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#shantung dress
chicinsilk · 3 months
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"Ligne Muguet"
Christian Dior Haute Couture Collection Spring/Summer 1954. Suzy Parker wears an afternoon ensemble consisting of a shantung dress from Abraham, and a lightweight printed silk coat from Ascher. The little headband matches the dress. Photo Henry Clarke. Vogue Paris April 1954.
Christian Dior Collection Haute Couture Printemps/Été 1954. Suzy Parker porte un ensemble d'après-midi composé d'une robe en shantung d'Abraham, et d'un manteau léger en soie imprimée d'Ascher. Le petit serre-tête est assorti à la robe. Photo Henry Clarke. Vogue Paris avril 1954.
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lichdolly · 1 year
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Angelic Pretty - Floral Shantung JSK in pink, sax blue, white, and black (2006)
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digitalfashionmuseum · 10 months
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Blue Shantung Dress with Red and Green Stripes, ca. 1966, French.
By Louis Féraud.
Worn by Claudia Cardinale.
Sotheby’s.
https://www.sothebys.com/en/buy/auction/2019/collection-claudia-cardinale-dressing-a-star/louis-feraud-circa-1966-shantung-dress-with-red
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chic-a-gigot · 2 years
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La Mode illustrée, no. 26, 28 juin 1908, Paris. Robe en shantung. Modèle de Mlle Sauveur, rue de Cherche-Midi, 67. Ville de Paris / Bibliothèque Forney
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milksockets · 2 months
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dress, 1972, silk shantung taffeta + silk georgette with pebbles in roberto capucci: art into fashion - dilys e. blum (2011)
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orchidscript · 2 months
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1901 Lace Day Dress
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I haven’t written one of these in a good long while, but I want to get back on it again before the back-log is too great to overcome.
So, hello there!
For those of you who are newer around these parts, I don’t just write a lot of fan fiction (occasionally original fiction). I also sew. All kinds of sewing, knitting, and fabric/fiber arts but mostly historic costuming. I make historic garments, wear them for events, and I try hard to document them to share.
No pressure if this ain’t your thing ;)
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Way way back machine time: back in June 2023, I met a local photographer at a creation day event and we became friends. She enjoys experimenting with film and digital photography techniques, and we got to talking about collaborating on a photography set.
Eventually, we settled on a location — the Reading Pagoda — and to shoot in October for some wonderful, spooky ghost photos (made via double exposure). To match the Pagoda, we decided the dress should be from the early 1900s.
This all led me back to one of my all time favorite dresses.
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This dress is currently in the collection of the Fashion Museum in Bath, UK. It is an “Afternoon Dress” completed in 1901. The textile is hand-done Irish crochet, a very in-demand item of the time period and an interesting piece of Irish economic history. Irish crochet was largely done in groups, like a quilting bee, and were made a singular piece by crafters working together. This dress was likely constructed in the same way.
Since I do not know how to crochet, let alone Irish crochet — a dear friend of mine assures me it’s different enough to be it’s own thing — I resorted to buying lace yardage.
Here’s the problem: modern day lace fabric tends to be narrow pieces meant to be used as decoration or for lingerie. It uses elastane and is stretchy. 
Lace didn’t contain elastic in 1901, so outside of the ease/give that crocheted and knit items inherently had, this dress likely had very little stretch. Finding a modern-made, non-stretch lace fabric was a challenge. I asked around, and another costumer pointed me in the direction of Guipure lace. 
Once I got my hand on 4.5 yards of the stuff, it was all rather easy afterwards. 
I cut out a big circle skirt, making the back edge a bit longer for a six-inch train in the back. Next, I used a basic bodice pattern that I know fits me to cut out the bodice, then fit it to me while in my corset.
Modeled by Jane (my dress form), and by me:
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Once I was happy with the way it looked over all my unders and my shoes (always try things on with the shoes you want to wear them with!), then I sewed them together.
