Dress Diary - 1876 Walking Dress pt 1 - Pattern and impressions

I hate copying patterns. 

I've spent several hours this weekend copying the Patterns of History 1876 Bustle Dress pattern. I lover everything about this dress, from the v-neck embellishments to the longer bodice, and the longer overskirt with it's fullness swept into a demi-train. I'm not sure how I feel about the back of the overskirt; I might modify that into a long pleat, but we'll see. 

This particular pattern was published in 1975, taken from a dress in the collection of the State Historical Society of Wisconsin, for which they have a complete province. The patterns for the foundational skirt, overskirt, and bodice are fairly conventional, and in some ways similar to more recent patterns. However, I feel like the more recent publications miss some important points, largely that the skirts of 1876 have very different supports than those of 1874. 1876 was a transition between the Early Bustle profile and the Natural Form profile. By 1876, bodices were longer, ending in some cases at hip level. Overskirts were also longer. The hip and derrière areas were not yet tightly fitted, and the high bustle of the early 70's had given way to a more moderate derrière with fullness transferred to below knee-level. My impression is supported by a number of fashion plates from 1876 - and this pattern.

Due to its age, this pattern isn't widely available. I felt pretty lucky to get one from a seller on Etsy; it was in mint condition, sealed. The pattern is printed on 6 large sheets of sturdy paper. Being 50 years old, that paper is set in its folds and discolored a bit on the edges. I do not cut patterns; interestingly, the directions with this pattern recommend not cutting, but tracing the pieces. 

I use Pellon Tru-Grid 810 for tracing. Some searching on Ebay turned up a bolt at about the same price as those cheap JoAnn days. Tru-Grid is printed with a 1" grid, which I like for maintaining grain on the fashion fabric. Because it is a non-woven fabric, it is a bit awkward to lay over the creases of the paper, and I've been using weights and yard sticks to tame the chaos.  

Why do I hate copying patterns? It's tedious. I feel that I can't get a perfect copy. The Pellon always moves. In the case of this pattern, it is taking all my patience and perseverance to get a decent copy. Okay, okay - a couple of millimeters of difference in a line won't make a significant difference, but I'm picky. 

On the other hand, copying patterns means that I retain a pristine copy for later use, for reference or if I need to make a different size. It's a good thing, and so I persist. 

The Patterns of History pattern comes in single sizes. The one I was able to get is a size 14. 

I am not. 

I will have to grade this pattern which means that the copy that I'm making now will not be the copy that I cut out. I worry about multiplying errors. This pattern does not provide measurements for a size 14, so I don't have any idea about what measurements it's based on. However the waistbands are 27", which means that I need start out adding 14" to all circumferences. Good thing that I have lots of mock-up fabric. 

One other benefit of tracing a pattern is to build familiarity with the pattern. For instance, this pattern makes use of facings, which I believe are ahistoric, not to mention being unnecessarily fiddly. I will be flat-lining instead. This pattern also uses a built-in "cincher" in place of a corset; of course I'll be dispensing with this work-around designed for the modern woman. One difference from more recent publications is that this pattern has 5/8" seam allowances. I'm used to 1/2". 

The other notable thing about this pattern is that the ruffles are all cut on the bias. Because I'm using striped fabric, this was my plan all along, but to have them in pattern pieces is ... interesting. Looking at the pattern pieces for the ruffles and ruches, I can tell that there are some interesting embellishment effects that I may or may not use. 

It's a bit like a Janet Arnold drawing of an extant dress, without the handy grid underlaying. I'm copying all the parts that I'm likely to use, but since I'm not cutting the pattern I'll have it for reference if anything goes awry. 

 

1876 - Commemoration, Creation, and Transition

This year is the 150th anniversary of the creation of Colorado. We're known as the Centennial State, because we are the only state in the union that was established on the U. S. centennial. Between this auspicious anniversary and that of the U. S., celebrations are planned for this summer all over the state.

Colorado is a state with a storied history. These lands - being rich in resources and beauty, and on the U. S. frontier in the late nineteenth century - seemed to attract all sorts of interesting people who came here for largely economic reasons. Before Anglo-Americans arrived, the region was home to several indigenous cultures, people who were displaced and murdered for the wealth that was to be exploited by the colonizers. Some of our history is truly shameful, and still there are stories to be told about remarkable people doing remarkable things. Part of our "official" celebration is to platform the histories of all people who have historically called this region home, along with recognizing that our shared history is how we make decisions about our future that reflect our values of human rights, ecological conservation, and the rule of law. 

For all of these things, I'm pretty proud of my (second) home state. 

It's convenient that our founding is centered in the era that neo-Victorians enjoy so much. While there are a wide variety of commemorations happening all over the state this year, I'm most interested in those that refer back to the 1870s - 1890s. DVSS has been holding an annual excursion up to South Park for several years, usually to South Park City in Fairplay, but sometimes to the railroad revival in Como. This year, South Park City intends to put on a commemorative show in their Living History Days in August. 

I simply must have a new patriotic frock. 

And 1876 is the problem. 

Those of us engaged in sartorial history generally divide the last quarter of the nineteenth century into four eras. Early Bustle is 1870 - 1876; Natural Form is 1877-1882, and Late Bustle is 1883-1889, while the Belle Epoch is 1890-1900. The change between each dress era is pretty dramatic. Well, all but the first two. 

