Meet Jolly Jane - One of the "Little Busybodies"

Meet Jolly Jane and Polly from Polynesia

 "This one is Jolly Jane, who is six years old, and the third in the new series of paper dolls to cut out" - Frances Tipton Hunter. 

Remember Katy Curls?  That sweet little red head with all her fancy autumn play clothes?  May I introduce to you Jolly Jane.  She is another Frances Tipton Hunter paper doll I'm bringing to life.  She debuted in 1923 in the Woman's Home Companion.  Just like Katy, her outfits (only two this time), could be made by sending 10 cents or 16 cents into the publisher for patterns.

Polly likes sugar cubes.

Jolly Jane is a 14" doll made by Candy Anderson, just like Katy was.  She is on a reproduction Rosette body, and her sculpt is another delightful mold by Dianna Effner.  Jolly Jane wears a dark brunette, human hair wig that I curled and trimmed for her.  I used one of those clampless curling irons to give her bob a little bounce.  They work pretty well, but you must be careful not to burn your fingers when dressing shorter lengths.

Frances Tipton Hunter Paper Doll, 1923

Jolly Jane sat in a trunk for several months while I pondered over what style wig would most resemble the do that Frances drew for her.  I ended up with a Kimberly human hair by Monique.  I'm certain I will have to touch it up from time to time, but I did end up snipping off a good inch from the ends, and of course a bit from the bangs.  Its my impression that these wigs boast longer lengths, on all sides, for just this purpose.  To play!

Jolly Jane's Combination

I'm getting used to making under clothes now.  There was a time when I wouldn't bother, because they couldn't be seen, and they simply seemed pointless.  This is changing now with so many undressed dolls sitting on my shelves.  They look so much happier with a bit of modesty.  So I began, at the beginning, with Jolly Jane's combination (onesie).

My friend Betsy had given me the book The Dolls Dressmaker, by Venus A Dodge, and I recalled that there was a combination pattern within.  I knew I'd have to make adjustments in the body length and crotch, but I ended up creating my own pattern after all since her combination was sewn up with a seam in front and one in the back.  However, by beginning with the book's pattern, I was able to get a basic design started.  As it turned out, the pattern for Jolly Jane's combination is all one piece - rather in the style of a Mary Frances pattern.  Same era.  I also had to widen the pattern for the blouson effect and the gathers at the neckline.  The combination also has a little button belt in the back to cinch the waistline.

A smart little belted back.

Next I made her a pair of black leather shoes.  I omitted a bow or any kind of decoration on them as I just couldn't detect if there was any.  The highlights on the shoes can fool the eye, but I'm fairly certain they are simple Mary Janes.  Socks followed, and Jolly Jane was ready to be dressed. 

During this time, I contacted my good friend Patty Kascsak to needle felt me Jolly Jane's macaw, Polly from Polynesia.  Patty must have the patience of a saint since she made three before we got the perfect sized Polly for Jolly Jane.  This lady is simply an incredible artist, a true sweetheart, and I love her work.  Since I wanted to debut Jolly Jane with her parrot, there would be a waiting period while Patty worked with her needles and wool.  This was when I decided to make an outfit for Jolly Jane. 

Her Play-time dress.

While one of my favorites is her Gypsy-O! costume, I knew this would require a great deal of time, and it might be fun to make just prior to Halloween.  So I decided on her green play dress.  "Cross stitches but never a cross face, says Jolly Jane's mother when Jolly Jane pops into her play-time dress above."   Hmmm...I guess this would mean some embroidery work on my part! 

I began with a short sleeved blouse with a turned up cuff in the only celery green fabric I had.  This was some of that lovely Kaufman's Cotton Silk that I had among my ever growing fabric stash.  While I might have preferred a plain cotton batiste, finding one in exactly this color was not going to happen.  And, I also seemed set on using this luscious, olive cotton velveteen for the jumper.  So we have a very fancy, if not elegant, little play-time dress for Jolly Jane.  Both pieces were not too difficult to design, although I did fret a bit that the blouse might be too shiny. 

Cross-stitches, but not cross faces.

