Friday, November 13, 2015

My Schiaparelli Bow Knot Sweater

It's been a rough few months (year? year plus?) for me for sewing. But I've been doing a lot of vintage knitting! Occasionally, I will even finish a project. And here is project I'm pretty crazy proud of - a reproduction of a designer 1920s sweater. And because this post ended up being so long, here's a quick picture in case you don't make it any further.
Taken outside Longfellow House, during a break in a tweed ride. Check out that sweater!!!
Elsa Schiaparelli was a fashion designer in the 1920s-1950s. She was a rival of Coco Chanel, and a protege of Paul Poiret. You may have seen her weird shoe hats, or crazy hand motifs.
Evening belt
These are both from the Metropolitan Museum of Art.
But it was her trompe l'oeil sweater designs that launched her successful career in 1927, and this sweater in particular is the one that started it all.

The V&A owns this one, and the Philadelphia Museum of art has one too, but they can keep them! I made my own!
Douglas Pollard illustration of Schiaparelli's bowknot sweater, Vogue, December 1927
Here it is in Vogue!
So what was revolutionary about this sweater? First of all, there's the really cool, slightly surrealist, optical illusion of the bow and collar on the sweater. Apparently Schiaparelli wore it to a society luncheon and immediately started getting orders for more (according to the V&A write-up). It is also constructed in an interesting way - made with a technique called Armenian knitting. If you don't knit, there are a few ways of incorporating more than one color into knitting. I give you permission to skip this paragraph if you don't want the explination, though. One method is called intarsia, where you switch from one yarn to another. You can make blocks of color, but you have to keep a lot of threads going, and you get a finished product that's one thickness all around. Another technique is fair isle, where you carry the yarn you aren't using along behind the one that shows, so you can switch back and forth between the two colors frequently. This gives you an extra thick fabric and intricate looking patterns, but you can't make big swaths of a single color or you end up with long "floats" of the disused color on the inside, which will snag and ruin your tension. Armenian knitting is like fair isle, where you carry the yarn that isn't showing across the back of the work, but every third stitch you catch it in the stitch you make with the active color. This allows you to make longer patches of one color, more like you'd traditionally use intarsia to accomplish, but you get an extra thick fabric with a great tweedy, heathered effect as the non-active yarn peeks through ever so slightly. Check out the inside of the neck, which you can see in the picture of the sweater lying flat. That area of the sweater is white on the good side, so the black thread is showing on the inside, but it is caught by the white every few stitches. Armenian knitting!

The story goes that Schiaparelli saw an Armenian woman walking down the street in a sweater that had a "steady look," which came from the extra thickness and stability of this technique. If you imagine the 1920s, sweaters were a sporty and newly popular item for women's wear, but apparently they had a problem holding their shape. The combination of this special knitting technique and Schiaparelli's snazzy trompe l'oeil bow made this sweater unlike anything else that was available. It is an iconic 1920s fashion revolution. (

And now that you understand the importance of this sweater, here is mine!
Fake sailor collar! Nice.
Honesty time. This sweater is not 100% finished. I wore this to a tweed ride, and I was running late. The sleeves are just basted in (and my sleeves turned out a little too long, and rather than re-knit them I just decided to set them in extra high to get rid of the excess, but I really need to do it carefully and well when I have more time). Also I didn't block it at all, which will probably help with the way the bottom edge flips up. It has a couple rows of crochet to edge it, or the Armenian stockinette would just roll up, but blocking will help finish the job. BUT I WORE IT SO I WIN. Some day I will finish it and wear it again, and then I can take more pictures! But you get the idea.

So, what do you think? And do you want your own? Good news - you can do it!

If you can knit, this is the pattern I used:
Have at it. The good news is that the chart is fantastic, and I'm really pleased with how the bow looks. This is not just a Schiaparelli-like sweater, this is recognizable as a reproduction. A copy. Unquestionably 1920s. The bad news is that it's only for a 34 inch bust, which I am not, and it calls for expensive yarn that I didn't want to source from the UK. For my sweater, I compromised and used the chart, but ignored the instructions. I wanted to use real wool (rather than acrylic or something), because I thought it might matter in terms of how the front and back threads interact, because wool is less slippery. Also there's something legitimate about using real wool. That doesn't mean I used expensive wool, though - just cheap Patons from Michaels. I tried to find more serious yarn, but had trouble finding anything in an appropriate gauge, in both black and white, that wouldn't cost well over $100 to finish the sweater. And in the end, I used a lot - I wish I'd kept track, but I think I needed 6 skeins of black and 5 of white? This is a HEAVY sweater. It's big (in what I hope is a shapeless hanging 1920s way), and it's heavy (in a 2 layers thick, wear this sweater on cold days and skip the coat way).