Always fit check, y'all. Always fit check:
The sleeves were meant to be puff-sleeves, but I ran out of time. Someday, perhaps, I’ll finish them off for that frilly, ruffledy, edge. The little waistband was made out of a silk shantung scrap, and I spent about 5 hours just sewing hooks and eyes into the back closure.
Its a joke among sewists — costumers in particular — that you always end up racing to finish a project in the 24 hours before the event you’re going to wear it for. I’m usually pretty good about not doing that, but this time I squeeked it in just under the wire like Indiana Jones.
My friend and I met at the Pagoda at 9am on a windy October Saturday.
I finished the last stitch on the last hook at 7:35am.
The things we do to ourselves, right?
Anyway, we made it there. We took some fantastic photos, laughed a lot about all the wind making things look way more dramatic and struggled to keep candles lit. I was bundled up in my OFMD pink banyan robe and explaining my dress to a few little girls between takes.
So, please enjoy the fruits of our labor:
As always, if you have any questions about this dress, my other dresses, or fashion history in general, please feel free to ask! I love talking about this hobby, and would be happy to pass on knowledge whenever I can.
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Up Next on my list is the 1790s block print round gown. But, I'll give you a choice if you read this far ;)
Would you like me to talk about the 1790s dress in a video or in a written post like this one?
Thank you so much for reading!
xoxo, Orchid
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sweetteachai · 2 months
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"You're invisible when you're sad 🎶"
So, when friends took me to the Beetlejuice musical in July, I left when it was over with wanting to recreate Lydia's look from the animated 90s series for ALA. It was one of my favorite shows growing up and I wanted to make my childhood self happy, but after I was done with finishing up costumes for RCCC.
In order to make this capelet, I took my favorite McCall's cape pattern, measured out how I wanted the points to look and instead of cutting the front piece in 2 separate pieces, I cut it on the fold. Then came the hard part--measuring out and then sewing the trim. I did look up some Lydia tutorials and particularly liked the one by Jedimanda. Basically I took a yard stick and some zip ties to figure out placement of the vertical stripes and then marked out in pencil on the backside of the fabric where I wanted them. The scalloped horizontal stripes were then measured and penciled in. I handsewed trim I had left over from a project years ago on the front and back pieces. When the trim was done, I sewed lining pieces together, then the outer pieces, and then sewed those two together.
Because I had wanted this capelet to be more practical since Lydia in the cartoon wears it almost exclusively while running around the Neitherworld, the red is a wool suiting fabric from Fabric Mart while the purple is a poly shantung leftover from my level 10 Laudna dress.
Incredibly grateful for my friends @steamninja who took these photos and @essegigi who edited them!
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professorpski · 7 months
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The Sweeping Ball Gown, Vogue 1963 
This glamorous strapless evening gown dates to 1948 that has been re-issued by Vogue Patterns in modern sizes. It shows all of the luxury of post-war prosperity that one hoped for from post-war prosperity. Just a year earlier, Christian Dior had shown the New Look which offered up day dresses with enormous width at the low hemlines, cinched waists, and soft shoulders. It was a break from the more practical looks of the war years, with hemlines around the knee and padded shoulders, and narrower skirts. This was a silhouette which would live on into the 1950s.
Evening gowns followed suit with even wider hemlines, and here you have one that is more than 7 feet around . To create the mass of the skirt, hold it away from the body, and  make the waist look even tinier, crinoline net is used underneath as interfacing, some 3 plus yards of it. An overskirt cascades down the sides, a feature that will ripple with the wearer's movement. Such an abundance of skirts means that the dress takes around 8 yards of fabric at 60” width. Yes, that is a lot of fabric.
The bodice, which is boned on the inside, is also cuffed on the outside, with a clever shaping so that the front points inward and upwards towards the face. A graceful line and a dynamic one that indicates movement and energy. 