The blouse is lined on the inside from neckline to hem, and the sleeves were set into this.  There is one button on the back of the neckline fastened with a thread loop.  The jumper is fully lined in the cotton silk fabric so no hand hemming needed to be done.  Both pieces were pretty straight forward, and this was a plus since I had to spend time embroidering cross stitches.  Jolly Jane's mother would not have approved of my cross face in doing them.  Sadly, embroidery doesn't seem to be my thing.  I know it takes practice and the cross-stitch is one of the easiest to accomplish, but there was a lot of pulling out of thread and do-overs in the process.  For one, I was free-handing the stitches, and two, they were on velvet.  Double trouble for a novice embroiderer.  Still and all, the job got done and it does look rather festive.  A little pimento with the olive!

The back.

Of course Jolly Jane needed her little dolly to go with the outfit.  I happened to have one of Nada Christensen's mini Bleuettes on hand and she proved the perfect little doll for Jolly Jane.  I also had some lovely auburn mohair, so I spent an hour and a half (yes), wigging this little doll.  I then proceeded to draft a tiny pattern for her dress.

The dress is completely hand sewn from a light yellow cotton.  She also wears little yellow socks and black Mary Jane's like her mommy's.  Just when I thought the cross-stitching was over, I noticed that Dolly's dress had green cross-stitching on the edges!  Trying to determine a proper size stitch that would show up, but not overwhelm took a couple of efforts.  I also discovered that using one thread instead of two works better on tiny dresses.  I'll probably never have to do this again, but it was valuable experience.

Jolly Jane's Dolly and Polly

Jolly Jane was now ready to debut.  Her little parrot arrived today and I was overjoyed.  Patty's work is stunning!  I'd been fretting over Polly's bird perch since deciding to make this set.  During the construction of Jolly Jane's first outfit, I spent a great deal of time puzzling over how to make it.  I'm afraid the hoop will be impossible to recreate, but I have a pretty good idea how to make something similar for displaying Jolly Jane's pet.  In the meantime, I ad-libbed and used the base of an Integrity doll stand, and a hand-made wooden T-bar, painted green, for Polly's perch.

Even dolly gets cross-stitches.

I think I'm really going to enjoy creating the wardrobe from this darling paper doll page.  I've been collecting fabrics for it since January and the only outfit left to find suitable cloth for is her sweater and skirt - where she's blowing bubbles.  I've ideas, but all in good time.  I even have a basket ball ready for her.  The accessories, sometimes, are the best parts! 

Enjoy this little cutie and I hope you'll look forward to her next little outfit.

Love,
Miss E. Mouse  

Close up of Patty's Macaw.

Just beautiful work!

Jolly Jane is one Little Busybody!

Alice Illustrated - Queen Alice, Through the Looking Glass

Queen Alice

"The Eighth Square at last!", she cried as she bounded across, and threw herself down to rest on a lawn as soft as the moss, with little flower-beds dotted about it here and there.  "Oh, how glad I am to get here!  And, what is this on my head?' she exclaimed in a tone of dismay, as she put her hands up to something very heavy, that fit tight all around her head.  And, with this final step across the fields of a chess board, Alice becomes the queen.

Tenniel's Through the Looking Glass

When we begin a search for Alice in images, we are generally seeing her illustrated from Alice's Adventures in Wonderland.  From time to time we'll see her dressed in Tenniel's blue dress with the apron trimmed in red, wearing the striped stockings.  But...and maybe this is just me...I've never seen her dressed in Tenniel's Queen Alice.  I have seen versions of Queen Alice in all white.  Wendy Lawton did one for her 9" book Alice, and Robin Woods did a white one with gold and red crown from one of her very early Alice trunk sets.  But, never the blue, red and gold Queen Alice from Tenniel's Alice Through the Looking Glass.

The Illustration

It has long been a costume I desired to try, and my original intent was to create it for my Wendy Lawton 16" convention Alice.  I still may.  In fact I must, but Alice Illustrated became my first little muse for this costume. 

In the same blue silk as I made her first dress, the traditional Through the Looking Glass costume, I would be working once again with the 1860's French Fashion style of paniers and ruffles (see Louise Godey).  I am always surprised when I begin working on a new pattern to discover that I made something similar before.  Each costume to me has a life of its own, but its wonderful to have had a little bit of practice beforehand.

