Introducing | The Kirsten Project

My pleasant company edition of meet kirsten (1986, when it was just her, samantha and molly!) from childhood plus original outfit.

Over the course of the past year I’ve returned to one of my childhood passions with historic costumes. It was only after going to my first Jane Austen Festival did I remember how I spent so much of my early years wearing pioneer dresses, bonnets, aprons and petticoats. Anything historic was my jam, but especially the world of old fashioned clothes. I wore braids and lace up black boots to elementary school! I have memories of running through an apple orchard in my full kit and loving it so dearly.

A huge part of my introduction to history was through the American Girl Dolls, specifically Kirsten, who lived in the Midwest in 1854. You can read my whole story of how much this doll meant to me here as a background to the new project I am dying to tell you about today.

I’m calling it The Kirsten Project and it will be a multi-month exercise in creating a historically accurate mid 19th century costume from the inside out. The first book in the series, Meet Kirsten, will serve as my inspiration. I’m even going as far as designing fabric based on her dress and scaling it to the perfect adult size for me. Because Kirsten was an immigrant farmer’s daughter living in the Midwest, her ensemble won’t the same as fashion plates from Paris, but I’ll do my best to guess what that kind of woman would have worn and still embrace the spirit of the artwork from the Kirsten series. My plan for this project is to research and plan every layer - from chemises and petticoats, to a corset, hand knit socks, period footwear all the way to her signature spoon pocket and gingham bonnet. I’ll share photos and videos of my progress, just like I’ve done with past projects.

Speaking of sharing… the other half of the experiment is a little crowd funding proposal. I’m wondering if you’d be willing to chip in whatever you can to watch the project unfold? I have a private instagram account I’ve set up exclusively for contributors. You can support the project with a one time donation and in any amount through my PayPal. Drop me a DM and I’ll approve your follow request! All of these funds will go towards the hefty expense of making a historical costume (buying patterns from independent designers, creating my own original fabric designs and having them printed, buying from mom and pop fabric stores, supporting women owned shoe companies, knitters, and more) and will make me feel supported as an artist (thank you thank you thank you!) Think of this like a one-on-one guided museum tour through an incredibly specific part of costume history.

If you can wait until the very end, look for the full project to land here. Otherwise, watch me in real time by supporting this project!

I can’t wait to create my own historically accurate adult version inspired by kirsten.

Jessica Sews | Bishop Sleeve Bodysuit and Dawn Jean Flare Hack

Next up in newly stitched goodies - a bishop sleeve body suit paired with my sixth version of Megan Nielsen’s Dawn Jean pattern (altered into flares with seventies style patch pockets). Both of these were fun experiments, so let me tell you more about them!

The blouse is made from a large scarf I found at my local Goodwill. I loved the pattern (it’s woven, not printed) and I thought I might have enough yardage for the wide bishop sleeves from Simplicity 8789. I used the sleeves from view C paired with the bodice from view A and just barely eeked out my pattern pieces. The bodice itself was super straight forward, but once complete it’s attached to knit undies to form a body suit. For that fabric I cut up one of Adam’s old tee shirts. I really haven’t jumped into the world of knits, but I have to admit - these came out really great. I bought a double ball point needle to attach the elastic and it was so straight forward and simple. So I’m asking myself - have I been majorly missing out by not sewing knits? Maybe! Next time I will add just a little more length to the woven portion of the garment because even though I am shorter waisted, it could use a little more vertical space. I have an instagram story of this entire process (or at least some of it!) here if you’d like to take a look!

The jeans were made on a whim because…. well, just because I wanted some flare jeans I guess? I used the tapered leg as a base and drew straight onto my denim in tailor’s chalk. I measured 14” up from the hem to start my flare and drew down to a 21” leg opening. Instead of a traditional scoop pocket shape I did a shortened version of the patch pockets I drafted for my overalls. Again, if you’d like to see some action shots, check out my instagram story on making this pair of jeans.

After wearing the jeans a few times I felt they’d have a better fit by taking in some additional space at my hips. The end result is great! I would like to do these again in a nicer quality denim but I have a lot of projects on my list before that.

Listen - if you’ve been on the fence about making a pair of jeans I cannot recommend this pattern enough. I’ve made it seven times now (after these jeans I made a second pair of shorts that I LOVE). It really is that amazing of a pattern.

