Mary Lennox's Garden Frock - From a Non-Smocking Home

Where I live, in the Sierra foothills of California, its springtime.  Well, not really, but you'd have a hard time convincing the grass, narcissus and daffodils differently.  What we really have is a lot of sunshine and boggy yards.  The perfect conditions for little green shoots to spring up.  Maybe that's the reason why I finally dug in and tackled this paper doll costume for my Mary Lennox.  I knew it would be a steep learning curve, but this was just what I needed.

January has been a roller coaster of a month for me.  I know I've never mentioned this, but my sweet dog, Dover, is finally losing his battle with lymphoma cancer after two years of chemotherapy.  Anyone who's lost a loved one to cancer knows what I'm going through.  Especially a dog lover.  So what I needed was a focus.  You see, he doesn't know he's sick, so I must always keep an upbeat attitude around him.  Trust me, it helps.  Both of us.  Reading and creating are my two escapes, and I'm doing a lot of both right now. 

As I was contemplating my next move after December, I started cleaning up my studio and noticed that I'd not shelved the book on smocking that I picked up a couple of years ago.  If you've been following this journal, you might recall that I've been putting this off for a long time.  Everyone I'd talked with about smocking, either had a smocking machine, or took a class with a piece already smocked, and ready to embroider.  There's two parts of this process, and neither is "a breeze".  But, the garden frock has been one of my favorites from Mary's paper doll book, so I sat myself down and went to work. 

I really can't say enough about this marvelous book.  Whether you're a beginner, novice or seasoned smocker, this book is so well illustrated and so well written, that even I could manage something out of it.  And, that's saying something for someone who doesn't read or follow directions well. 

 

One of things about smocking is that if you don't get the pleats done to perfection, the embroidery work is not going to "work".  My first attempt was a sloppy one.  Between each stitch is a tiny space, and this all has to be consistent to get the pleats you need to embroider on.  And, this is doll clothing, so it would not do to get a people sized iron on transfer.  You could measure out a thousand dots on a piece of paper and lay your fabric over it, then mark over the dots, but I found a better way.  Polka dot fabric.  Next time, if there is a next time, I'll buy a piece of polka dot fabric with dark dots.  But, the light red worked in a pinch.  I was pretty proud of myself after two days of stitching in these rows, but that was just the beginning of what I needed to do.  And, this was only supposed to be a trial piece.  After doing it though, after spending all that time, I wanted to see if I could make the piece work for the pinafore, which seems to be what this entire outfit was all about. 

 

I had to then teach myself the Diamond Trellis stitch, which is about three-quarters of the way through the book.  "Let's do something difficult, the first time around!"  First you have to learn the cable stitch, then the trellis, then repeat the trellis upside down to make the diamond.  Good grief.  What a lot of work for a 2 3/8" x 3" panel for a doll pinafore!  I had a Boneka smocked dress in front of me to guide me, and it was mighty humbling.  I do know one thing, learned one thing, you have to do this often, maybe all the time, to get really good at it.  And, fast.  Those Indonesian girls at Boneka really know what they're doing!

But, I succeeded in getting a reasonable facsimile of a properly smocked panel with which I could fashion a pinafore around.  I think.  No, not really.  I should have left a larger empty space on one side, but that's besides the point since I was determined to make this piece work after all the time I put into it.

 

The next part of this pinafore, which took even longer, was making embroidered trim for it.  As you know, I try my best to follow an illustration to the T.  When an artist paints a seam or a pleat, this is generally done in shades of gray and purple.  There was definitely navy lines matching the stitching on the trim.  So I had to come up with a way to make those navy lines.  I had some beautifully woven navy cotton left over from a Lettie Lane dress that I was saving, and used that for this purpose.  I measured out thin lengths of the batiste and the navy cotton and stitched them together on the machine, then ironed the two navy strips under the white - then did the navy stitching on top on the edges.  This tape would go over the tiny, narrow straps of the pinafore, tiny waist band, and two strips down the apron.  It would also have to be hand-stitched on, after the embroidered stitching was done. 