There seems to be a transitional period of 1874-1876, in which the skirt silhouette changed from bustle to slope, and not fitted in the derrière and thighs. 1876 fashion plates show the cuirass bodice of the upcoming Natural Form style over this new skirt shape. The rear silhouette no longer featured the elevated rump; instead there is a long continuous line from narrow waist to floor or beyond to the end of the train.   

The "princess" or polonaise style was also popular in 1876, long bodices which transitioned into drapery below the waist, worn over the same skirt shape. Overskirts and polonaise fronts are longer than seen earlier in the Early Bustle era. 

While both of these styles bore some resemblance to the dress eras that bracketed 1876, they are clearly not typical of either of them.  

Some original skirt/overskirt and polonaise patterns are available for these transitional years, however modern patterns have skipped this transition almost entirely. To be fair, there were still a few full bustle skirts in 1876, but the trend away from the bustle is clear. Truly Victorian has one 1876 skirt (TV 216, the Parisian Trained Skirt) which seems to have the current base form, but with an excess of embellishment. TV carries the classic cuirass bodice from which all kinds of modifications can be made to neckline, hemline, and sleeves - it will do perfectly for 1876.

Ageless Patterns is a great source for the originals, but they're almost entirely too small for this body and would require grading. I do buy them however, because they provide the shape of the original garment which can be applied to patterns like TV. The princess gown in Figure 2 is fairly typical of the year and available from Ageless Patterns. 

Black Snail and Laughing Moon are both missing this style, although the Black Snail 1870 Wrapper Dress (#0919) might be a good base from which a princess gown could be fashioned. 

However, there is one pattern out there which seems to be a really useful source - the Patterns of History 1876 Bustle Dress. (Figure 3) It features a cuirass bodice with a lovely shawl collar and a long overskirt which has an understated bouffant back. The coat sleeves, collar, and hemline are heavily embellished. The bodice has a peplum back which I find to be especially fetching. One of the better points is that it's a pattern made from an extant gown in a Western (Wisconsin is kind of West, right?) U. S. museum - which means that it's a decent cultural fit for 1876 Colorado. I believe (based on patten reviews) that it has a train, although the drawing shows the skirt in a walking length - bonus for traveling through a dusty western town. 

Now, to find it. 

It took some time and a lot of search terms, but I have indeed secured one, in size 14. Unopened and uncut. I feel like a lucky girl, even though the price has increased somewhat from the 1970's list price. While I may have to grade parts of it, I expect that (for the bodice anyway) it will be mostly a process of applying shape changes to TV 420B, the 1879 Cuirass bodice. Photos of women in 1876 show that the skirt of the cuirass bodice does not have to fit the hips so carefully. Skirts are easy to grade. I'm eagerly awaiting its arrival, and hoping that it's a bit like opening Janet Arnold. 

Who, by the way, also skips 1876; however, the 1878 day dress in Patterns of Fashion 2 looks remarkably similar to POH 1876, if the POH dress was one piece. 

I do have one other book which might be of help. Frances Grimble's (for whom I admit to having few charitable feelings) Fashions of the Gilded Age Vol 1 has the trained petticoat in it which supports those long sloping skirts. I know this, because I've made one - before I lost the book somewhere. 

Try to find that one; it's out of print. There's one on ebay for <koffs> $331 USD.  The good news is that it's readily available through ILL, and so I'm eagerly awaiting its arrival. 

A lot of research and a plan is beginning to come together, however nebulous it may be. I've decided to use the POH 1876 pattern as a jumping off point. I have in my stash an indigo blue 19th-century style cotton print and a length of striped cotton in red, white, indigo, and Wedgewood blue. I'd prefer the bodice and overskirt to be the blue, which leaves the stripe for the foundation skirt and cuff/collar trimmings. I also have a great gob of netting lace and cotton embroidered lace which I want to deploy as in Figure 1. I'm largely interested in the ornate necklines and sleeve cuffs as illustrated in contemporary fashion plates, and  the decorative possibilities of cutting that stripe on the bias for flounces and ruches. 

I'm making some ribbon cockades in Colorado colors - red, white, blue, and gold for decorative elements, and I'm considering other ways to bring gold into the r/w/b scheme. Small gold picture buttons are on order, picturing little birds perched on a twig. 

For undergarments, I will need to make a new long ruffled petticoat. I'm certain that I can make some significant improvements on the one I made long ago. 

Sew patriotic, right? I can find no evidence that women wore these colors in commemoration 150 years ago. However, I'm planning on this ensemble to get a good workout this year, perhaps with a less obviously patriotic underskirt next year. 

Early Bustle 6-piece ensemble after Janet Arnold

Since Lara made me the Early Bustle polonaise, and since I'm building the undergarments (and the skirt) for it, it seems like it would be a shame to only have one gown that I can wear with it. (I know, right?) However, that skirt and bustle are still in process, and I'm not starting on a new project until I finish something, so I'm resolved to hold off on a second 1870s project. For now. 

However, I can't not ruminate and plan, so here is the current thinking. 

This all started because a friend gifted me with a silk queen duvet cover and shams of striped two-tone gray or silver dupioni. It seems to cry out as Early Bustle, especially since this striped pattern appears in Janet Arnold, taken from the gray and blue striped original. 

