It’s time for the outer layers and accessories from my Jane Austen Tea 1790’s costume. Click through for pics including inspiration period fashion plates and extant garment photos. (You can see the underpinnings for this outfit here.)

(Giant) Muff: I used fake fur from big box store/silk from PureSilks, and cotton from my stash for a strip of fabric in the middle of the lining to reduce silk yardage, with recycled poly batting from the stash.

I cut a 18 x 27 inch piece of fur, and folded it in about 1.5 inches around the edges. I was aiming for a modest muff: maybe slightly bigger than normal, but not gigantic.

It ended up being kind of gigantic anyway, reminding me of the fashion plates where women carry their muff like it’s a puppy or dangling it at their sides like they’re bringing their own pillow to a sleepover. I think I also used the fur grain sideways rather than up and down, so the muff has the appearance of being very fluffy all the time, which works for me. Thanks to my kids, my poly batting was shredded in places, and I used 4-5 layers of it to get full coverage inside the muff. In order to tack the many layers of batting together, I hand quilted with a tiny running stitch and occasional backstitches through the lining and batting just inside the seam line of the cotton fabric. I basted the layers of batting together big, loose, hand stitching underneath the silk. I caught the batting around the edges to further tack it down.

I’ve had silk yardage set aside for historical costuming since February of 2020, but this was my first time cutting into it. The anticipation was worse than the act. I used two strips of 6 inch wide silk, and filled the gap at the center of the lining with white broadcloth.

I looked at many tutorials and photos of other peoples’ muffs, and then just went by feel when things got overwhelming/confusing.

Chemisette: I used the main pattern pieces from Sense and Sensibility Patterns, but adjusted the shapes to make the ruffled chemisette in the American Duchess book. I used AD’s instructions.

It’s 100% handsewn with white cotton batiste with a combination of linen and silk thread. The bottom of ruffle and edges of the chemisette are narrow hemmed, the top edge roll-hemmed. I had to shorten the ruffle at both ends because gathered as tight as it would go, it was a little too long – I took 4-6 inches off if I remember correctly.I didn’t check after I cut out the ruffle piece following the AD instruction to make sure the two pieces were symmetrical – they were way off and I had to re-hem almost one entire half of the ruffle after discovering how different the two pieces were. I used whip stitches to gather the ruffle. I starched it and pressed it.

Dress: Simplicity 8941. I used a lightweight India block print cotton I found on Etsy ages ago, with this project in mind. I had 5 yards of 44″ fabric. I had only scraps left when I was finished. The fabric was beautiful and the perfect weight, but did contain some smeared and uneven printing (including unprinted areas along one side of the selvage). I was somewhat successful adjusting seams and trying to place the wonky bits in less noticeable areas.

The Simplicity pattern calls for 60″ fabric, so I did my own thing with the skirt. I knew from my earlier 18th century costuming that three panels of 44″ fabric makes a nice, full skirt. I knew I didn’t want a train because I hate dirty clothes and I’m a bit careless, so I cut three panels the same length based on measuring the total length and width of the pattern pieces. I ought to have added a bit of length in the back to account for the bum pad on my bodiced petticoat, but it doesn’t seem to have made a big difference. I positioned the fabric with a full panel across the front and a seam down the center back.

My skirt is about 18 inches narrower than the pattern calls for. I originally planned to add an additional 18″ panel, but didn’t have enough fabric, and it turned out fine.

I hand sewed the bodice and attached the skirt to the bodice by hand as well. I hand finished the top edge of the dress and whip gathered it.  I machine sewed the long seams of the skirt. It was fitted and sewn using American Duchess Guide directions.

I machine sewed the sleeves in and thank goodness for that. I had to do it several times before getting it right. I’ve done sleeves by hand, and with my personality and skill set, I find machine sewing this part leads to the least frustration.

I originally lined the sleeves with the same white cotton broadcloth I used for the bodice, but then saw all these pretty photos of sheer sleeves, took the sleeves back off and removed the lining, and had to fight a second time to get them back in the right way.

I had to massively downsize the width of the sleeves from the pattern pieces, which is unusual for me. I moved the seam in more than half an inch, especially at the upper arm. After the event I discovered one sleeve was a little wonky and had to take out a section and set it in AGAIN.

I had my husband and daughter help me with the fitting process, and got a good fit without a huge time commitment from either of them.

Using the Simplicity pattern pieces and the American Duchess instructions, I ended up attaching the front pieces differently than Simplicity instructs, which changed the way the front bodice gathers, even though the drawstring begins where it’s supposed to. I had to rip out where I originally attached the front bodice (with horizontal seams) and pull it out to the sides before reattaching it to make it look more like I wanted it to, pulling the fabric out to the sides to distribute the gathers more widely across the bodice.Like I did for every other part of this project, I looked through reams of blog posts, fashion plates, and period portraiture and discovered I am not the first person to finish the bodice the way I ended up doing it, which made me feel better. Also on the positive side: the bodice makes something out of nothing with my bust, which works for the silhouette, so I’m going with it.

After doing a full costume try-on the day before the event, I added thread loops at the sides of the waistline of the dress, following the Simplicity instructions, and added a third loop at the center back as suggested by Lauren of American Duchess in this post with fitting notes for the pattern. The loops kept my sash in place, especially in the back. You can see why I needed the back center sash loop, which I added after I saw how the sash was sagging.

You can see in the photo above the hem is just long enough. When I make another dress of this period, I’ll add a half an inch or perhaps even more to the length of the skirt.

