It’s not much of a tale, actually? I needed some petticoats. I made some petticoats. Mission accomplished.

For these I used Truly Victorian 170, which has 4 slightly different views that suit looks from 1870-1897. I wanted two petticoats that would floof out my eventual 1890s Umbreon skirt, so I made View 2 (Natural Form era, more slender and does not fit over a bustle) and View 4 (Belle Epoque/1890s, a bit fuller and also does not fit over a bustle.) Both have darts in the front for a smooth fit, with a gathered drawstring back. View 2 has a flounce only in the back, while View 4 has a flounce all the way around. The petticoat with the turquoise ribbon is View 2, and the lavender is View 4. In the photos, I’m wearing the turquoise by itself, and the lavender on top of the turquoise.

I used 118″-wide Kona Premium cotton from Dharma Trading Co. Because it’s so wide, I was able to cut both petticoats out of 4 yards with about a yard to spare. (I skipped cutting out the View 4 ruffle from the cotton, though, because I used lace instead. For View 2, I cut a less-tall ruffle and seamed the less-tall lace to it.) It’s a tightly woven cotton with a fairly firm hand, well-suited to its purpose here. The pattern calls for five tucks in the flounce section, which also help stiffen the fabric to keep the fullness from crumpling under the weight of the skirt. Instead of ruffling everything by hand, I used my ruffle attachment on my machine, which worked a lot faster and was a lot less annoying, although it did require a few tests to get the ruffle ratio correct.

There’s not much else to say about these—they were not at all complicated to make! I did give in and use my serger on the ruffle seam allowances, which feels like cheating but also made the process far quicker and less fiddly than if I had done any other type of seam finishing. I used ¼” wide twill tape as drawstring and ⅜” ribbon in the beading lace.

Pattern: Truly Victorian TV170 Victorian Petticoats

Fabric: 118″ Kona Premium cotton from Dharma Trading Co

Lace: beading and hem lace from Laceking on Etsy

Total time: 13:19

I’m not going to say this project was cursed… but I might have been slightly cursed making it.

Nothing whatsoever was wrong with the pattern or even the fabric. Unfortunately for me, too many moments of not paying attention (plus a fabric that has not only a distinct right and wrong side but also a right way up) made things more difficult for me along the way. However, it all worked out in the end, and I’m really pleased with how these 1890s/Edwardian combinations came out.

So let’s talk about underwear!

These are my undermost layer for the 1890s Umbreon project. Prior to the invention of combinations, women wore a chemise on top and split-crotch drawers on the bottom (the split crotch means you can actually see to certain necessities without removing any layers). Before the invention of the hoop skirt/cage crinoline, which pushed petticoats and skirts away from the legs, women typically only wore a chemise as a base layer (also called a shift.) Around the 1870s, the chemise and drawers began to be replaced by “a set of combinations” which combine both garments. Wearing these base layers, which are typically made of linen or maybe cotton, is essential, because most outer clothing wasn’t made to be laundered often. Undergarments could be washed frequently (and linen withstands laundering beautifully, only getting softer over time) and outer garments could be spot-cleaned as needed.

I used the Edwardian combinations pattern from BlueFineGoods. This is a lovely pattern, with instructions for using lace appliqués as well as without lace, and a very helpful lace diagram as well. I found the pattern well thought out and well-drafted. Notably, there was very little paper waste after I’d printed the pattern and assembled it together. Based on my measurements, I cut out a size 6 on top and 10 in the waistband and drawers.

Per the pattern’s recommendation, I made a muslin before cutting into the real fabric. The first iteration of the muslin fit fine everywhere except the bust and shoulders. I have very narrow shoulders, so the first part wasn’t surprising at all, but I didn’t like how the excess fabric at the top of the bust stood away from my body. I removed some width at the top of the side seams and also lowered the height of the bodice in front. I then made a second mockup of the bodice and attached it to the prior version of the drawers, fitting both with and without my corset as recommended. This satisfied me well enough, so I sallied forth to cut into the fabric.