The original ensemble is silk and cotton, with blue ruchings and fringe trim. It's a 6-piece ensemble consisting of skirt and overskirt, basque, two bodices, and a gilet. One bodice is a day bodice, and the gilet is a detachable filler for the deep square neckline. The other bodice is an evening bodice. 

This is an elegant solution to issues of economy in both the cost of fabric and space, and it meets my interest in the "capsule" wardrobe concept, in which several coordinating pieces can be combined in an assortment of ways to achieve a variety of looks and uses. 

The original evening gown bodice features a low wide neckline and short puff sleeves, while the day bodice has long sleeves with flared cuffs at the elbow and wrist. The square neckline of the day bodice was popular, but the attachment of a removable gillet creates a more modest presentation. 

The basque is removable, and I can imagine a couple of basques created for this ensemble with different shapes and decoration to switch up the presentation. 

An additional feature of the evening bodice is a net or beaded lace insert to draw the neckline in, adjusting it to the desired shoulder placement. 

I'm also attracted to this original gown because of the liberal use of buttons - I'm kind of a button fiend, and my "trademark" is using non-matching buttons of a similar size and color on all my Neo-Victorian creations. 

The other things that I especially love about this gown are the bias-cut ruffles, and the yards upon yards of bubble gathered ruchings. I'm not sure how I feel about the fringe; my personal taste runs to lace. We'll see about that. 

The ensemble would take a woman from day into evening with a simple change of the bodice. During the day, the ensemble would be worn with long sleeves and the removable gillet and be termed a "day" dress; in the evening, the lower sleeve and gillet would  be removed for dinner or a social event; the entire bodice changed to the low neckline and short sleeves to convert the ensemble into a ball gown. 

Several dressmakers [1] [2] have recreated the pattern, so I've been looking at their dress diaries to see how they addressed Arnold's pattern. I'll admit it; I don't have a ton of confidence drafting patterns from Arnold. They're complex. So much stuff. Parts and parts. 

I feel more comfortable starting with a known quantity, so I'm going to buy Truly Victorian patterns and start with making adjustments from them. This should work well, since most dress pieces followed a set of standard forms; skirts were similar shapes, and bodices all are basically about the same. The patterns are as follows:

• 1875 Ball Gown Basque
  
• 1871 Day Gown Bodice
  
• 1870 Trained Skirt Ensemble, View B
  

The basque and gillet patterns will have to be drafted from Arnold, but they're straightforward and I can handle that. 

All those TV patterns together are 12.5 yards of fabric. There are not 12.5 yards in a duvet cover, so I need a contrasting color. And since the duvet cover is silk, I really feel strongly that the rest of the ensemble needs to be silk too. I can't help it. It just needs to be. 

So I'm looking for some contrasting plain silk taffeta. (Dupioni is okay - and cheaper - but it really wasn't used much for clothing in the Victorian era.) I prefer aubergine, but burgundy is good too. The plan is to make the bodices of the striped silk, and trimmed in aubergine/burgundy silk, and then construct the skirt out of the contrasting silk, with the ruffles in striped silk. The best price I can find on burgundy taffeta means that I still need to invest $135 into fabric. 

I'll keep looking. 

The dress diary will come in the fall of 2023, when I have time to actually start on this project. I hope to have it done before Costume College in March 2024.

[1] https://thedreamstress.com/portfolio-1871-pink-extravaganza-afternoon-ensemble/

[2] https://teainateacup.wordpress.com/2015/05/06/making-an-early-1870s-gown-skirts/

Dress Diary: When in doubt, add another petticoat (part 2 - engineering)

And here we get to the engineering of a petticoat. 

To review, I'm making the first of about 3 walking length petticoats, based on an exemplar from The Delineator magazine from 1896. They will be made of premium bleached muslin, with faux silk absinthe green ruching. 

The first petticoat body is cut of seven gores, as my skirts are seven gores. It will have 2 tiers of applied ruffles, and an adjustable waistband. The petticoat is designed to be convertible to a ballgown length, by applying buttonholes to attach a ruffled and ruched train. 

Before I found the exemplar that I liked the best, I had already cut out the seven gore body of the petticoat. As a matter of fact, I'd flat felled the seams and hemmed the body. I'd cut it somewhat shorter than the skirt of course, since being a New Woman, I didn't want my petticoat in the dust and mud. 

I wasn't planning on two tiers of ruffles. 

But here we are, and so I didn't feel too bad about cutting off that hem. 

I'd also hemmed 6+ yards of 8" ruffle, but again, two tiers, so I'll have to re-engineer. 

The ruffle tiers

Ruffles are long, tedious, but basically mindless. Tear the longset strips of yardage that you can, flat-fell seams between lengths, make sure that you have a full bobbin, and hemhemhemhem... 

I made a new length of ruffles with about 7 yards of 5" muslin which will yield a 4" tier after finishing. My petticoat body hem conveniently measures at 4 yards, which typically requires about 6 yards of ruffles. I'll be honest - I didn't feel like cutting off a yard of length, and so I went with it. The ruffle length was hemmed with a narrow rolled hem on one side, and with a gathering stitch on the other. 

