Costume College dress rehearsal part III, 1871 dress, ball gown version

I also tried on the ball gown bodice of the Tissot dress. I hadn't yet decided which one to wear at the event so I wanted to see which one I'd like better. And also most of the photos of me wearing it when it was first finished didn't come out well so I took advantage of the opportunity.

2nd Annual Grand Oscarian Ball, 2014

Photo by Atelieri O. Haapala

This event has quickly become my favorite ball of the year. There's something so magical in waltzing to music played by a live orchestra. And the venue we have had the pleasure to go to these two times is stunning.

When I got the word that the ball is being held again this year, I didn't hesitate for a moment before signing up. Fortunately I had already made a suitable dress last year. Building a wardrobe I sorely need for regency and 1740's events later this spring is keeping me very busy. Too busy to have been able to fit in another dress project. To my embarrassment it is pale pink and simple, just like the one I wore to the first ball a year earlier. But I wish for a 3rd annual ball and, if my wish is granted, I'm determined to finally have a grand and colorful bustle dress.

Upon arrival we were greeted by Russian folk singers in traditional dress to set the atmosphere. Menuett Akademien had chosen a Russian theme for this year and, as a fan of Tolstoy's Anna Karenina, I loved it. We were also announced by name upon entering the ball room which I thought was delightful. I was traveling with my friends Riikka and Ida again this year and once we got settled we set out to fill our dance cards for the evening. The amount of gorgeous dresses blew me away. It was evident that everyone had given their best effort to dress up for the occasion. There were also a few uniforms and some men had outdone themselves and had grown impressive moustaches. Most delightful!

To preserve the historical atmosphere, general photographing is restricted during the ball, but the amazing Caroline got a few photos us Finns waltzing and generously gave me the permission to post them here.

Me, photo © Caroline Eklund

The back of Ida's stunning red dress, photo © Caroline Eklund

Ida in red, me in the middle and Riikka on the right, photo © Caroline Eklund

 Riikka, photo © Caroline Eklund

Marco and Saara of Atelieri O. Haapala were there to take official photos again. You can see all the portraits they took here. This is mine.

Big thanks to Menuett Akademien for making this happen again. And also thanks to the men who braved the dance floor with me, Ragnar, Per, Thomas, Johan and Olof! And Ida and Riikka for keeping me company the whole day and helping me to get dressed.

Christmas Ball, 2013

The annual Christmas Ball was held again on the last weekend of November in Suomenlinna. I arrived several hours before the ball to meet with a group of pretty ladies from the North. After changing in to our evening attire, we braved the hard and cold wind and walked across the island to visit Ehrensvärd Museum. Sanna had just made a pair of new dresses, including the gorgeous new saque she wore to the ball, and the museum provided a great photo opportunity. 

I wore my silver embroidered gown. 

My husband got me a new fan as an early birthday present. It's my third fan from Aurora and it might be my favorite of them all. I love the simple neoclassical design.

I thought that the sparkly sequined fan went well with the glittering embroidery of the dress. An effect that's impossible to capture with camera though. I tried playing with sharpness to try to bring it out more, but it's beyond my photo editing skills.

Parts of the exhibition were unfortunately closed but there were still some nice objects to see. 

In my pre ball excitement I asked my husband to take photos of two portraits of ladies wearing court gowns but I completely forgot to ask photos of the labels. So I must apologize for not being able to tell more about them until I visit the museum again.

There were also several examples of gorgeous tilework and of course I had to pose in front of all of them. 

The view from one of the windows.

The ball was held in Tenalji von Fersen, the old granary of the fortress bakery, built in 1775. I love the high arched ceiling. These photos were taken before the ball during an 18th century fair, open for spectators.

The musketeers had several presentations during the day. 

After sundown the ball begun. We started with a terrific 18th century style dinner. I have so much admiration to our cooks, especially Marianne who has, for several years now, come to cook for us all the way from Sweden. Also, some of the foods were presented in clever and debauched arrangements which was highly amusing. 