And immediately started making mistakes, yay. My first mistake was cutting the bodice on the correct grain, which isn’t normally a mistake. However, the flowers on this fabric are embroidered sideways. I resolved to cut everything else on the cross-grain so the flowers would appear right ways up, and the very next thing I did was cut the left and right drawers fronts reversed. (The first on accident, the second on purpose to make up for it.) In my defense, I am used to working with fabric that doesn’t mind which way up you put it—I rarely cut patterns with the fabric folded, because I can get much more efficient with fabric use if I puzzle-piece the pattern pieces on a single layer. Normally it’s fine to cut a pattern piece facing down instead of up… but not here. Once I had cut out the rest of the pieces, I had enough to recut the bodice pieces with the flowers right ways up. I felt a little bad about the waste, but I also thought it would look strange for the flowers to be different orientations in the bodice and the drawers.

From there, the assembly went rather straightforwardly. I thought about hand-sewing the lace applique on and then decided not to and just machine-sewed it on instead. The stitches are really not visible, so it’s fine. I didn’t love the instructions on the drawers to just fold over a hem on the curved crotch seam. That curved area really needed to be clipped so the seam allowance could spread out. I would recommend a bias tape finish rather than a folded hem. My fabric is extremely lightweight and it wouldn’t have added much bulk. I used cotton organdy as a sew-in interfacing for the button bands and waistband, and some lovely shell buttons from my button stash. My beading lace (the kind of lace you thread a ribbon through) wasn’t as wide as the pattern called for, so instead of substituting it for the waistband, I just folded in the seam allowances and stitched it directly on top. (Another mistake: I also managed to cut the waistband slightly too short. It’s fine, though.)

For some reason when it came time to do the ruffles, the fabric did not want to cooperate. Attaching the lace was no issue, but when I added gathering stitches and started to gather the ruffle to the drawers legs, the gathering would reach a certain point on the threads and refuse to move past it. I had to break the threads more than once and ended up ripping the gathering threads out and redoing them on the first ruffle, which was extremely annoying. The instructions also suggested doing both rows of gathering threads inside the seam allowance to avoid having to rip them out later, as they wouldn’t be visible. I did this but determined that I prefer my gathering threads to straddle the seamline—it’s easier to get the gathers to lay properly when stitching that way.

Another change: because of my narrow and sloping shoulders, during the mockup stage I found I couldn’t ever quite decide on how short the straps should be; they always seemed to need to be shorter. So instead of using lace for the straps as planned, I used self-fabric and then made them adjustable with a bra ring-and-slider set. This is almost certainly not historically accurate, but I really wanted the ability to adjust the straps later if needed.

Overall I found the pattern really easy to work with and the results are just as cute as I could ever have hoped. If it weren’t for the split crotch, this would be the most adorable romper (if I was into that sort of thing.) They’re going to be absolutely perfect for wearing under any late Victorian or Edwardian costumes I might make in the future, and if I end up with several, well… I might need a few more sets of combinations.

I started time-tracking with this project, because after I finished the 1860s Zelda costume I wished I knew how much time I actually spent on it. My time-tracking includes all the time involved in physically working on a pattern—including assembling the paper pattern and doing mockups and fitting—but it doesn’t include any research time that happens away from my studio (that would probably double my time spent, to be honest.) The total time I spent on these was almost 21 hours.

Pattern: Edwardian Combinations from BlueFineGoods

Fabric: Emma purple embroidered cotton lawn from Renaissance Fabrics (I don’t see the purple version on their site anymore, it might be sold out.)

Notions: Appliquéd lace from Petite Coco Crafts, beading (ribbon) lace and hem lace from Laceking, ribbon from Joanns, shell buttons from stash, bra rings and sliders from a handmade bra I made a while ago which didn’t fit so I didn’t mind destroying it for parts.

Total time: 20:45

I’m going to be posting somewhat non-chronologically for a bit. I’d like to post the whole process of 1860s Zelda, but that process took place from early 2021 to mid-2022, as in, The Past. But I’d also like to keep up with my current projects. Therefore, I give you: 1890s Umbreon.