Reticule: Used the pattern that came with the Sense and Sensibility Patterns Elegant Lady’s Closet. I used a striped iridescent shot cotton from one of my husband’s old dress shirts for the outer layer, and silk for the lining. I used construction from this YouTube video by Lady Rebecca Fashions. While the bag has room for a chapstick and a smartphone, I wish it was a little bigger.I didn’t have any embroidery skills or time to learn before my event, and I didn’t have any fashion fabric that matched the examples I saw in photos online. Instead of worrying, will this be the right size? I was concerned about using the “wrong” fabric. I’m sort of mad I wasted good silk on a piece I don’t like that much and will probably replace once my skills and my stash contain the proper stuff.

Pelisse: I was really digging the winter pelisses I saw online, as well as the cotton pelisses, especially the ones that were simply cut but had a fantastic collar at the top, like these two, although they are both from about 20 years after the time period I was aiming for:I ordered the Laughing Moon #129 Wrapping Front Spencer Pattern, with the intention of adding a skirt and maybe a hood. I planned a winter pelisse AND a cotton one. And maybe also just a spencer? (Who knows? Maybe someday I’ll get invited to a costuming weekend.)Meanwhile, I was inspired by these 1790’s open robes (see above, from the V&A Gallery of Fashion) that either hang open or wrap closed, often assymetrically, held in place with a sash or cord. But I couldn’t find a pattern anywhere, and I DEFINITELY didn’t have time for draping something from scratch.

I immediately ordered a printed copy of the PDF pattern from a printer, and then waited day after day for an email notification that the printed pattern had shipped. When that notification finally came (maybe it took longer than usual, maybe I was impatient because of my deadline) I found out the pattern would arrive two days before my event. I would have 24-48 hours to trace the pattern, fit, and sew it if I wanted to wear it for the event. Nevermind making two (three?) different versions of it.

I started on a purple velvet spencer the night before the event, and worked steadily knowing I could never finish it in time. I’ve continued to work on the spencer a few seams at a time, and it’ll get done eventually.  Instead, I wore my 18th C. cloak.

Hat: I used Jean of @Fabricatinghistory’s quick tutorial for my turban/beret hat. I was able to find a French portrait from my target time period (1795-96) with a young woman wearing one of these (one of the ladies in the fashion plates above is wearing one as well). I lined mine with white cotton broadcloth, and used an oval of fabric for the top which was about 20″ x 27.” If I did it again, I would have reduced the size a little. When I see it in photos, it doesn’t look too big, but it’s more of a statement than I usually make.

For the hat, I made a band that was a couple of inches wide in silk and a piece in cotton for the lining. The length of the band was the circumference of my head at the place I wanted the hat to sit, plus an inch for seam allowance. I sewed the short ends of the band together, then pleated the oval to fit. I machine sewed the pleated oval to the band – I had to re-do a couple sections to make sure all the pleats caught in the seam. I hand whipped the lining of the band into the lining of the hat.I trimmed it with a chartreuse sash that I found at a thrift shop, and some lovely purple and black feathers I bought for millinery purposes sometime last year. I hand tacked the trim into place with a stitch every inch and a half or so around the band underneath the sash.

I wasn’t ready for the vertical white ostrich feather, it’s just too much. Maybe it will grow on me, but for now I’m really feeling the hat as it is.I got curlers at the dollar store, but my hair does not hold a curl, so I found some portraits to support straight hair. I also considered leaving straight wisps in front instead of going for the Regency curls.

Truth? I didn’t give myself enough time to get dressed for the event and I just tucked all my hair into the beret, and it was fine. Maybe curls for next time. Sash: To tie everything together (my dress doesn’t really match my hat), I added a sash. The Simplicity 8941 pattern called for a one inch wide, 90 inch long sash. The American Duchess guide sash instructions called for 4-6 yards of 4″-6″ inch ribbon or fabric.

Many of the fashion plates of the era seem to have narrower sashes (see the ladies in the images above), but I liked the chunky look of the wider sash, so I used about 4 yards of 4 inch wide silk in the same fabric from the hat, reticule, and muff. It took two full days of handsewing every free moment to finish whipping the strips of fabric together and narrow hemming the long edges, but the resulting narrow hems were very satisfying.

I want to add tassles to the ends of the sash at some point, but I didn’t want to waste any sewing hours shopping so close to the event, so that will be a post-event upgrade.

Shoes: I ordered a pair of yellow, pointy toe flats from an internet shopping emporium, but they didn’t arrive in time. I also pre-ordered a pair of period boots from American Duchess (squee!) but they won’t be here for months. Instead, I’ll be wearing a pair of Clarks maryjanes – if I had time I might have added a silk rosette or something, but honestly, I didn’t think anyone would see them because my dress is so long. I suppose I could have worn my 18th c. shoes, but I didn’t plan my dress to be worn with heels and it’s JUST long enough as it is, so flats were the best choice.

In my internet research, I noticed on a lot of fashion plates that the tiny pointed shoes the ladies were wearing were referred to as “Turkish slippers,” and you know what? That is something artisans still make and they look a lot like the ones in the paintings! The descriptions say things like “traditional” and “leather” and I think this is one product that hasn’t changed in quite some time. They aren’t terribly expensive, especially compared to a lot of reproduction shoes. I saw pairs ranging from about $45 including shipping. It specifies on several sites that they are indoor-only shoes, but I think they would probably work for light duty outdoor activity, especially some kind of costumed event on grass or where you’re trekking straight from the parking lot to an indoor venue. They are definitely on my costuming wishlist now. (I ordered this pair after I got home from the event).The end result, I hope, is a decent impression of a 1790’s lady.

See Part One here.