A side view for Tenniel

Alice Illustrated's Queen Alice gown is a festive costume in the colors of a traditional playing card.  When contemplating the "gold" of this costume, I bought several gold lames to work with.  I don't know if you've ever worked with lame (especially stretch lyca lame), but its a nuisance.  Almost as bad a deep plush velvet.  I tried using a jeans needle to sew through it.  I even changed the stitch length, and it was a beast.  While I contemplated the woes of using this stuff, I realized that the color in the illustration was really yellow.  And, here we can talk about the brain and the artist's eye; what we know to be true, and what we actually see! 

This almost looks Civil War military to me!

I'd already made the pleated trim from a yellow cotton sateen (couldn't find this color in silk), and was making the little boots out of stretch lame.  I sat there and looked again, and once again, and said "What am I doing?!  These will not match."  So I ditched the lame and happily continued work with the yellow sateen. 

The boots

Since I'd made the trim first, and was waiting for the third lame to show up, I began work on the crown, the boots and the scepter.  The boots came first in yellow sateen since I'd already make a pair of stretch lame ones and had the perfect pattern made.  I realized while I was stitching these up that Franklin Mint had made the same type of cloth boots for their Guinevere.  I was much relieved to know I was on the right track. 

The crown is a soft sculpture with a buckram base.  The center is a rich, lush velvet in crimson, and the "fur" band is actually baby blanket material.  I have white faux fur, but it was too furry.  This soft blanket fabric was perfect for the look. 

The scepter is made from wood.  Once again I thank myself for the years I spent working in wood.  The fleur de lis was cut out on my scroll saw, but the staff is all wood dowels.  To make the bumps on the staff, I cut cookies from a larger dowel, then drilled a 1/8" hole in the center (donuts), and slipped them onto the staff, then glued them in place.  There are no wood beads that will accommodate this process unless you're maybe making a larger staff.  Much sanding and carving with a knife was done to create the smooth finishes of the scepter.  Its a wonderful accessory to this costume.

The chess piece crown

And finally I began work on the dress.  If you'll notice the white ruffle on Tenniel's sleeve, it is drawn with a sharp points.  I'd noticed in months back that Sylvia Mac Neil used pinking sheers on some of Chiffonette dress edges.  So I followed suit and made the trim of white silk on the bias with pinked edges.  The two sizes of pleated trim came from the same length.  It was by accident that this happened.  A lucky accident.  The trim was too wide, so I cut 1/4" off it, and this, I noticed, was the perfect size for the trim around the top of the hem ruffle and the sleeve edges. 

The Scepter

The paniers gave me the fits this time.  Why were they so logical, intuitive, on Louise Godey's and not here?  I think it was in part due to Tenniel's romantic illustration of the draping on the back one.  I tried four times and could not achieve his look.  If I'm correct, the original paniers may have been ruched by a drawstring.  If anyone knows, I'd like to be enlightened.  Regardless, on this small doll's costume, the gathers that should have achieved this look did not.  Still and all, with the trim attached, I'm pleased with the overall outcome.

The Back

The sleeves, themselves, are a bit different from your standard puff.  In order to achieve the look of the illustration, I pleated them, then ease-gathered them.  It was a bit like making a little origami box.  The detail may be hard to detect, but its there.

Alice does not wear stockings in the illustration, so none were made.  This was just as well since the cloth boots would have been difficult to snug over her feet with stockings. 

Finally, a pearl necklace was fashioned for her.  A 2" red scarlet silk ribbon was used for the tie about her waist.

Alice Illustrated's Queen Alice costume was an entirely satisfying challenge.  Like many of the costumes I try, these are things made of my own dreams coming true.  I'll have to admit that I much prefer making costumes, rather than serious day garments for my dolls.  They're whimsical, colorful and enchanting to display.

I don't know what I'll do next.  Once again I have many options and ideas on the table, but for just a little while, I think I'll enjoy my book and the warm spring weather the patio is offering.  At least for a day or two!

Enjoy this beautiful May.  Long live the Queen (Alice)!

Love,
Miss E. Mouse 

A colorized version by some artist.