In terms of process, I started by knitting a healthy swatch for gauge (a few times on different sizes of needles - I ended up using a size 8), then did the math to make sure it would go around my bust. Since I wanted a 1920s, sort of shapeless and straight looking sweater (if it weren't for the 1920s I'd rather have something more fitted and curvy) I aimed big. I used worsted weight yarn, even though the pattern definitely called for something finer. I'm sure the originals were made with something finer, but I also think that they were made with many more stitches per inch. So I don't recommend doing that unless you want to re-graph the whole pattern to make it human sized again. That's more work than I wanted to do. The Armenian knitting technique grew on me, and it was important to me to try it because it is such a critical part of what makes this sweater special in its historical context. But it was kind of a pain, and if you know intarsia I wouldn't fault you for using the chart to do that instead.

Besides, if I were going to do the work of charting a design, I'd make this one. Because it is my favorite! Isn't it gorgeous? Oh, I hope I make it someday...
The Met also owns this one. But if they ever get tired of it I could take it off their hands...
If you don't knit (and don't want to learn on this project, which would probably be wise), you can check out this tutorial for a faux Schiaparelli sweater. It's just a matter of stenciling and painting a bow onto an existing sweater, so no knitting is required!

Or if you're not feeling crafty at all, shop carefully and you just might find a perfect sweater anyway. This is an iconic sweater from fashion history, and it still inspires designers today. I keep seeing this one, by J Crew, turn up on ebay!
And this is one of my favorite things about this sweater. It might be a little odd if you make one and we happen show up to the same event in them, sure, but this was an early piece of semi-mass-produced clothing. There are original Worth dresses in museums that I'd kill to wear and love to copy exactly, but I'd always feel a little odd wearing them, because they were one of a kind and mine isn't the one. Don't get me wrong, if you make exact copies of museum-owned dresses that's super cool. But if I lived in the 1920s, I could (maybe sorta if I was lucky) have bought one of Elsa Schiaparelli's sweaters. There wasn't one sweater for a fashion show or a particular rich client, there were dozens made to sell. So making my own now and wearing it to 1920s events just feels right to me, somehow. If I can stand the heat, anyway, because it turned out to be so warm!

Sunday, November 8, 2015

Tweed Ramble

I went on a tweed ramble. Which is like a tweed ride, but without bicycles. Which is an excuse for people to look snazzy and sporty and (possibly) wear tweed (if you haven't heard of tweed rides, they are a thing). I took the opportunity to channel cute 1920s ladies who wear pants and dress like unconvincing boys. PANTS. I never wear them (even in modern, everyday life) so don't get used to this.
Apparently when I wear pants, I run around climbing rocks, posing like Captain Morgan, and yelling "Look at me, I'm so rugged! Rugged I say!"
Or I lean against fences, feeling autumnal and casual. I'm in the sunshine in this picture, but the day ended up being colder than I'd expected. Luckily my good friends from The Quince and Quail lent me a spare jacket from their car!
Have you noticed yet how much I love taking pictures in trees when I'm all dressed up? This was a perfect tree, too!
True friends will climb trees with you.
THE BEST TREE EVER. I was a little afraid to get down, though. My shoes were really slippery on the bark.
Hanging out in a cemetery. Oh yeah.    
Just chillin. We were trying to capture the feeling of the picture that was the cover for the facebook event.

The picture from the cover of the event page. Do you think we have the spirit down?
Ladies dressed sort of like boys! Or at least, wearing sporty knickers. This awesome 1926 picture is just what I'm talking about...    

Saturday, November 7, 2015

Casual Picnic

More old pictures... we had a nice casual picnic and I brought out a new parasol. I like the blue flowers on white fabric. I also threw on a cream 1920s dress that I wear a lot (the one from TJ Maxx, isn't that insane?) and the sunglasses that I got to go with my knitted bathing suit. Plus a scarf in the hair, which I hope still looks 1920s and doesn't fling me into more modern territory...