I was also extremely happy to get to meet Isis for the first time. I loved her new dress. And it was wonderful to get to witness the effects of her authentic 18th century cosmetics in person. I was so impressed with the beautiful glow it created for her skin. 

Just before dessert my evening took a turn for worse and all of a sudden I didn't feel well at all. It got so bad that there was no way I could have stayed any longer. I had to leave before the ball properly even started so regrettably I don't have any photos of any of the guests in their evening finery. And I was crushed that the time spent with friends was cut so short. I hope everyone had a wonderful time and I look forward to hearing all about it soon.

Natural form ball gown, the Toulmouche project

This project was inspired by the beautiful paintings Auguste Toulmouche painted in the late 1870's and early 1880's. The idea was to make a ball gown after The Love Letter and Le Billet to be worn at Costume College gala and change the bodice later in to a corset cover and short jacket combination, like the artistic boudoir ensembles seen in Réflexion de la Beauté or Watering the Flowers later in the evening. 

The dress is made from duchess silk satin. The bodice is flat lined with soft twilled cotton. The same material is also used to make a hem facing and train lining for the skirts. The main seams are machine sewn. Rest is finished by hand. It's boned with spiral steel on every seam.

The little jacket is made from duchess silk satin, flatlined with stiff cotton and lined with silk taffeta. For inspiration I looked at 19th century matador jackets and decided on a simple but eye catching combination of embroidery, metallic mesh trim and silver spangles. I had only a few days to make the jacket and I run out of time to make all the decorations I had envisioned but it will work as it is. I also ended up not having time to make the corset cover so I used an old Victorian undergarment that I had made years ago so it's not quite full  enough and it's also a little too sheer. The sheerness isn't that evident in the pictures, but it's quite clear in real life. For some of the pictures I also borrowed a sash I had made for the 18th century masquerade I went to in April to give the ensemble a bit more color like in the Awaiting the Visitor. 

It's worn over the natural form era corset, a chemise and one trained petticoat.

Some photos in outdoor lighting.

I tried to get similar poses to the ones in the paintings just for fun.

Le Billet, Toulmouche, 1883

The Love Letter, Toulmouche, 1883

The "getting ready for the ball" -boudoir ensemble:

Réflexion de la Beauté, Toulmouche, 1878

Admiring Herself, Toulmouche, date unknown (to me at least)

Construction:

Both the under and overskirt has 6 gores. Sewn together and seams pressed open and whipped.

On the underskirt I made a hem facing out of twilled cotton and added a tape to tie together in the back to keep it narrow against my legs.

It closes with hooks and eyelets. I've seen this in a few originals and I like how secure it feels and how flat it lays.

The overskirt front and train are both turned twice and hemmed. On the train I hand basted a cotton twill lining that goes almost all the way up, but I didn't want it in the waistband. The pleated silk was thick enough. It's drawn to back with tapes as well.

Because this portrait of Lillie Langtry has one of the most beautiful Victorian ball gown bodices I have ever seen and because the neckline treatment is so similar to the Toulmouche paintings, I used it as an inspiration.

Photograph of Lillie Langtry 1885

I drafted a mock-up, pinned the changes and made two bodice halves accordingly. It's flat lined with the same soft cotton twill I used in the skirts too. I made the lacing holes and whipped open the seam allowances.

Then I whip stitched in the bone casings and added the boning. Then I tried it on, pinned it closed and sewed the final seam.

Then I was able to make the last bone casing and then cord and face all the edges.

Then it was ready to wear but lacked all the trimming.

I tacked the lace around the neckline. 

Then I made a rosette, hemmed and sewed in the ruffles and lastly added a trim en Coquille as explained in the Fashions of the Gilded Age vol. 2.

As I was running out of time I neglected to take any construction pictures of the jacket, but first I made the embroidery, then cut out the pieces and assembled the jacket. Then I added the mesh trim, made a full lining and hand stitched it to the jacket around edges and lastly added the spangles. I even forgot to take closer pictures of the jacket but I have this close up.