The Return of Mrs. Peabody

My Dear Friends and Correspondents,

It is wonderful to return home to Massachusetts after my absence over the sea.  While the voyage is always a trial, the metropolis of London has much to offer to improve one's knowledge and expand the mind.

It is so nice to read the posts of Mrs. S. so illuminating and Miss K. who is full of good questions.  I am happy to report on several items of interest to us all.

First I have found no general difference in the methods used by us here in Concord to those in England of making gowns and other items.  If one were to place a garment made in Boston next to one made in London or Leeds, you would be hard pressed to choose which was which.

In dressmaking the usual conventions were seen; shoulder straps, white linen linings, cuffs and sleeve flounces similar in all respects.  Hems and seams the same, all methods known and used by us here, were also used in the height of fashion there!

One of the highlights of my journey was an examination of this gown.

Leeds Costume Collection

This gown is in reality a deep shade of raspberry and not the scarlet shown in the image.  A rare example of a highly decorated damask gown. In almost all instances, damasks are usually undress gowns and as such not lavished with passementerie.  There is a damask gown at the MFA (and one at the MET) that does have some trim as well, but by and large they are not often found with this extent of trimming.   There is no doubt in my mind that not only was the trim purchased at the same time as the gown but was also dyed to match the fabric, probably by the same silk dyer.  The color of the trim is exactly the same as the gown, not a bit of a shade off color -exact- and the abundance of such is lavish to a degree of lavishness not to be believed. This gown was made to be worn over hoops, thus displaying the gown to full advantage.

So that brings Mrs. P to her own personal goal setting for the upcoming winter, I am determined to divine in detail many of the trims made with silk.  Simple flies are not a challenge, but the other elements that are usually so combined with them really will be more complex to duplicate.   One has to have goals to endure the long, and cold winter ahead.

The first and most important hurdle will be to find the right fabric, since the trim is always secondary to the fabric.  Oh, wait.  I may have some in storage.  Will have to check my trunks for a suitable length as I have laid aside many for future use.

Mrs. Peabody

A Yellow Gown At The Met

Metropolitan Museum of Art

On our recent journey to New York, Mrs S. and I were lucky to see this portrait in person in the American Wing in the Metropolitan Museum of Art.  Another good choice for young matrons and maidens as well to look to for their own reproductions!  Wearing a simple taffeta gown, this portrait of Margaret Strahan, was painted in 1771.  Her yellow silk gown closes in front with a compere stomacher.  Pinked self fabric trim twists and turns up the robings of her gown, simple but effective, providing a textural and 3 dimensional appearance so important to 18th century gowns.   This is not an expensive fabric, this gown can be reasonably reproduced by any re-enactor or costumer.

This closeup of the compere shows the small self fabric covered buttons that appear to be functional, not decorative and the two rows of pleated trim on either side of the buttons.  Neither difficult to do or expensive, no additonal purchase for trim.

Simple sleeve flounces and we can see the edges are pinked.  Two flounces and whitework sleeve ruffles set off the yellow of the gown and yet are simple in their embroidery design, something more easily duplicated than a complex embroidery design like Dresden work. 

This closeup of the pearl necklace shows us  six small pearl strands, with one giant strand of pearls, faux of course!  What a nice detail to incorporate into a necklace!   Faux pearls are a dime a dozen (literally) at rummage sales and yard sales, this would not cost a fortune to do.   If you look at the full portrait you can see the ribbon ties at the back of her neck securing the necklace.

 This last detail combines two elements.  First the gathered and pinked trim, gently flows up the robing.  Note that it does not match the pleated design on the compere, but the twisting on the robing is a nice balance to the geometric pleating on the compere.  This is also a good closeup of her neck thing.  It is obviously fine muslin or linen, with a series of box pleats providing the shaping as it goes around the neck.  It is not a handkerchief per se, but does the work of one, filling in the low neckline of the gown.  Could this be a tippet sighting?  Don't know! 

Please go to the museum site and look closely using the zoom feature.  Look especially at her hair ornaments, they almost look like enamel work to me.  Other opines welcome!

Mrs. Peabody