The ruffle was then gathered to the hemline, and placed about 3/8" from the edge, right sides together. (I might have placed a piece of lace between the body and the ruffle for extra, but I didn't on the first one. Maybe the next one.) Turns out that 1:1.5 doesn't seem like an adequate hem to ruffle ratio for this application, so the extra yard was a good thing. 

The ruffle is stitched to the body hemline and then the extra length is folded over and stitched down to finish the inside seam.

The bottom tier is 9.5" wide and 14 yards long, which is 2x of the top tier. Changed my mind to use green organza ribbon for the ruches, at 28 yards long gathered 2x to the ruffle. Each length of ruching ribbon was pinned at 1 yard intervals, and then gathered within those intervals to keep the fullness consistent across the entire ruffle tier. The top row of ribbon ruching is placed at 4" from the hem of the tier, and the bottom row is at 2" from the hem. Finally, the ruches are stitched to the ruffle tier. 

The ruffle volume increases dramatically with all the ruches attached. 

The bottom tier is then stitched together in an enormous circle, and the back seam is aligned with the back seam of the petticoat. To gather the bottom ruffle tier, I pinned the bottom tier - finished top edge to the right side of the top tier - at 12" intervals to 6" intervals on the top tier, pulled the gathering threads and then pinned the gathers evenly in the 6" spaces. The bottom tier is then stitched onto the top tier. 

This manual method of gathering is super labor-intensive, and depends on doubling the tiers each layer to get a good amount of support for the skirt. I have no idea how many hours I've spent on this one petticoat, but it's been at least a few full days of work. I will be using a ruffler attachment on my machine for the next petticoat, and hoping that I can get adequate volume. 

The waist

There is actually no "band" on the model from The Delineator; it's a bias-cut facing. A 3" wide bias band is stitched to the right side of the waistline with a 5/8" seam allowance, the ends finished in a narrow rolled hem. The waist tapes were stitched below this seam to the inside of the vertical seams between the second and third gores - but one of them pulled out on the first wearing! So I pulled out the other, and ran a new twill tape through the entire waist facing - which was turned and pressed to the inside, and then stitched down. 

The REST of the Story

The Neverending petticoat persists. 

After finishing it, I decided that it was a tripping hazard and needed to be taken up 2". 

Did I do the easy thing, and take off the ruffles to shorten the body? Oh, no! I reasoned that while I'm currently wearing flats, I might be able to manage heels one day and so didn't want to actually shorten the petticoat. I took a one inch tuck just above the top tier and then folded in the bottom hem for another inch. The length is perfect, and I'll be using that length for petticoat #2. 

In addition, the twill tape on hand at JoAnn's is too wide and too stiff for the waist tie. I've ordered a more suitable length from Amazon and will be replacing the replacement. 

In short, this was really a wearable mockup, and I've learned a lot for the next 5 petticoats that I need. Make it shorter, how to finish the interior seams, and I need to learn to use a ruffler attachement for my machine. I love the bias-faced waistband, and will continue to use that. The adjustability is perfect for my changing size. And the floof really does make the 1890's skirt silhouette. 

Dress Diary: The Absinthe Ballgown project

I've wanted a Belle Epoque "Absinthe" ball gown for years. 

Literally. Years. 

To that end, I've been collecting green and gold luxe fabrics. For years. My best find ever was the bolts of two coordinating silks that I found at the much beloved - but lost - Colorado Fabrics. One bolt is deep forest green and the other is the same green striped with taupe. Also collected have been embroidered faux silks, a couple of saris, some upholstery fabric for facings - well, an entire box of bits, bobs, and findings. 

The prospect of having a gorgeous gown is doing wonders for my mental state - I'm excited about it in a way that I haven't been excited about sewing for a very long time. (Maybe it's because of the Anaheim debacle, but that's a tale for another day.) One of the reasons that I've been interested in organizing another Victorian Ball is so we can have an elegant evening in beautiful attire. 

And now the opportunity presents itself. Victorian Society of Colorado sponsors several balls each year, and one is approaching in just over 2 weeks. My friend Lara has constructed my corset, and has generously agreed to help with the fitting and sewing on this project. It's going to be a tight timeline, but we're spending next weekend on it, so I anticipate having a great deal of the structural work done in the next few days. That petticoat project is one initial piece, and I plan to have at least one done before the weekend work sessions; the corset and chemise are ready to go and the bloomers need some alterations. 

I expect to have the next week plus to do embellishment on the gown; draping lace and making ribbon roses. I do wish that I had a dress form for this. 

The design

The patterns that we are using are Truly Victorian TV 490, the 1892 Ballgown bodice, and TV 292, the 1893 Bell Skirt, which is the style that many Worth gowns employed. We'll be using the pouf sleeve as in the taupe gown below, to which will be added generous lace cuffs.

To be clear, what I'm planning isn't a ballgown in the Belle Epoque sense. My colors are too dark for a ball gown, and I'm using considerable sleeves.  Being older and not the size of a young lady, this would be recognizable as an "evening" gown in the 1890's; it's still perfectly acceptable for a lady of my stature to wear to a ball. 

We'll be following the basic form of the extant gowns pictured - the skirt and bodice of each of my different forest green silks, the arrangement depending on which I have more yardage of for the skirt. I think that I'll retain the bertha on the pink gown, use the sleeves on the taupe gown, and add generous lace cuffs as in the pink gown. I'm not sure if the sleeves should be solid silk or poufs of lace - or maybe lace overlaying the green silk - but I'm fond of lace. 