Nice casual picnic. I made bread and nothing else... good planning
This duck had NO fear. But it also came to no harm, so I guess it will never learn. We named her Esme.
We really did play Mah Jong. I've figured it out! Enough for us to play, anyway.
The outfit
Oh man, I love the Boston Public Gardens. Best place ever for casual picnicking

Friday, November 6, 2015

Nahant 2015

I'm realizing I have old pictures I never put up. These are a couple from Nahant... I don't have a lot of pictures of that, but Julia and I did awesome matching hair and blue and white outfits.

Monday, September 7, 2015

Knitted Bathing Suit

About a year ago, I started knitting a 1920s bathing suit. There have been ever so many summery 1920s events popping up, I was on a run of good knitting projects, and I was feeling crazy. Then I never actually got a chance to wear it, so I never was inspired to do the tedious finishing work of weaving in ends. But FINALLY, I have worn the suit. Into the ocean, no less. Check it out!

FINALLY! There it is... and yes, I had to find an orange parasol to go with it. Also be sure to check out my rolled stockings (subtle, but such a 1920s thing), silly sunglasses, and matching knitted diagonal stripe headband.
The pattern comes from a collection called "A Stitch in Time" by Susan Crawford, which is full of fun patterns that date to the early 20th century, with updated instructions and inspiring glossy pictures. In fact, I loved the look of this bathing suit in orange and cream so much in the book that I used the same color scheme myself.

For yarn, I used Patons Grace (I think the colors were fiesta and natural?). This is a 100% cotton yarn, as suggested by the pattern. It was gorgeous and easy to work with, but at some point I had a realization - cotton yarn usually gets sold so that people can make dishclothes. So fundamentally, I decided to wear a giant homemade dishcloth into the sea? Awesome plan. As soon as I hit the ocean, it absorbed a lot of water and got quite heavy. After wearing it for a little while it was definitely sagging. I was wearing a modern swimsuit underneath for support (in the final analysis the suit was a little too big on me, even dry, and I had decided against the arguably more historically accurate "floppy boob" look). This turned out to be lucky, or things could have gotten VERY racy. If you really bother to look up the pattern, you'll realize that it's worn backwards from the original knitting instructions (which were for a high fronted,v-backed, technically 1930s suit), but like the author/photographer/someone for the modern pattern book I agreed that it looked better with the v in the front. And since I was wearing it for 20s instead of 30s anyway, the low-back look wasn't the look I was going for. But yes - I couldn't have pulled this off without some kind of foundation to prevent wardrobe malfunctions.

With that all said, it totally worked. You can wear a hand-knit cotton bathing suit into the water. I even did a pretty great job floating in the super-salty water (I can't actually swim...). It's a weird experience, and it takes FOREVER to dry when you're done (think days, not hours), but it works. I wonder how the experience would differ if I'd used wool yarn? But that's a project for another day.

Wednesday, September 2, 2015

A Collection of 1920s Outfits

Ok. I haven't written in a while. For what it's worth, I never stopped doing fun things - I just got unforgivably lazy about tracking down pictures of them. A lot's been going on. But I just came back from a 1920s event where I changed clothes every few hours, and that seemed worth documenting. Oh yes.

I missed getting crappy cell phone pictures (you're welcome for that, by the way) of a couple outfits - namely my dancing dress, bathing suit, and lazy kimono outfit. Maybe if I get pictures of those from someone else I can add them. I've never loved 1920s clothing as much as other time periods (oh, how I love defined waists...), but it's been growing on me recently. It can be devastatingly simple but still neat, and good accessories make such a difference.

Boat dress! I made this for the lawn party at the Crane Estate at some point.
Tea dress, with terrifying Mary Pickford curls (which are wonderfully fake!). Yes, that's totally tea in my glass. You can't really see the details of the dress - it was a lucky random find in TJ Maxx of all places, but it's PERFECTLY 20s. Like... gauzy white with a long front panel of white-on-white embroidery, and a dropped waist with a slightly gathered skirt. The shopping gods were with me that day.
Dinner dress, which I used to wear for performing years ago (Mother made it when I was a teenager), and which my sister has worn sometimes recently. But I spiffed it up with new accessories (check out those bright shiny gold character shoes!)
And here's the shocking blonde wig. Are you shocked? What do you think of me being blonde? I'm currently deeply in love with this tiara, with its pretty emerald cut green stones and gold deco-ish frame.
Pajamas! And a reproduction teddy bear.