The other tape work was done for the top edging of the lace that goes along the bottom of the hem of the apron.  This required only a top band of navy, then that navy band was hemmed beneath.  24" of it, before I attached the lace by hand.  There was no pattern made for the apron, save for the strap ruffles.  I sort of just cut and pieced this thing together as I went along. 

I  suppose you might call this an heirloom pinafore, or at least it was done in heirloom stitching fashion, but it me it was like constructing the Eiffel Tower.  The very last thing I did was the pretty embroidery work that made up the "jacquard ribbon" we would be attracted to on this pinafore.  The white bands I made for it were sewn the same way as the tape, and needed to be hand sewn to the smocking as I "built" the pinafore.  So what transpired while trying to piece this thing together, was that the ladder stitching I did to sew the straps to the panel didn't seem to want to allow me the latitude to angle the straps.  With each stitch I put into those smocking pleats, the straps and pleats wouldn't coordinate.  I did this three times and called it quits.  It seems that all the smocking I did got covered up, too.  Which probably isn't a bad thing.  But, that's why the panel isn't narrower at the waist.  I was very happy to be embroidering in any other color than navy by that time, too.  Basically, the artist painted dots, and I had to make up a pleasing pattern that might resemble something other than colored dots.  I hope this isn't the one time where the illustration is nicer than the costume, but I'm my own worst critic.  Heaven  help me when I attempt to make the pink ruched dress next to it!

Oh yes.  I did make the navy floral dress somewhere in there.  I think it was after I'd completed the Diamond Trellis smocking.  In order to make the apron fit nice and be proportionate, I had to build it over the dress.  I've actually had this lovely cotton print since I first began my Mary Lennox collection.  Purely a lucky find.  Basic dress.  Long puffed sleeves and high neck.  Always fully lined.

Having sewn a small snap to close the narrow waistband ties, I worked on her gardening tools.  This little set was the inexpensive Darice gardening set of spade shovel, pitch fork and digging shovel.  I simply snipped off the long handles, shortening them for 16" doll gardening tools.  I used the Krylon Short Cuts red paint to spray the tines of forked garden tool.  For the handles, there's this neat stuff called Plasti Dip, which is a liquid plastic that most people use for exactly the purpose I did - the handles of tools.  It does come in yellow and clear, as well as black.  Its a little tricky on minis, but I'd loved the results.

Next came the basket.  I knew when I started out that I wanted to needle felt the basket.  I wasn't quite sure of the approach I was going to take, but since there was no way to find this exact basket in the size, shape and woven colors of the illustration, I'd have to make it.  Needle felting it seemed the best way to go.  I looked up basket weaving on many sites and Youtubes, and the best one I could come up with was a "round paper woven basket".  I tried a couple of different things first.  The square paper basket approach, thinking I could needle felt the roundness.  Nope.  I tried cutting wool felt sheets for this same purpose, and that wasn't going to work.  So I made it the standard round basket way of layering crosses into a star shape.  Then you weave the bands through.  Now this isn't paper, cardboard, construction paper or straw.  Its made from felted wool strips.  So it was floppy to work with. 

In order to felt this together, I shaped a styrofoam ball by pressing into it, to make the interior basket shape.  That way I had something poke into besides my finger.  I would have loved to make this out of construction paper, but finding the exact colors, etc...well, I just didn't want to take another two weeks to do this.  Is it perfect? No.  But, then you're looking at learning basket weaving as well as doing it from floppy wool strips that need to be poked, so I'm not going to complain.  I finished it yesterday and made a couple of seed packets from vintage seed packet images found on the Internet. 

I'm pleased with the overall outcome of the complete costume, but I spent three weeks making that pinafore, and I don't wish to repeat that again.  Smocking?  Only on a very "need to" basis will I do it again.  But, I learned a lot.  It was a good experience and I feel more knowledgeable about heirloom sewing as well.

My grandmother made me a smocked gingham dress when I was ten years old.  That woman could do it all!  I remember wearing it and studying the funny, chunky stitches on the front of the dress.  That dress was washed and dried and ironed many times, and the smocking looked fresh and beautiful through each wear.  How I wish she were here today to teach me all she knew. 