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I’ve just started work on my next, and second, historical costume. Instead of staying with the same era as my first, like a sensible person, I’ve decided to jump ahead three decades so that I have to make entirely new underpinnings before starting the costume itself. And to be honest, none of the concepts I have in the pipeline are in the same era as each other. The benefit to this, in the long term, is that eventually I’ll be able to jump start future projects because I’ll already have underpinnings suitable for a wide range of decades.

(This is kind of like when I tell myself that buying perennializing fall bulbs for the garden means I won’t have to buy as many next year. I always buy as many next year.)

The good thing is, my trusty Truly Victorian 110 (TV110) corset, which I originally made for another cosplay (Stripper Jessie and James from Pokemon, maybe I’ll blog about that one one day) should do me pretty well through the mid- to late 19th century, so I’m not planning to make a new corset for this.

But before I get into detail about that, let’s talk about the concept!

The 1860s Zelda dress taught me that it’s really fun to mix together historical costuming and cosplay. I attend anime conventions regularly, while I haven’t yet attended a historical costuming event, so making costumes that are recognizable at anime conventions and other fandom gatherings means I get a lot more occasions to wear the outfit.

When I cosplay, I almost never stick exactly to the character. I can’t help myself—I have to put my own twist on it somehow. So adding in historical clothing is a really fun way to do that. However, it’s pretty important to me to be recognizable to other people when cosplaying, and that’s doubly so when I’m not exactly replicating the character design. As a result, I like to focus my cosplay designs on widely recognized, popular characters. If I chose an obscure character that people would have a hard time recognizing normally, and then put a historical spin on it, it would probably be a pretty cool outfit… but it doesn’t give me the massive psychological reward of people getting excited when they recognize my character.

Enter: Historical Pokémon.

Long story short, I searched through the fandoms I’m familiar with to find easily-recognizable, easily-reinterpreted characters to adapt for historical costume, and Pokémon jumped out as a really great option. They’re well known, especially the classic ones; they’re not terribly detailed compared to many, many anime/video game characters out there; and the designs lend themselves well to experimentation.

Enter: Eeveelutions.

For those not familiar, Eevee is an adorable little fox/cat sort of creature that can evolve into a much wider variety of new forms based on what it’s exposed to. In the long term, this could result in a really damn cool rainbow of linked costumes. But let’s not get ahead of ourselves. I opted to start with Umbreon, a Dark-type Pokémon that evolves at night, and paired it with the 1890s walking outfit I’d been craving for some time.

My goal here seems pretty simple compared to the very-involved layer cake that was the Zelda dress. Thank goodness the skirt hems shrank down again after the ‘60s. There will be a wool walking skirt, a wool vest, and a cotton shirtwaist. The gold trim will probably be the same base as whatever it’s stitched to, and it will probably be stitched on permanently, but I’m not sure I’m ready to commit to permanent stitches for those ovals… the skirt would be more versatile without. We’ll see.

Oh, and there’ll be a hat. And ears. I don’t know how I’m going to do those. I’ll figure that out later.

So. The plan.

What I need:

1. Combinations. I don’t technically need new underwear—my chemise and drawers would work fine. But I want them. Planned pattern: BlueFineGoods Edwardian Combinations
2. Petticoat. Probably two; one specific to the 1890s, and one suitable for the Natural Form era that I’ll wear underneath for extra volume. Planned pattern: Truly Victorian 170
3. Shirtwaist. Planned pattern: haven’t decided yet, but maybe Angela Clayton’s McCalls 8231.
4. Skirt. Planned pattern: Black Snail Patterns 0414 Fan skirt
5. Vest. Planned pattern: Black Snail Patterns 0220 1890s Ladies’ Vests
6. Hat/ears
7. Wig

What I already have:

1. Corset
2. Shoes (American Duchess 1890s Paris boots)

And so it begins!