Bath & The Fashion Museum

This time last week, I'd just returned from a couple of days spent exploring the beautiful city of Bath.

I'd been twice before; the first time to pop into the Jane Austen Museum, and the second to join 500 other people, all in Regency dress, for the costume promenade that kicked off the Jane Austen Festival in 2014. So as you can tell, my experience of Bath up until this point had been a little Jane Austen heavy. This time, however, I had the chance to take in more of the city. And I fell quite in love.

I also FINALLY had the chance to visit the Fashion Museum, and it was a delight!

The displays were simple, the collection was select and beautiful, and they had a small exhibition on lace in fashion through the years. It was just right.

Here are some photos, along with a few I took around the city...

Ivory & Lace // Edwardian Corset

I originally made this corset with the intention to give our visitors at Polesden Lacey an example of what somebody might have worn if they were in the upper classes. Or indeed a wedding corset, as these were often made in white or ivory to match the wedding dress and the rest of the occasion's undergarments. We're currently working on new ways we can use the costume project to interact with the visitors, and so the corset has been living with me for a little bit until it can be used. It's also incidentally in my size... wink wink.

I used Past Patterns no. 106: 1901-1908 "Straight Fronted" Corset, with a combination of rigid steel boning (on the front, back, and over the hips), and spiral steel boning on the rest of the seams to allow a bit of movement. I added extra boning along the edge of the split-busk at the front, to help with that infamous 'pigeon breast' silhouette (which is hard to get across on a modern mannequin, but it works on a human!). The boning cases are embroidered with white thread, in a method known as flossing, which holds the boning in place and keeps the tension.

It's made in white coutil, with grosgrain ribbon edging, and elastic suspenders.

I added some antique lace I found in the sewing room at Polesden, and an ivory bow at the front, which was common on the wedding corsets of the time and again adds to the silhouette once you've put a corset cover on top.

Capturing Edwardian Life

Pinterest is a wonderful thing. When I'm not pinning style inspiration, crafting ideas, knitting patterns, or hypothetical wedding plans, I use it to collect old photos that I just love. Particularly from the Edwardian era. Whilst you get the wonderful portraits from that time, they're usually very formal, a bit stiff, and don't often capture the everyday. How people really wore their hats, how the number of petticoats you wore affected your skirt when you walked, how people interacted with one another. The kind of photographs where you can just picture it in a modern day setting, because really, real life is the same as it was a hundred years ago.

Those are the details that I fall in love with.

So I thought I'd share a few of my favourite Edwardian photos with you, that capture the little elements of real life.

"At the beach."

Helen du Bois plays handball // Paris, 4th June 1906

Autochrome // John B. Trevor

"Kiss" c.1900

Place du Louvres // Paris, 4th June, 1906

Caroline Trevor // John B. Trevor, 1916

Caroline Trevor // John B. Trevor, 1916

1900

A class visiting the Art Gallery // Frances Benjamin Johnston, c. 1899

c. 1905-1910

Draping blouses in Worth // Paris, 1907

"A couple strolling." Colourised photograph, c. 1910

Notting Hill Gate // July 1906

London Street Style // 1905-1908

Kensington // June 1906

Ludo Vanden Haute, Fenêtre // c.1910

London, Cromwell Road // Edward Linley Sambourne, 12th July 1905

"The Courting Gang" c. 1900

Bridesmaid dresses // 1950's inspired.

Back in August last year, a good friend of mine was planning her wedding. We were discussing bridesmaid dresses and scrolling through Pinterest, when she suddenly turned to me with a very big smile and said something along the lines of "You sew, don't you?".

So obviously, I said yes.

Cut to a year later, I'm surrounded by green taffeta and about 20 metres worth of hem, which I'm sewing by hand, and I'm wondering why on earth I agreed to make the bridesmaid dresses for the wedding that's taking place in a few weeks.

BUT despite the achey back, the pin pricked fingers and the stress, I did it! I made five (FIVE) bridesmaid dressed from scratch! And I couldn't have been happier that I had said yes.

The bridal party

The bride picked out the pattern - Butterick 6094 - to match her beautiful 1950s tea-length lace wedding dress, the colours to match the theme, and then I helped to pick out some fabric. I could only fit the dresses once before the big day, so I made them up in generous sizes (better safe than sorry!) and took them in where necessary. Pink net petticoats helped to create the flattering silhouette, and add a pop of colour with each step.

The back // All lined up, just need a press!

The front // Again, in need of a press

It was a real honour to be part of such a beautiful day, and to have been one of the people that helped to make it happen. There's nothing quite like it.

The Tailor Made: the power suit of the Edwardian era

As women were getting more active towards the turn of the 20^thcentury, in society, in the workplace, and in the literal sense of the word, they needed their clothing to follow ‘suit’ (so to speak).

Enter the Tailor Made. 

1895 // The V&A Museum

A versatile outfit consisting of a skirt, a blouse - or shirtwaist - and a tailored jacket to match. Not only was this outfit far more practical than the flounces and frills that made up the rest of the Edwardian woman’s wardrobe, allowing for more movement with its skirt of suitable walking length and a jacket one could remove, but it also took on elements of a gentlemen’s suit from the time, and therefore letting women feel they had more of a presence in the workplace. It was also the obvious choice of outfit to purchase if you wanted to get the most out of your clothes. With the shirtwaist & skirt combination, and numerous styles being available in both, it meant the possibilities were endless and you could easily switch things up for a new look. It became the typical costume for travelling, and for popular activities of the day, too.

October & November, 1900

1892

1890-1900

1907 // National Cloak and Suit Company, New York City

Late 1890s

1905-1910

1912

1917

After first being considered plain and bland, and going against the era's ideals of femininity, it then started to rise in popularity amongst the middle & working classes in the 1890s, before becoming the ideal all-purpose outfit of the 'new' working woman towards the 1900s and 1910s, being particularly favoured by the Suffragettes. 

c. 1910 // Suffragettes

1912 // Women's Suffrage Headquarters, Ohio

1910 // Suffragettes armed with materials to chain themselves to railings