The marvelous chess board landscape.

A BJD Steampunk Version.  I like it!

Long live the Queen!

Polichinelle and The French Clown

Mignonette and Monette with Marottes

Sometimes, it seems, I flit from one concept in design to another.  Like a wee butterfly from one flower to another.  While creating the long desired costuming for my Robin Woods' Alice, which was in no way an easy task, I'd been browsing a few of the many beautiful albums on Pinterest.  While I am not a collector of antique dolls, I do enjoy looking at them and gathering ideas for my own dolls from them.

One of the costume designs that has always appealed to me is that of the French clown, the Polichinelle, and the jester.  These marvelously unique and colorful costumes are a joy in their design concepts and ornate embellishing.  They are also often accompanied by the doll holding her own marotte, or jester stick.  The marotte itself, was made as a toy on its own, and so the appeal of including such an accessory with a doll costume delighted me.

Found on Carmel Doll Shop

I'd been also looking at dolls on the Grovian Doll Musuem website (used to be The Carmel Doll Shop and I'm not sure if they are one and the same or separate now), when I found a little French doll wearing a charming little Polichinelle costume in pink, cream and gold.  I immediately thought, "What a darling costume for my Wendy Lawton Mignonette", since her wardrobe is French and entirely themed in pink.

Presentation Box From Theriaults

I'd also found among the vast photos (on Pinteretst) of antique dolls in French Presentation Boxes, a marvelous set in blue and ivory that was once offered for auction by Theriaults.  This set intrigued me since its layers were many and the costumes a sure inspiration for Wendy Lawton's Monette, the companion doll to Mignonette, however done in blues and creams.  I had spoken to Jean (Nordquist) about the possibility of creating a presentation box similar to this and creating all the costumes in it for an OOAK doll.  With so much on her plate and a business to run, it didn't seem a likely thing to happen anytime soon, so while I gathered silks and gold trims for Mignonette's costume, I decided to make a companion outfit, from the Theriault's set for Monette as well.  I knew as a sure as the sun comes up that I would also want to make them both marottes as accessories to their costumes.

A marotte is a prop stick or sceptre with a carved or porcelain head on it. The word is borrowed from the French, where it signifies either a fool's "bauble", or a craze.  It is typically carried by a jester or harlequin, and the miniature head will often reflect the costume of the jester who carries it.  They are also considered puppets, and some can be musical.  I've seen a few where you can flick your wrist while holding it and the "body" spins around the stick musically.  Enchanting!  What a lovely toy for a young child.  These may have even been used as "rattles" for toddlers, although I can hardly imagine a these exquisite novelties in the chubby hands of little ones.

And, so I began designing the pink and cream costume with the Napolean hat for Mignonette.  I chose two different silks, both dupionis with different textures, since the original also boasted two differing silks.  By sewing a seam between the pink and the cream, creating "one" fabric, I was able to cut my patterns out by pinning the middles of the patterns to the seam.  Mignonette's little jacket would also have silk piping on the bottom to finish the hem. 

I actually began with the jacket.  This piece is fully lined the Magalie Dawson way, but the hem was left open for the piping.  The piping was sewn in very much the same way I trimmed all the edges of Louise Godey's outfit (and no, I have not forgotten her!)  Silk ribbon, the regular kind, was ruched and sewn to the hem of the sleeves and around the neckline.  Thin gold grosgrain ribbon was used for the trim down the front.  It would also be used along the pink hemline of the skirt and the bands on the hat.  There was more doggone trim on this costume than I care to think about, but I patiently proceeded to add it all.

The flowers are the same silk ribbon I used in ruching.  These were embroidered onto the costume and centered with gold jewelry filigree flowers with a gold bead in the center.  Her stockings, one pink, one white, were made from little girls' tights for their thinness.

She also required slippers.  Two silk slippers were made.  One cream and one pink, and decorated the same as the costume.  I tried carefully to stay faithful to the original antique doll's costume keeping in mind that the original was probably a larger doll, and chunkier than the tiny wooden bodies Wendy Lawton uses. 

