Regency Dress

I made this dress two years ago, from Simplicity Pattern #4055 with slight alterations (I raised the neckline and left off the overlay). It is sewn from cotton calico, and the fabric color and pattern were not chosen for period correctness; it was intended to be a Regency-inspired summer dress, not a historical replica.

Bodice front detail

Bodice back detail

Elegance

I sewed this dress when I was 15. It is made from a very light, silky fabric, which made the princess seams tricky until I learned to manage it.

I found this fabric on clearance, and decided to make a skirt. I used a pattern my sister had, and altered it to my size.  I sewed it entirely by hand

This dress was one of my most recent projects. I used Vogue patter #8020, but altered the skirt length and the neckline and added a pocket.

Scottish Outfit

This outfit was made in two stages. The shirt I sewed while I was in high school, from Simplicity Pattern #3623. The skirt I made several years later, designing the pattern myself (it is a simple pleated rectangle) and sewing it by hand (even the invisible zipper).

Sundry Small Projects

These are some of the smaller projects I have done. More pictures will be added in time!

A small throw pillow made of remnants

A scarf I designed, sewed, embroidered and beaded.

Detail view of the embroidery and beaded edge.

Natural Dyes

One thing I enjoy doing is experimenting with natural dyes. These skeins of wool yarn are from my most successful experiments; mordant-less dye baths of oak and willow leaves, as the labels proclaim.

Adventures with Shakespeare: The Merry Wives of Windsor

In the spring of 2011 I co-directed a production of The Merry Wives of Windsor. Part of directing is establishing the production's artistic vision, which includes costumes. Because I have always been heavily involved in costuming for Shakespeare Players, this was one of my favorite parts of planning: portraying character and relationships through style and color. This is always somewhat inhibited by the limited collection of costumes in the club's collection. It is neither practical nor possible to create a complete wardrobe for each production, and so although a few new costumes are made each semester, the majority are reused. Even within these constraints (some costumes simply do not fit the actors I wish they would) costuming remains fun.

We made new costumes for Falstaff, Mistress Page, Anne Page, and Fenton. As well as collaborating on design and fabric choices for all of these, I also sewed the outfit for Mistress Page.

The full cast

Falstaff

Anne Page and Fenton

Mistress Page

 

 

A full length shot

Adventures with Shakespeare: King Lear

In the spring of 2010, Shakespeare Players performed King Lear, and I was recruited as costumes mistress. This involved working closely with the directors to develop a costuming strategy: style, colors for different noble houses in the play, how to highlight characters' personalities in the costume choices. We constructed a higher number of costumes for this production than usual, simply because we were working with a time period unusual for Shakespeare Players: ancient Britain. I dealt with measurements, developed the patterns, and then readjusted them when I realized that I had underestimated the amount of ease required in a tunic. I worked with the seamstresses to coordinate sewing of garments, sewed several myself, organized the costuming area backstage, and laundered costumes between performances. In short, it was a taxing job, but rewarding in the end. Although I couldn't make everything authentic and some costumes were pulled from other (later) time periods I was still pleased with the overall look of the costumes and how they contributed to the feel of the play.

The whole cast

The House of Gloucester

Lear and his daughters

The extended royal family: Cornwall (dark red), Albany (purple and gray), and France (blue)

Lear with Kent and the Fool

Lords and servants

Adventures with Shakespeare: A Midsummer Night's Dream

In the spring of 2008, Houghton College Shakespeare Players performed A Midsummer Night's Dream. As well as acting I designed and sewed the costume for one of the fairies: Cobsweb. This was my first serious endeavor at creating my own patterns; I worked with the costume from concept sketch to fitting. The bodice is sleeveless, fully lined, and laced on the sides. The skirt was sewn from squares of knitted fabric and tulle, with an elastic waistband. The black shawl/overlay was simply draped and tied over the costume.

Cobsweb in costume, waiting backstage for makeup.

Right side view.

Left side view.

Adventures with Shakespeare: The Merchant of Venice

My freshman year at Houghton College I joined the Shakepeare Players as an actress and seamstress. The production that Fall was The Merchant of Venice, and I was assigned the outfit for Nerissa, one of the female leads. This involved sewing a blouse and underskirt and a boned, laced, overdress. This costume is now in the club's collection, and has been used in numerous productions.

Nerissa in costume.

Nerissa and Portia

A full-length shot.

Knitting

These are a few samples of projects I have knitted over the years.

My first attempt at Fair Isle knitting, a simple hat in stockinette stitch, kitted in the round on double pointed needles. The pattern was adapted from one I found in a book of mittens.

This is my first lace project, a scarf in the Gull Lace pattern knitted in a medium weight wool blend yarn.

1810 Dress

This dress was a project with the Newark Valley Historical Society Youth Interpreters program. It was sewn from a pattern from the society's collection. I used medium weight linen in period appropriate colors and pattern, and sewed the dress completely by hand. This was the first time I had attempted such a project, and despite my initial intimidation I found it enjoyable and rewarding.

Bodice front detail

Bodice back detail

Cloaks, part two

My second commission, nearly a copy of my first cloak, but sewn from heavy knitted material with a very nice drape.

A side view, showing the length of the hood when left down.

 A closer view of the seams and topstiching at the neckline and hood.

My third commission. The pattern had to be lengthened, and the shoulders broadened, but otherwise it remains very similar to commission #2, except in terms of fabric. I used very lightweight materials for the outer shell and lining.

With the hood raised.

A closer view of the hood and neckline.

Cloaks, part one

As many who know me well will attest, I am an avid wearer and creator of cloaks.  I sewed my first cloak in junior high school as part of the Make it with Wool 4-H program, using a twill suiting which had been donated to the program and Simplicity Pattern #5794. Commissions followed, and I have sewn three custom cloaks since, all variations on the first pattern.

This is my first cloak: full length, fully lined, and hooded.  I adjusted the pattern to fit with the help of my sister and the project teacher, and also added a pocket in the lining.

Wearing the hood.

My second cloak, commissioned by a friend. The cloak is full length and fully lined, but not hooded.

The neckline was altered, adding a pleat so as to add width to the shoulders. This alteration was a collaboration with the customer.

The cloak in action.