Love,

Melissa

 

 

 

Hetty's Holiday and a 2018 Recap

It was 1989, and Sam Elliott couldn't have appeared more rugged and handsome when he portrayed a struggling farmer living in Three Oaks, while his young daughter rescued one of Santa's reindeer - Prancer.  One of my very favorite modern Christmas movies!  Its worth watching just to see Sam Elliott come out to his newspaper box in a snow storm wearing only his long johns.  sigh  This show could melt anyone's heart, and have them believing faithfully in the magic of Christmas and Santa Claus.  Cloris Leachman was in the film playing a tragic character, too.  And, the hair styles that showed up in "church" are a time capsule in themselves.  My husband won't watch the show because he thinks its too sad.  But aside from the hardships of a struggling family, when Prancer curls up to Jessica Riggs after she falls from a tree trying to free him from the Christmas tree lot, well, its near impossible not to dab a hankie to your eyes.  Great movie. 

 

And, then of course, there's the young Sam Heughan (Jamie in Outlander), playing the prince in A Princess For Christmas (Hallmark, 2011).  I've watched my fill of Christmas shows this year.  Enjoyed every minute of it!  But, after a few days having finished The Nutcracker, I became restless.  And, there was Hetty, still in her debut dress from last January. 

I have had an oversize plastic zip bag sitting on my work table, filled with some gorgeous silks intended for dresses, for quite some time now.  Last summer I added some very pretty ones that I picked up during the UFDC convention.  One of them was this fetching pink and green plaid silk, that I was told was a "reproduction".  It wasn't cheap either.  So like some of the others, I simply saved it for the right occasion.  And there was Hetty, sitting patiently among the other dolls, and I knew she needed a treat.

I chose to work from this image of a child's dress, circa 1863, found in my go-to book, Children's Fashions 1860 - 1912, by JoAnne Olian.  It is described from the original entry as Fig. e: White bodice, belt with bretelles, for 6 -8 year old girl.  Well, as we all know from French Fashion, the children's dresses are simply mini versions, at best, from the ladies' fashions.  The thing that always amuses me, is that the "children" are even drawn like young adults.  So I got started on a new dress for Hetty.  

This was a interesting design with the two upper points to the "belt" and the one point below.  Something I'd not tried.  The bretelles are also decorative and come in two pieces attached at the shoulder point.  And, by the way, this silk is so thin and beautiful, that it was a dream to work with.  The difficulty was trying to figure out how to line the belt with bretelles, then hide how the skirt was attached.  If you haven't done this, think about it a second. 


The way this was done was by cutting off the point in the back of the lining and attaching the skirt to it.  The point in the front is lined on its own, then the front edge of the "belt" is turned under and sewn to the front of the skirt with a ladder stitch.  I'm sure it can be done differently, but this method worked for me.  Its all so very much a puzzle when designing from scratch.  The trim I used was an eyelash "picot" trim, and was applied by hand-stitching it on.  I don't think this trim is wider than 2mm, and has the most delicate little fringes on it.  Two buttons close the skirt in the back.

I had to make her a new "waist", or blouse, as well.  I never intended to redress her, so had attached the other blouse directly to the skirt of her green and blue striped gown. 

Hetty's little dolly seemed to need a new dress, too.  I also had this scrumptious pink silk in the same bag, and decided to use it to coordinate with Hetty's gown.  This little doll is one of Wendy Lawtons, and came in a yellow silk dress of the same style.  I copied the design of Wendy's little doll dress for the new one.  Its a basic pattern cut on two folds with a "boat neck" cut out.  The discovery for me was in the trimming.  Its simply a piece of six strand embroidery floss zig-zagged onto the dress.  I extended the zig-zagging down the length of the tie ends and that seemed to keep them neat.  Wendy's design was of a loose strand and near impossible to tie into a bow.  Another piece of embroidery floss goes through the neck band.  Its a happy, candy pink silk dress and makes the tiny doll stand out.

I do enjoy sewing for these 12" child Lawton dolls, so I just may have to make her a new dress each year.  Or when the spirit hits!  Merry Christmas, Hetty!