They recommend faille, satin, dupioni, and taffeta, plus brocade, but brocade will probably weigh too much. Satin is beautiful but you can mar it so easily, or at least I can, so I would recommend silk dupioni or shantung whose texture will wear better and catch the light in interesting ways too. And there are soooo many gorgeous colors to choose from. They do suggest that overskirt may be made of a different fabric and the illustration of the back of the dress done in white hints at that. If you look closely, you will see a more textured fabric at the lower left, a lace perhaps? But a harmonizing color might work too. So many possibilities. 
This bodice will need a close fit, so you may want to muslin it in a test fabric. Although it may be possible to use the fitting of the lining to ensure the fit of the fashion fabric. Obviously, with so much fabric on the line, you want to make sure it is something you love. If you have to buy fabric online, I would indulge and buy more fabric than a tiny swatches to make sure. 
You can find this at your local fabric store or online here: https://simplicity.com/vogue-patterns/v1963
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grandmaster-anne · 1 year
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21 August 1955 Taken on July 19 by Cecil Beaton in the garden of Clarence House. The Princess, who is with her Sealyham Pippin, wears a pale yellow dress of paper Shantung Taffeta with a collar of white organza, a five-string pearl necklace and a rose diamond brooch.
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trishmishtree · 1 year
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So I made another c0rset, and it comes stuffed with fancy pillows
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Apparently I am now on a quest to recreate an early Edwardian summer dress/historybound...in the middle of winter. The last time I made a c0rset, it was an under bust design meant to go under my modern clothes, and I drafted it myself--so this time I decided to be lazy and used Aranea Black’s Tulip c0rset pattern with a few minor alterations for fit.
The great thing about these straight front c0rsets is that they aren't actually supposed to fit to the contours of your body. As long as the waist size is right for you, you can pad out the bust and hips to fill out the areas of the c0rset that you're too small to fill. A foundational undergarment with wider hips and a lower, fuller bust instantly creates the illusion of a smaller waist, even if (like me) you aren’t able to lace down more than an inch before getting too close to tight lacing territory.
I made it in size D (which gives the c0rset a 23 5/8" waist, which means a ~2.5" lacing gap on me), but the cotton twill I used must’ve stretched a bit because it ended up closing all the way in the back again (but I did put in a waist tape so maybe I used a twill tape that stretches?). Come to think of it, I really should have started with size C instead. I ended up having to shave off an inch and a half off the two back pieces to get back some semblance of a lacing gap, and then let out 3/8" from one of the front seams where I have a weird rib that sticks out more on the right compared to the left (thanks, scoliosis) and only makes its presence known when I wear tight clothing that contains plastic whalebone.
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^Closeup of some the flossing detail because this is the first time I've actually been happy with the result.
The fashion layer is an iridescent silk shantung that my phone camera keeps trying to make appear purple. It's made from black warp threads and cornflower blue weft threads and actually looks a lot more blue in real life. (Also, my skin is not this pink irl either. I think my phone camera just tints everything slightly pink.)
Also, here's the bust improver:
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I self drafted the pattern pretty much directly from the extant in the LACMA collection. It’s stuffed with fabric scraps that I save specifically for stuffing, but it could still use a little more volume since the stuffing must have flattened down a bit from being worn. It’s probably going to need an entire extra inch of thickness, if the discrepancy in the lacing gap in the c0rset is anything to go by.
Speaking of padding, at the moment, the hip spring in the c0rset isn't quite up to Edwardian standards because it's just my natural hip spring since I haven't gotten around to making the hip pad yet. But I did take a page out of Snappydragon's book and made the sides of the hips adjustable to accommodate a hip pad in the future. Also, not entirely sure when I’m going to make the hip pad because everything I’ve read has advised against using fabric scraps for those because they’re too heavy, so I guess I’m going to have to invest in some cotton fiber fill.
As always, yes I can breathe. I think I got lucky and this c0rset pattern just works really well with my personal skeletal structure with minimal adjustments. Nothing is digging in in uncomfortable places. That said, this is not going to be something I'll wear in my daily life because the silhouette is just too exaggerated for me to get away with, and it doesn’t really provide that much back support since it is so loose around the entire circumference of my bust. 