The large drapy bows on the pink gown will be replaced by swags of lace caught up with ribbon roses, and possibly over a contrasting faux underskirt as in the taupe gown, depending on available yardage.  I'd like to place large draping bows on the sleeves and embellish with ribbon roses, but I'm frankly not sure how that's going to work with a bertha, so there will be some trial and error. 

The pink gown seems to be worn with a corselet, so I'll be making one of those using TV 492, maybe lace-facing some of the solid green silk. It could match the sleeves. 

I'm having a bit of a challenge finding the lace - this is not the usual JoAnn's fare. I had the perfect stuff picked out only to find that it's out of stock. I scoured Etsy and Ebay for a solution and ended up buying two (and spending far too much money), in the hope that one will show up on time. 

One piece is 3 yards of an embroidered ivory tulle, both edges bearing V-shaped lace edging so that's 6 yards of "trim". It's coming from China so my hopes are higher than my expectations. (Maybe it eventually becomes trimming for a fancy shirtwaist.) The other piece is 4 yards of a champagne embroidered mesh, edged with scallops and arabesques. It is coming from Los Angeles, so I expect it to arrive this week. 

About dress accessories

Dress accessories will be assembled based on the theme of the event - both a Steampunk and a more historic set for the appropriate venues. A pair of fancy brooches to catch up the bertha in front, one Victorian, one Steampunk. A elaborate Steampunk necklace, or a cascade of pearls. My fancy fan holder will suit for both environs, but I'm looking for a fan that isn't Battenberg lace and isn't white or black. Hair dressing will be a French twist with a high crown, and embellished with flowers, pearls, combs, or feathers. I'll use scrap to make a matching reticule. And perhaps a pair of "green fairy" wings for Steampunk events. 

I'll detail progress in a later blog entry. 

Dress Diary: When in doubt, add another petticoat (part 1 - whys, wherefores, and chit-chat)

Way back when - in the Before Times - at least 10 years ago, I started doing Steampunk things and making Steampunk Clothing. Some of those things were (frankly) awful, as is typical of someone who is new to a genre and looking for their style. The thrifted tail coat comes to mind, and then there was the gray ruffled skirt that was way more 1970's than 1880's; not to mention the Asian/Victorian mashup thingy that hasn't aged well in any case. Lately, my taste has turned toward more historical accuracy, dressed up with Steampunk dress accessories, so my attire is now closer to historical examples than in those early days. 

As I got more knowledgeable about Victorian clothing, I started to make some really good pieces. I drafted a Belle Epoch seven gore skirt and on the second iteration decided that it really needed a petticoat to hang properly. My petticoat had a removable ruffled back panel to give more oomph in the back draperies, and gorgeous purple and green floral embroidered ruffle tiers that started their life as a cotton bedskirt. In general it was a very good addition to my Neo-Victorian wardrobe. 

I only speak of it in the past tense because it disappeared somewhere in the Before Times, and since gatherings haven't been a thing for the past three years, I frankly haven't gone looking for it in the pile of boxes filling my storage unit. It seems easier to just make another petticoat. 

Besides, one petticoat isn't enough. 1890's skirts are flared widely at the hem to balance the wide leg-o-mutton sleeves. So, three petticoats, really. Three layers of ruffles; at least two ruffle tiers on each. 

Of course, me being me, this means commencing the project with research. 

I think that the most significant finding is that there are literally dozens of petticoat designs; they have one common element - flat fronts and fullness in the back. (Okay, maybe that's two common elements depending on how you count it.) The number of gores varies, as does the hem width. Some have rectangular back panels, some are trapezoids. Some have a rising tier of ruffles at about the knee, some have no ruffles on the front panel. Some have interior ruffles. Some have ruches on top of ruffles. 

In other words, build something that works. 

The model that I've picked as an exemplar from an 1896 The Delineator magazine has two tiers of horizontal ruffles, one at knee length and one at the hem. The linked blog post has a lot of written detail that is very helpful. 

Of course, I'd cut out the body of this petticoat before I found the linked blog post. 

Based on my skirt pattern, my petticoat is seven gores but without the back fullness; I'll likely reduce the gores to five for subsequent petticoats, based on this exemplar. This set of petticoats will be walking length, and my plan is to make them adjustable to ballgown length through attachment of a removable train. 

"Premium" 90" wide bleached muslin is being used for the petticoats; it's a dense weave and has a crisp hand. 90" wide muslin is about 1.5 times the cost of 45" muslin, and so there's a significant cost savings in buying it wider. The current cost is $6.99/yard. Besides, there's just the luxury of more efficient fabric use with wider widths. The Delineator calls for silk ruching on the bottom ruffle, and I have some lovely faux silk in my stash (picked up on the cheap years ago) that will serve well for this purpose. Far better as trim than as a garment, which is I suppose why it's still in my stash. 

I've long contemplated an adjustable waistband; I don't know how common adjustable waist bands were, but based on the changeable nature of women's waist measurements, I'm guessing that they weren't uncommon. In my research, I've found a period solution - the waistband is a casing, in which a tape is run. The key is that the tape is fixed behind the first or second gores, so the front remains flat and fullness is taken up in the back gores and width. 