Wednesday, December 12, 2012

Christmas at the Commandant's House

The weekend before Fezziwig's Ball, we were busy doing a fun dance performance at the Charlestown Navy Yard. It was a blast to be in the Commandant's house once again, and I rather wish the event had been longer. We had a lot of audience at the beginning, but near the end it was mostly just us so we had a grand time taking pictures. SADLY, I completely failed to get pictures of the food! We made cookies for the audience (Raven repeated her fabulous sugar cookies, and Julia R made the most adorable gingerbread men ever), and I made a special treat for us - wine jellies in orange peels. I can't believe I didn't take a picture - I will have to make them again. I hollowed out oranges, filled them with gelatine dissolved in wine, and then sliced them into wedges. Oh well, settle for great pictures of pretty people instead!
Some of the nice girls who work there danced with us
Blind Man's Buff - Nick, that may be a bonnet, but it is way too short to be a girl
... and that is a wall!
ART! There was too much laughing to be in focus.
Quinn will serve you tea
Pretty mantlepiece, pretty girls
Check out those cool people. I think we were missing a couple of people, but that happens
Mmm, floral arrangements. The back of Quinn's dress is so pretty!
My new favorite regency hairstyle. It was quite experimental, but don't you think it looks nice?
Alex sure knows how to pose. Doesn't he look amazing? Great outfit. Nick looks a bit too rake-ish, but you must take into account that he only looks so disheveled because he gave up his jacket to some young ladies in need. So he can be forgiven.
It's the awesome hair club! Nice ponytail.
I actually sewed something! This is my new fur-trimmed wool spencer. It is such nice wool, and obviously I love fur. Of course, now I want a new dress that isn't too long in the back...
It will get more fur in front in the future. But obviously I wasn't that together yet.
BIG ASS MUFF. I made this more than a year ago, but have never used it. Isn't that a tragedy?
Big ass muffs get dragged along the ground, because obviously they are just for show.
Beautiful new spencer, big ass muff, AND a dumb bonnet. Now we're talking.
Lah de dah!

Tuesday, December 11, 2012

The Coraline, an 1860s Ballgown

So here are the details on my outfit for Fezziwig's Ball. Usually my ballgowns are pretty random - the shapes and general look of 19th century ballgowns are very much on my mind, but I just get the prettiest fabric I can find in our modern world and make something nice. But this ballgown is actually very strongly inspired by a particular engraving in Godey's Ladies Magazine, called "The Coraline."
The Coraline, Godey's Ladies Magazine, December 1860
The blurb with it says, "This dress is of a rich striped silk, the body square and low. On the bottom of the skirt is a bias flounce, 10 inches deep, put on with very little fullness, and finished at the top by three rows of fluted ribbon." Well, I went more off the proportions of the picture than off the description (my bias flounce is more like 16 inches), but that is fine. I bet a lot of people have seen this plate, but I noticed something cool. Just one month later, I think Godey's features the same dress, this time in a colored fashion plate!
Fashion Plate, Godey's Ladies Magazine, January 1861

For future reference, the text for that dress is "Dress of violet and white gage d'Indie in stripes; trimming, a ruche of white satin ribbon. Square corsage; sleeves with one puff and a frill." But you agree that it is fundamentally the same dress, right? Vertical stripes, square neckline, little striped cap sleeves over puffs, a sash with long streamers and two bows? Now, maybe someday I will make myself a lavender and white stripe ballgown just like this (it sure is pretty), but not today. Instead, I used some fabric I bought a while ago. First I found it in gold, and you have probably seen pictures of my bright gold striped ballgown. After I made that dress, I found the same fabric with bright gold stripes on a burgundy background. I had to have it. So that is what my Coraline is made from. It is trimmed with black satin ribbon and black velvet, and I made the sash out of black velvet too. The one thing I didn't love about the engraving was the double bows on the sash, so for mine I only made one. In fact, the sash might have been my favorite part - the streamers are two layers of velvet, plus a layer of canvas, so they are kind of heavy and lie beautifully. Well, that's probably enough of that. Pictures!
Why is my face so silly? At least my dress looks good.
That is still a silly face, isn't it?
I love that sash! Doesn't look like much in the pictures, but it so very fun.
Back shot. The back will lie better when the skirt is attached (that sash is hiding so much that is not done!). This is the end of the night, so of course I look a bit disheveled.
Sitting. Gosh, I love the sash.
Is that a better angle? I have no idea.
Look! My seasonal once-a-year holly and white roses wreath!
Sneak peak at the shoes. I was feeling silly, so I wore my new shoes. They are cute little velvet flats with BUNNY FUR and a bow on the toes!
Sometimes after a long hard ball you've just got to flop!