Update: I did end up adding a lot more stuffing to the bust improver and now the c0rset actually laces up evenly, so yay
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ephemeral-lace · 1 year
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Glowing materials such as shantung, crystals, and lame give you elegance Daily introductions of fashionable people who gather at "Salon de Noel"!
Sheep (From Kanagawa, living in Saitama) Wig shop † Black Sheep † Producer, Salon de Noel organizer Today's fashion theme - Nouvelle mode☆ Wig †Black Sheep† Headdress ☆ Strawberry Decadence Dress, tights ☆ Baroque necklace ☆ marywest☆ Shoes ☆ Angelic Pretty Twitter@kurohi2ji2
Thank you for coming to Salon de Noel♪ We look forward to your continued support♪
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chicinsilk · 1 year
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US Vogue March 1, 1950
Our model, Pat Blake faces a difficult choice. Which beige gloves should she wear with her Belding-Corticelli silk Shantung dress piped in black, by Henry Rosenfeld? "Mango", pinkish yellow, above left? "Casaba", with a yellow reflection, above? "Curry" in the center, spicy yellow? "Sherbet" on the right, light mauve-white or else "Chutney", spicy orange, below? All from the new Kislav glove palette. Second question: which of the new necklaces combining crystal colors with pseudo-pearls? At the level of his throat, the crystals are clear. In hand, they are pale pink. On the table, on the left, topaz color: on the right, coral. Tous, by Jacques Fath designed for Marvella. Marvella earrings, unilateral hat in beige felt, made to order at Chanda. Beauty note: Her creamy, rosy lipstick, "Heart Throb" by Ponds.
Notre modèle, Pat Blake fait face à un choix cornélien. Quel gants beiges dois-elle porter avec sa robe en Shantung de soie Belding-Corticelli passepoilée de noir, par Henry Rosenfeld ? "Mango", de teinte jaune rosé, ci-dessus, à gauche ? « Casaba », de reflet jaune, au-dessus ? "Curry" au centre, jaune piquant ? "Sherbet" à droite, mauve-blanc clair ou bien "Chutney", orange épicée, ci-dessous ? Le tout, de la nouvelle palette de gants Kislav. Deuxième question : lequel des nouveaux colliers associant des couleurs de cristal à des pseudo-perles ? Au niveau de sa gorge, les cristaux sont clairs. En main, ils sont rose pâle. Sur la table, à gauche, couleur topaze : à droite, corail. Tous, par Jacques Fath conçu pour Marvella. Boucles d'oreilles Marvella, chapeau unilatéral en feutre beige, réalisé sur commande chez Chanda. Note beauté : Son rouge à lèvres crémeux et rosé, "Heart Throb" de Ponds.
Photo Erwin Blumenfeld vogue archive
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20dollarlolita · 1 year
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30 day lolita challenge, day 5)
I'm doing a lolita challenge from 2011. Tag is "20dollarlolita 30daylorlolita challenge" in case you want to black list or follow.
Today is 10 things from your wishlist.
Last year, I got Tailor's Bear and Typewriting Squirrels, which were the last two of my real dream dresses, so this one's a little bit tougher to nail down. I don't do dream dresses, because I feel like that allows me to justify spending way more money on a dress than I normally would. Considering that I have a wide variety of different interests, my hobby budget isn't as big for lolita as some other people's is, so no dream dresses is one of my rules.
But let's shoot and see what we hit. A running theme is going to be "things that I owned and then sold.":
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1, This Bodyline piano print. So I got into lolita fashion immediately before being diagnosed with a life-changing lifelong mental illness, and somehow my life got separated into a Before and After of that. There's this tiny little part of my lolita fashion life that was in the Before, and buying this JSK (and matching bag) was one of those Before things. It was also the first lolita item that I sold (to help a friend pay for a dog's vet bill), and I've wanted it back ever since.