When one is wearing multiplicities of petticoats, I'm not sure how having three tapes tied in the same place will work, but since they're on top of the corset, maybe it will be okay.

At this moment, the body of the first petticoat (of three) is started; the body is assembled and the interior seams are flat-felled. I've hemmed about 6 yards of 8" ruffle tiers...

And then I was out of muslin and white thread. 

And then I started doing math. 

So back to the fabric store, where I bought all the 90" "premium" muslin that was on shelf - which still isn't enough for three petticoats. Today I'll start by cutting out a 4" ruffle tier. That tier will be attached per The Delineator, although I'm still pondering about that cording on the top of the tier. It may be there to provide stiffness; it could be there to draw in volume. 

Once that ruffle tier is on, I'll re-measure to determine the width of the bottom ruffle, and post the progress in...

Part 2

A flurry of progress, or the Belle Epoque Wardrobe begins to come together

It's taken months - almost a year - since I started working on the Belle Epoque wardrobe, intending to begin building from the bottom. Most of the remainder of the year was occupied with Too Much To Be Done, but I've taken a break for a few weeks, so I'm filling the "time off" with fabric, patterns, and research. 

My concept is to build a small wardrobe of what we called in the 1980's "separates" - tops, bottoms, vests, jackets - that can be mixed and matched for a variety of different outfits that meet sartorial needs for a multi-day event or for a variety of venues. 

Furthermore, I'm focused on the Belle Epoque for a couple of reasons. Primarily, the 1890's dress silhouette feels particularly Steampunk to me, likely the effect of Victorian preoccupation with safari and that culture of adventure and exploration. 

However, the last decade of the 19th century was particularly notable for women in the cause of feminism and suffrage, and was the beginnings of modern feminine agency. The New Woman sought radical change to provide opportunities for women independent of their husbands or fathers. Education, business opportunities, and even sport were claimed as a "woman's place" and women's attire reflected these spaces; clothing became more tailored (masculine), and more suited to the activities that women claimed as our own. Sporting attire developed with short skirts or -gasp- trousers as the bicycling craze was claimed by women as healthful exercising, but also a means of transportation independence. 

In short, the 1890's New Woman strongly represents my own belief in feminism and the agency of women. I'll likely be wearing my "VOTES FOR WOMEN" sash from time to time. 

Starting from the skin out, here are the current plans:

• Corset, from the Red Threaded 1880's pattern, made by a friend of mine (done)
• Chemise, self drafted from a 1890's published pattern (done)
• Drawers, self drafted from a 1890's published pattern (done but needing alterations)
• Corset cover of the chemise fabric leftovers, a lovely broderie anglaise lawn
• Petticoat, 7 gore, walking length (in process)
• At least two more petticoats, since 3 seems to be the magic number to achieve the silhouette
• A divided petticoat from an 1895 pattern
• Shirtwaist of rust red windowpane printed cotton from Black Snail #0314; antique mother of pearl buttons (in process)
• Shirtwaist of white textured cotton, Black Snail #0314, similar buttons
• A collection of neckwear - cravats (done), ties, a lace collar and dickey
• Walking skirt of deep mustard striped with rust red and brown cotton, self-drafted from a 1890's published pattern (in process)
• Jacket to match, primarily made of rust red cotton and trimmed in the deep mustard; Truly Victorian's Ripple Jacket pattern
• Walking suit of beige and taupe striped cotton
• Sporting bloomers of brown and black striped linen from Laughing Moon #110 to go with my basque (done) from the same pattern
• A couple of sporting-length skirts
• At least one vest, but probably two; Black Snail #0220
• Corselets of a yet-to-be-determined fabric and color (Truly Victorian #492), using buttons as a decorative motif
• Hats, gloves, shoes

That's a lot, but it should make for a variety wardrobe that will meet the needs of most events. (We'll have to talk about evening wear in another post.)

The good news is that some of the above is well under way. The corset and chemise are done; the first petticoat is in process as is the mustard striped walking skirt. The mockup is done for my first shirtwaist, the windowpane check, and the buttons for it are on order. I have a small collection of cravats already; the first hat form has arrived and is ready to trim. 

The bad news is that the sporting basque - heretofore one of my best pieces - is now too small and I need to drop some pounds to wear it again. Also, my red and taupe striped skirt. Hopefully in the next few months. 

The other good news is that I have been in the habit of picking up suitable fabrics when they cross my path on the cheap racks and I have a good collection - the mustard cotton and the beige and taupe cotton are two of those. I was able to get the rust red windowpane check similarly recently. I still have plenty of yardage in my stash; silk for vests and neckwear, the linen for cycling bloomers. Thankfully, 90" wide cotton muslin has been on sale at $6.66/yard. However, I'm finding that I'm spending an inordinate amount of money on the rest of the bits and bobs. I've ordered lace, buttons, broiderie anglaise lawn, patterns, hat blanks, corsetry supplies - mostly from Etsy and some at very reasonable prices. 

The goal is to have two full outfits done by WhimsyCon, the local late March Steampunk/Costuming convention. That's corset, chemise, three petticoats, corset cover  - and then a walking outfit (shirtwaist and neckwear, corselet, skirt) and ballgown (bodice, skirt). I've got Steampunk dress accessories galore, and a couple still arriving. 