And something else I’ve mentioned on social media but not on here… those silver strands you see? Expect more of them as time goes on! I’ve decided to let my natural greying color come through and while it’s taking a little time to adjust to editing photos with all that white hair, IRL, I love it. Maybe because I rarely look at mysefl in a mirror and only in good lighting with a filter via my phone? If you’re also considering it, take a look at the #grombre movement on Instagram. It really helped confirm for me that this is a beautiful look and women with grey hair have this air of badassery about them. Now I just wish MORE white would come in and it would grow out faster!

Time Traveling | Early 19th Century Corded Stays

I’ve been on a sewing roll in 2019 and my latest project is a pair of early 19th century stays. As fashion moved towards a neoclassical influence around the turn of the century, the undergarments worn also evolved. Instead of shaping the torso into a conical shape (like my first pair of stays), the shape of the bosom was more defined by lifting and separating the bust (versus just smushing them up like previous centuries).

The construction for this new shape incorporates gussets, or triangular shaped inserts, to give more shape to the stays. To me this is probably the first version of the bra we know and wear today - from flattened uniboobs to more rounded cups.

When it comes to my historical undergarments - you know me - the more elaborate, the better! Enter the idea for corded stays. These actually fall more towards the 1820-1830s due to the cording, but I’m hoping the shape of this garment will work for costumes between 1800-1840. Plus I wanted to make something spectacular, and I think I’ve done it!

For my base pattern, I worked with the Laughing Moon Mercantile 115 and chose a white coutil (a tightly woven fabric made for corsetry). I made a quick mock up in size 16, determined I could size down and got to the business of cutting and cording my pieces.

For my cording design I used extant museum pieces (specifically this one) as my inspiration. I first drew sketches of the overall look and then moved to creating them on my paper pattern. I then taped my fabric and cording design to my windows and traced them with a water soluble pen. The design I started with is far less intricate than my final design because I just kept adding, adding, adding channels (even after front and back sides were joined) but I’m really glad I did. This is an intentionally softer style corset (there’s way more breathing room than my earlier pair) and isn’t meant for major waist reduction like mid 19th century - 20th century styles. It does provide posture correction and some shaping, but my rib cage can expand so much more than a heavily boned version. There are only four total boning channels, plus the front busk pocket so all of the extra cording gives the garment more strength. Plus I think it’s really beautiful!

After the channels are sewn, loose tails are threaded into a needle and taken to the back side. Every single stop and start of a stitching line! After a while I altered my technique a bit so I could sew one whole section (like 4 parallel lines) without cutting my thread. It can get mighty messy with all of those threads on the backside. Once they were pulled to the back, I tied the bobbin and top threads together and cut them near the knot. Then comes the fun part of actually getting the cording into the channels.

I did this using a combination of large needles, needle nose pliers and a fierce determination to carry on even when my fingers were so sore! You need the pliers to grab the needle and keep it from slipping as you gather the thick fabric and push the needle through. I can’t imagine even getting one channel complete without them! For the majority of the channels, I used a blunt tapestry needle, but I also used a long (4-5”) sharper needle to quickly get me through shorter channels. I had to be very careful to not puncture my top fabric with the needles and keep the cording (I just used cotton yarn) in place.

After the gussets were sewn and flossed (part embroidery, part stabilization), I moved onto the back eyelets. Those are all hand sewn and call me crazy but I LOVE doing them. They’re so cute and strong! Finally, after the straps were sewn to the back, I did bias binding around both the top and bottom edges. This is another thing I really love! If you’re precise, it looks so crisp and amazing. During that process I also added a drawstring channel to the top of the front so I could draw in the excess space created by the bust gussets.

The center front busk is a flat wooden piece inserted into a pocket. In my early construction phases I just used a freebie paint stick (as many a historical costumer has recommended online!) but wanted something a little more special and straight (there’s a small indentation about 2” from one edge on both left and right sides I didn’t want showing through my stays. Adam was able to run out to his woodshop and brought back a gorgeous ash version (wood leftover from our dining room floors!) in under 5 minutes! Thanks Adam!

This project took about seven working days to complete (during weekends, while kids are playing or at night). My pattern, fabric and lacing were a gift from my mother in law - thank you Mary!!!) and I harvested old steel bones (creepy!) from a corset I’m not planning on wearing again.

In the end I’m excited to add this piece to my costume closet and start making regency style dresses to be worn over it. If you’d like to see more behind the scenes, check out my Instagram Highlights to watch the process!