Silk slippers are not easy to make since they don't stretch around a foot like leather.  I took apart a pair of existing Lawton shoes that weren't well made, and used the inner bottoms and soles to create the fit.  The ruched silk and flower and single beading rather hid the ill fit on the top.  However when the stockinged foot went into the slipper, they fit like a dream.

The hat was composed, not on buckram, but on thin cardboard.  I drew out the shape of the Napolean hat on the cardboard, made two, then using these pieces as a pattern, cut out the silk about 1/2" larger all around - then glued the silk to the cardboard pieces.  Trimming along the way, I added this lovely little gold "scroll" trim that had a tiny, shiny gold band running through it.  It was just the right touch.

In the meantime, while working on Mignonette's costume, I begged Jean to make me a couple of tiny porcelain heads for the marottes.  I ask so much of my dear friend, but she seemed excited at the prospect of my making them, and has made them herself, so she consented to make them for me.  She is an absolute angel in these regards! So while waiting for her to get these wee heads to me, I began Monette's costume.

Monette's French Clown, as I mentioned earlier, was taken from the presentation box costume offered by Theriaults.  This would be another jacket, though loose and long, a long sleeved tunic, and the skirt, a pleated affair.  The hat was a bit unusual, although I remember that Boneka had made a similar styled one in blue for a munchkin in their Riley as Dorothy presentation box for a UFDC luncheon (which I have).  I thought of this only after I'd drawn out my own pattern based on the look of the original.  Its rather a silly looking cone with flared sides.  But, jesters and clowns were supposed to have whimsical costuming!

This one did go together a bit more quickly although I did have to design yet another collar, and collars have always given me the fits.  This is not a circle.  Its more of a crescent shape, done twice, one a little larger then the other.  Both were sewn together and gathered gently at the neck before trimming it off with a bias strip.  Silk bias strips also finished the edging on these crescent shaped collar pieces.

The original costume seemed to boast pom-poms in an aqua or turquoise color, but this didn't suit Monette's coloring or compliment her existing wardrobe.  So off came the darker pom-poms (yes, I tried them first), and I replaced them with French blue ones.  I also did this because I had tiny pom-poms in the same color that could be used for her marotte.  Her shoes are little white leather ankle pull-on boots with matching pom-poms.

By this time, the heads for the marottes had arrived.  I began with Mignonette's.  I did a careful study of antique marottes found on Pinterest.  (I might add that it was Jean that prompted me to join Pin and start my own boards as well as just have fun looking.)  The main costuming of a marotte is a hat and a collar.  It was in the search for hat ideas that Nellie Polder's board on marottes was intrinsically valuable.  I selected the two horned hat for Mignonette's and the one horn for Monette's, since the French Clown costume had a little marotte next to it wearing a similar hat. 

Step by step, I began building these two accessories by adding first a stick through the neck, a ball at the bottom, and painting them white and cream for the corresponding costumes.  What I discovered through studying the photos on Pin and the need to have a place to drape "points", was that there needed to be a body beneath the décor.  Sure.  You can simply add a collar to the stick and call it a day, but I don't do that, do I?  LOL  So I made a little barrel of silk, gathered it top and bottom about the stick and stuffed it with fiber fill.  These gave me nice little bodies to work on.

Mignonette's marotte is decorated like her costume, and so is Monette's.  Pom-poms included.  I'd noticed that lace collars were often used on antique marottes, so both got one.  The wee hats are also stuffed with fiber fill (batting?) to maintain their form.  Each marotte is about 3 1/2" tall, not including the hat.  These were fun to make!  Except for adding mohair to the heads which is always a nightmare for me.  Glue, mohair and me don't mix!  I did find some curled mohair among my stash that I'd made a very long time ago, and this worked lovely for Monette's little "puppet".  I'll have to remember how I did that.  I added gold beads to each marotte's costuming to resemble tiny bells.  Do click on these photos to see the details.  There's a lot there and its fun to look at.

At the end of this, I feel like I have two new dollies, and I think they'll enjoy wearing these costumes and playing with their marottes for some time to come.  How perfect for April!  April Fools!

Love,
Miss E. Mouse

One in pink found on Nellie's board.

Inspiration for Mignonette's marotte's hat.

Inspiration for Monette's marotte's hat.

Polichinelle and the French Clown