I'll start posting regular updates of progress and maybe even some photos, so return regularly to see what I'm up to. 

A new set of underthings, or a little self-care

My life for the past few years has been "making" for others; making pottery stock, making a life for family members, making a living for myself and my kid. It's mentally exhausting, as well as incredibly time-consuming. So when I'm not working for others, I'm either resting brain (gaming, which is getting to be a time-consuming but non-productive habit) or sleeping so I can make a "go" again tomorrow.

After a discussion with my therapist - in January - I decided that as self care, I needed to at least embark on a small, simple-ish project for myself; something that I can work on instead of self-medicating with gaming, for just 10 minutes or an hour at a time. No deadline - well, a distant deadline anyway - and something... basic.

I chose to make a new 1890's chemise and drawers set.

Now, it's taken me two months to get to this point, but as of last night I finally have a pattern. :D

I've been doing research, looking in pattern books, looking at 1890's catalogues, looking for suitable reproduction patterns, deciding whether I want a chemise/drawers or a combinations - a wholly different pattern. Do I want to invest in a period pattern that has all the underthings? (Maybe, when it's time to make combinations.) I'm missing a pattern book [1], but I don't know if it has a chemise pattern in it anyway, and the one pattern book on my shelf does not. It has three patterns for drawers, though. Yay?

Ultimately I found a 1889/1893 chemise pattern on line that is exactly the same cut as chemises offered on the 1890-91 catalogue page. This means that I can work from primary sources for this project. It's somewhat different than my "old" chemise pattern, which is the Truly Victorian reproduction pattern. 

Last night I took measurements and started the drafting process from the pattern, doing the maths to scale up to my body; it only remains to transfer the pattern to full-scale. (Where is my pattern paper...?)

A couple of nights ago, I tested gathering with an odd piece of the embroidered lawn for hem ruffles. My embroidered cotton lawn was pre-washed last week, and it turns out to be 10' instead of 3 yards, and is thankfully 60" wide instead of 45", because drawers use a huge amount of yardage. Due to the embroidery, it's not suited to pin-tucking, so I'm now noodling out a lace insert yoke based on those catalogue images, because I like extra.  And it would be fine simply gathered too.

I need to check my lace stash. The embroidered lawn trim for ruffles is too wide for neckline and sleeve trimmings. 

Also on the to-do list is to buy a old sheet from the thrift store for mocking up.

Lots of baby steps and a long timeline so far, but I'm feeling like something meaningful has been launched. It's the most effective self-care that I've taken for months. 

[1] Used copy was under $5 on Amazon, so I ordered a replacement last night. I used it to draft my 1890's skirt and the first set of drawers. Thanks, Amazon for letting me know that it's... somewhere... in my stash. (Last purchased in 2016, they tell me.)

Tea Foods for the Tea Novice

Invited to a pot-luck tea? Don't know what to bring?

Teas usually include several "standards" - 

Scones and spreads

Fancy cake (like the ones in the grocery bakery) or mini cupcakes

Plain cake or quick breads (also available at your local grocery bakery) like pumpkin or banana bread, lemon creme cake, mini muffins or even brownie bites

Tea sandwiches

Savories, think party appetizers - cream cheese and ?? pinwheels, bruschetta, potted crab with baguette toasts, cheese straws, mozzarella wrapped in ham or proscutto, mini quiches, brie in puff pastry, or even a variety of cheese cubes

Tea, of course - and other beverages for those who don't drink tea; lemonade, limeade, sangria, Mimosas

There are of course other fine things to bring to Tea - fruit in bite-sized pieces, cookies, deviled eggs, nuts, and fancy candies. Just remember to keep things in one or two bite-sized pieces. Another consideration is that we have guests with a wide variety of dietary restrictions, so a wide variety of food is a great thing. And please leave chips and dips for the Super Bowl party. 

For the cooking-inclined, there are a number of our recipes at  http://cookeatshare.com/groups/denver-victorian-and-steampunk-society-13124

I hope I've given you some ideas, and sources for things that you can pick up at the super market if you don't have time to cook. (Feel free to add ideas in the comments.)

Multicultural Steampunk Creativity and Sensitivity

(Author's note: Written as a response to a fracas over a panel on Multiculturalism in Steampunk presented at COSine, in January, 2017, and initially posted on Facebook. I've done some editing for clarity and meaning.)

I have crafted, moderated, and participated in panels on cross-cultural or multicultural Steampunk at various local cons for several years. It's not only a life-long personal appreciation of other cultures that points me in that direction, but there is a philosophical - dare I say "social justice"? - reason that I do so.

Steampunk retro-futurism is based in the real-world Victorian culture of the British Empire and the developing United States, providing the Steampunk creative community with a wide variety of cultural resources to draw upon for inspiration and incorporation into our works. This is due in large part to the effects of British Imperialism and American expansionism, in which cultural aspects were exchanged between the dominant and non-dominant cultures. This wasn't an equitable exchange; cultural hubris was expressed by exploiting and appropriating culturally significant aspects of non-dominant cultures, and as an enduring legacy of what can only be described as racism. 