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2, This weird thing Meta made. I love punk influence and this is one of those things.
3, More embroidered things. I do machine embroidery and digitizing, and I love looking at how things are digitized. I also love the textural element of embroidery versus printing.
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4, Shantung Shirring Princess. I once owned regular Shirring Princess, which I traded for something stupid that I immediately regretted and later accidentally destroyed. I want regular shirring princess back to atone for my sins, but the satin version with the chiffon bustle really calls to me. *checks notes* *checks fabric stash* Wait, I have like...20 yards of silk shantung...I'm going to...uh. I'll be back in a couple days.
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5, Lolita pajamas and room wear. I can't wear lolita at work but I kind of want to wear it when I sleep. Possibly the very first lolita thing that I ever owned was GLB 21 and there was a pattern for room wear. I've never made that pattern but i really should.
6, Pieces made of less common fabrics. More brocades and velvets and pleather and shiny satin and stuff.
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7, I currently have one lolita coat that I've had since like 2011 (another item from The Before, got some very distinct memories of sleeping under that coat because it got cold and I was afraid to tell Housing that it was literally freezing in my room. I wore it when I went to take pictures of nature for the photography class that I failed that term). Here I am wearing it at a 2015 new year's day bonfire. I also wore it to the Bay Area Kei tea party, because it was raining. Every time that it's cold, I have to build a coord around this coat, because it is the only coat I have. I want more. I want more coats. I also once saw an amazing handmade green lolita rain coat and I want that coat, too. I'll never get that coat, but I want that coat. (Also I should probably get some normie coats, because every time it gets cold enough to need a full coat, I have to wear a lolita coord, because this is literally the only coat I own).
8, More prints of cats doing things they shouldn't be doing. Not going to get more specific. Cats being bad, cats being bad at being cats. I want cats doing stuff. Singing in the rain. On a piano. At a tea party. Breaking shit. I need cats.
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9, Fat Happy Meal. I LOVE the colors and the way they work with each other, especially the waist ties and the two-tone lace. I also like that the chicken nuggets are wearing santa hats. Also just more savory lolita.
10. I would absolutely love to own a dress that was handmade by someone else. I think that would just be incredibly cool.
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digitalfashionmuseum · 11 months
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Pale Pink and Grey Silk Shantung Evening Dress, 1947, American.
MFA Boston.
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chic-a-gigot · 9 days
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Beaux-arts des modes, mars 1936. New York, Paris, London, Milano, Wien, Bruxelles. Modèles Originiaux. Bibliothèque nationale de France
1348: Shantung frock. Plastron, collar and cuffs of white pique, striped leather belt. — 1348a: Cape of the dress fabric.
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needleworkreve · 10 months
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Going through the WIP folder...
These are the things that are closest to done, but I'm not sure about releasing. LMK if you like any of them.
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This is a retexture of the Outdoor Retreat hermit's top in 54 swatches from my Dark Romance colors. The patterns on the scarf aren't the most ethically sourced. Some are @miikocc patterns sized down, some are @joliebean plaids, some of my stripes made it in, and then some random things that looked cool from google. I love how this turned out, but I'm not sure about releasing it given what I know now.
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On the left we have 80s makeup on Cassandra Goth to test on a medium dark skin tone. On the left, my 50s makeup with an eyeliner I made after watching an Erin Parsons tutorial on how to do eyeliner like Marilyn Monroe.
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Cottage Living apron dress made solid with an ivory apron in 31 muted swatches.
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BG child's tank dress in 30 swatches from brights to muted neutrals
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Dream Home's jumper/pinafore dress in more practical colors with polka dots or stripes on the shirt.
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The hermit skirt retextured to be whole, in plaids with coordinating aprons. Some swatches look ok with the top and some don't.
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De-spooked Curtains done with sort of a shantung texture and slight sheen in the Dark Romance palette.
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