Looking back on 2018, there were definitely some pretty things made, and wonderful months of growth, both as a seamstress and needle felter.  My favorites were the polichinelle costumes, which Louise and Lawrence wore up until The Nutcracker.  I had a ball making Alice By the Sea with the Walrus and Mock Turtle.  It was a struggle, but satisfying end, to figure out, design and sew the loop soutache for the violet Alice dress (with hippo bee and Bill the lizard).  From the "squashed tomato" hat on Goldilocks, to the sculpting of the Lion and the Unicorn, its been quite a ride this year!  Below I've included a surprise needle felt I've yet to share.  The Nursery Alice White Rabbit.


Of course I have ideas for 2019.  And, I'll probably get busy with one of them shortly.  But, for the next few days, at least until New Year's Eve, I'd like to reflect a bit more, tidy up my work room again, and tuck into my new book, and simply still my mind.  Its been a gracious holiday season this year.  I hope you've had some wonderful surprises and precious moments for memories of your own.  Wishing you the very best of the New Year with good health, and joyful times.


Love,
Melissa

Bo-Peep

Polichinelles

Alice By the Sea

Mary Lennox

Gypsy!

Alice and Bill

Through the Looking Glass

Gretel

Goldi and Baby Bear

The one you didn't see: The Nursery Alice White Rabbit

A New Dress and a New Year for Hetty

The Nutcracker, Starring Louise and Lawrence Godey

Happy Holidays, my friends!  Boy, oh boy, have I been busy, and hard at work, since my last posting.  The first couple of weeks in November were spent making Christmas gifts, and since then, I've been creating a pageant for The Nutcracker.  I've been planning, or intending to do this, since last Christmas, and was very excited to get started.


Over the years, I've collected several beautifully illustrated children's books of the Nutcracker, but Don Daily's, in its watercolor opulence, has long been a favorite.  It never occurred to me that the actual Nutcracker costume he designed, might prove to be more of a challenge than anticipated, but I'm then, often humbled quickly once the project gets underway.  There were just some things I had to puzzle out.  Like how to interpret metal, or feathers!, from fabric.

The Nutcracker is best known to us as a two-act ballet.  Act I opens with a Christmas Eve party where young Clara (sometimes known as Marie), receives an unusual gift from Herr Drosselmeyer, and the magic that follows after the festivities.  Act II takes Clara to land of the Sugar Plum Fairy, escorted by the Nutcracker Prince.  It was originally choreographed by Marius Petipa and Lev Ivanov with a score by Russian composer, Pyotr Ilyich Tchaikovsky.  The libretto (story line for a ballet or opera) was adapted from E.T. A. Hoffman's story, The Nutcracker and the Mouse King. It premiered at the Mariinsky Theater in Saint Petersburg on Sunday, December 18, 1892.

Although the original production was not a success, the 20-minute suite that Tchaikovsky extracted from the ballet was. The complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies each holiday season.   Major American ballet companies generate around 40% of their annual ticket revenues from the performances.  Perhaps, the most appreciative audience is amongst children, since ballet companies generally use every young student in the production.  Many a child has dreamed of dancing in The Nutcracker after seeing the show at Christmastime.  To be a part of a Nutcracker production for a young dancer, is Christmas in itself.

The first time I saw the production was when I was 20 years old.  A friend at work was taking her daughters to the matinee of the San Francisco Ballet Company, and purchased an extra ticket for me.  Thank you, Lavonne!  What an experience this was for me!

I actually began and completed Louise's costume for Clara initially, but let's have a look at the star of our show first.  The image from Don Daily's book, that I followed as closely as I could, is from the battle with the Mouse King.  While nutcracker princes have been rendered in a wide variety styles, I'm told this one is representative of a Prussian uniform.  (I don't know if anyone has noticed, but this year seems to have been one quite often focused on various hues of blue, red and gold.) 

Lawrence's costume consists of a jacket, trousers, hat, gaitors, and gauntlets.  Just a few pieces, but the details I had to create to come with this look was daunting.  I just motored through, and happily was successful with each detail I tried.  

I began with his red trousers which are made from a bright red cotton sateen.  The crossed sashes on his torso are also from the same fabric, but these were actually the last pieces to be made.  The trousers have pleats in the front and back, creating fullness.  The next items I made were the gaitors.  After studying the illustration, I noticed that these appeared to be gilded, which is okay since he was a statue, or doll come to life.  I happened to have this metallic wool felt on hand, and it worked beautifully for them.  The sides have hand-made scalloped edges and tiny gold buttons.  (Lawrence's black boots are Lawton Doll Co., or Boneka made.)

The Nutcracker's blue jacket has tails and closes in the back for a smooth continuity of design on the front.  Three gold bands with silk covered buttons on each end curve decorate the front.  The bands were made from silk covered faux suede.  Faux suede was chosen because it is sturdy, but also super thin and flexible.  The epaulets were really "something else" to construct.  I ordered the gold twist cording from a seller in the U.K. to get the color, sheen and size I needed.  It wasn't until I was actually making the epaulets that I realized how tough this was going to be.  I do appreciate how they turned out though. 

Another thing, was that I needed a sword for my Nutcracker.  I purchased several sword letter openers until I found a one that was perfect in scale.  And, the handle turned out to be almost identical to the one Daily drew.  A stroke of holiday luck!

I think the Nutcracker's hat took the most time.  Its probably the most elaborately designed and decorated hat I've ever made.  The base is actually thin cardboard, or rather one of those manila file folders, and not buckram this time.  It needed the stability of cardboard due to its shape and height, but flexibility for the curve and oval top.  The gold bands were made the same way as the jacket bands, then glued on.  The medallion is a silk covered button with light stitching added for design.  And, then there is a faux plume.  Yes, that's a plume.  I wanted this costume to resemble Daily's illustration as much as possible.  Its a soft-sculpture plume of gold silk.  Take a good look at the illustration.  Interesting!

  

The strap is, again, the same silk covered faux suede with two covered buttons at each end.  One end hooks to a tiny thread loop on the right of the hat. The visor on his hat is black cotton sateen over the faux suede, trimmed in gold braid.   The Nutcracker's sword sheath is, once again, the covered suede, and his costume is completed by leather gauntlets with gold trim.  The sword sheath hangs from a larger size of the twisted braid tied loosely at the waist to hang lightly on his hips.  Can't thank this U.K. seller enough for working with me to get the correct mm sizes.  (I'm definitely feeling long-winded at this point, but we've just begun. Go grab that cup of tea.  Its too cold outside to go out anyway.  Read on!)

Louise's dress to play Clara in, is a lovely pink silk.  The Don Daily dress was cranberry, and I had my own vision - actually based on an Old World Christmas ornament of Clara.  Yes, I have their Nutcracker ornament set!  What I envisioned was a dress that suggested the sweetness of marzipan fruits and the colors of sugared spice drops.

Clara's bodice has a lace covered inset of white silk.  A high collar is edged in tiny lace, and three little pearl buttons decorate the front.  Her sleeves are huge puffs of silk, with slender arms ending in a wee ruffle of lace.  I fashioned this party gown with two ruffles at the hem.  Yards and yards of 2 1/2" folded over silk had to be gathered.  Good grief.  I tried something new.  I made gather stitches every 12"- 15".  Why?  Because silk often hangs up when you're gathering it.  Some little fiber in there can break the gather thread, or really be a nuisance to gather past.  This way, if the thread breaks, you don't have to redo the entire gathering stitches.

Clara's slipper are velveteen.  I had a pair when I was seven.  What can I say?  I went for the fanciest of everything for these costumes.  She wears a new pair of bloomers that peep out beneath her hem, and I'll talk about them shortly.  Her sash and hair bow are "spice drop" tangerine.  I bought her a brass candle holder to sneak down the stairs with.  And what would Clara be without her Nutcracker doll? 

So instead of going out and buying a small, pre-made nutcracker that wouldn't match Daily's, I found a set of blank wooden ones that you could paint yourself.  The one with the sword had a strange hat, so I trimmed and sanded it down to represent the visored hat. 

Nutcrackers originated in the 1700's and were German symbols of good luck and protection.  The early ones did not crack nuts, and were more or less, carved wooden dolls for symbolic decoration.  Later designs made them functional.  Their popularity grew in the 1870's and were sold among other wooden toys in Christmas markets.  I'm calling Clara's doll, her Prince Albert Nutcracker.  I didn't intend for him to look like Victoria's husband, but he really kind of does.  And, appropriately since both Albert and the toy were of German descent.  Including his platform, he is 5" tall.

He was pretty fun to do, and it was a nice break from designing and sewing.  And, I really thought I was d-o-n-e at that point, but then noticed Laura Peterson on the shelf in her old peach gown and felt guilty.  Heavens!  Laura wanted to represent one of the children at the party.  So I took another couple of days and fashioned her a party gown.  She is Louise's best friend, after all.

I had no idea what I was going to do for her, but I had this gorgeous yellow silk that I wanted to use.  I guess that last time I used a yellow silk, was in creating a costume for Alice Liddell - but that was a darker yellow.  It is so hard to find yellow or orange silk, and this one is a beautiful color.  Part of my quandary was with regards to what would compliment the other two costumes in my display.  I almost used this vintage French, aqua blue silk trim that I have in my stash, then discovered the plum colored picot trim - also vintage French in origin.  I spent a couple of days designing a fancy bodice, and decided that simplicity was best.

Her dress uses the same sleeve pattern as Clara's, but that's where the sameness ends.  I wanted her gown different enough to stand out on its own.  When I look at what I've made for Laura in the past, I have to admit that her gowns are often fancier and more detailed in design. 

The image I studied for both party gowns is the one in Don Daily's book.  The entire room is lit in gold lighting.  You can actually hear the music and feel the merriment of the dancing in this enchanting illustration.  And, one of the children wears a yellow party gown.  I'd already used tangerine silk for the sash and ribbon for Clara, so the plum color was chosen. 

Laura's dress has one large ruffle at the hem rather than the two of Clara's.  Her rounded neckline is trimmed with the picot.  The picot was also sewn to the cuff ends of the sleeves, and a band below the puff.  One long strand was sewn to the skirt edge above the ruffle.  I had the perfect color of silk to match the picot, and made her sash and bow from it.

She wears white stockings and has her own special pair of lace edged pantaloons to peep out from beneath her skirt.  Clara's pantaloons "blouson" with the aid of edge lace to run a ribbon through and pulled tight, tied into bows.  Laura's are straight, with one pintuck, then edged in Swiss lace.  Not to be outdone by Clara, with her velveteen slippers, Laura wears a pair of plum silk slippers to match her sash and bow.

I was so excited and relieved, yes, relieved, when Laura's gown was completed.  I dressed her up and looked at her posing.  Something was missing.  Something to hold.  The Nutcracker had his sword, Clara had her Prince Albert Nutcracker, and it seemed unfair for Laura not to have something in her hands.  A new doll for Christmas, one received at the party, would have been just about right, but I really was d-o-n-e by this point.  I made this entire outfit for Laura in two days.  So I dug into the trunk I have their costumes in and found a little fan.  I happened to have a piece of silk ribbon that matched the plum - a strand that an Ebay seller tied to some purchase, and added that to her fan.

 

This production was quite a lot of work.  But, the entire time I worked on it, I imagined what it would be like to be a designer and seamstress for one of the ballet companies that put on The Nutcracker.  I could imagine hearing the snipping of scissors, the humming of sewing machines, and the rustling of so many silks and laces!  This was how I "played Christmas" this year.  It is time now to rest.  Time to turn off my creative side and simply enjoy the holiday season.  I have Hallmark movies to watch, and favorite Christmas DVD's - including one of The Nutcracker with Baryshikov and Kirkland.  Christmas cards to finish!  And, I've already decided what I'll do for next year's holiday project.  Sort of.  I have the theme at least.  Creating The Nutcracker has made this one of the best Christmas holiday seasons I've had yet.

Wishing you all the merriest of holidays this year, and a little Nutcracker magic of your own.

Love,

Melissa