Clashes of cultures and classes (including gender-based classes) are a persistent source of the conflict in Steampunk literature. In the Steampunk genre, we have unique opportunities for exploring issues of racism and human exploitation, class warfare, environmental abuse, and a wide range of other current issues because we are viewing these issues in relationship to our own cultural past. The rise of technology and the moral authority to use it also plays into Steampunk literary conflict, as it relates closely to the human condition.  

It's important to understand that Steampunk is a modern cultural construct; we're not re-creating a historical culture or re-enacting historical events. We may don the trappings of a historical time and place but we function in the current day, but we have created our own cultural norms and social events, such as Tea Dueling and afternoon teas, balls, absinthe parties, and conventions. As a contemporary sub-culture, Steampunk is subject to the same lingering effects of Victorianism as the rest of American society; dominant classes and underclasses, of racism and prejudice, of the struggle for women's equality. Cultural appropriation is a thing. We also have gender identification issues, size shaming, and agesim to add into the mix. (And likely more that I'm just not thinking of right now.)

My intent for a panel in multiculturalism in Steampunk is that we discuss cultural exchange without whitewashing appropriation and exploitation. Questions in my list include addressing how creatives incorporate multi-cultural aspects into their own work from cultures in which they might not have agency. My purpose is to honor what have been exploited cultures and to bring them to the forefront as worthy, admirable, and complex, to be a remedy for wrongs and a catalyst for change.

There are those in our community who will say that as a "white" person, I don't have the agency to do that. I respect that perspective, because I understand that without living in others' bodies I can't truly know what it's like to live their experiences; I can't be anything other than that which I am. I also disagree with it.

The problem is that everyone has a face, an appearance, by which we are identified and judged. Mine is female, and very pale. I was recently on a convention panel at which I was one of four people, all of whom at first glance, to be similar to me. Someone posted a photo on Facebook, with the description being "Multi-cultural Steampunk at COSine."

Initially, the photo didn't include me, because I had gotten delayed in Denver and was running late. I got there about 5 minutes after the panel started and another photo was taken of all four of us, three men and one woman.

The response to the photo was, naturally, "three white dudes??" (I'm paraphrasing here, btw.) After the second photo was posted, the response was, "that isn't helping."

Considering the source of that second response, I was substantially taken aback. This came from a con organizer who has put me on a similar panel at her cons for the past three (maybe four) years. I thought that she had more confidence in my perspectives and in my presentation than that. Either that, or I have to consider that I've been set up as the white-splainer between the POC social justice warriors who shared those panels.

The question always arises in some form - how can one address culturally significant issues, conditions, material goods, or motifs in one's work, when one does not belong to the culture which is supplying the significant thing? As a matter of fact, it came up that afternoon. I said that to some of our community, as "four white people" on a panel, we can't. Except that the "four white people" on that panel were not nearly as homogeneous as we appeared. What I know is that one of us is female, one is Jewish, one is Hispanic, and one is a self-described BWHM. I can't tell beyond that what agency my panel-mates posses, what their life experiences or sociological interests are, their education, or the gender or culture of their partners, parents, or children.

And neither could the people who expressed discomfort at the four "white" people on the panel.

The fact is that none of those who expressed dismay at that photo were there, or had volunteered to be on that panel. The didn't know what went down and they didn't bother to ask before making assumptions. 

This is my complaint. And it's not unusual.

As an artist, a Steampunk creatrix, and a decent human being, I have an obligation to be sensitive to the condition of others, to understand, to listen to their experiences and to validate them. I have a responsibility to research and know the cultural significance of cultural things that I use in my art, to use them with sensitivity and in a unique fashion. I have read and listened to a number of perspectives, including those from POCs, those who are of different religions from mine, who love differently. And I'm pretty centrist on the issue of using culturally significant aspects in my work. 

I incorporate Japanese and Indian influences in my work, both the pottery and the sartorial arts. I've been told by some people in the Steampunk community that it's not acceptable to do so. Some have said that it's okay if you're not doing it badly; it has been threatened that those doing badly will be subject to censure, including getting kicked out of a con. It's terrifically subjective. I use the invisible ruler analogy. Being critical is often an invisible ruler - we all use it to measure, but won't or can't quantify it. It's the pornography test ("can't define it, but I know it when I see it.). And yes, I take exception to that.

I see the invisible ruler as a power issue. Underclasses have had their power or agency eroded. As a female, my agency is eroded every day. I get that. It's unjust, and those feelings of injustice mean that we all want to get our power back. And we should! This isn't a bad thing. But it gets weaponized. And really, I understand that too. When you've got no power left, then recovering power requires a weapon. However, it's also valuable to know how to pick your fights.

In truth, the extreme majority of people in the SFF community - and by extension in Steampunk - are allies. The people who were on that panel are diverse, and every one of us have worked for years within that diversity and to be allies. We're not doing it badly; we are sensitive to the experience of others, and we are listening and validating, and creating unique works. Yes, there are Sad Puppies and Rabid Puppies, and those who loudly exclaim that "imitation is the sincerest form of flattery" (yes, that really did happen at a multi-culturalism panel <sighs>), and we're trying to marginalize them. All the f-ing time. We're trying to advance the diverse voices and stifle the hateful ones. I'm not looking for credit, but I would like to be known as having a bit of credibility.

In multicultural Steampunk, we need to stop making the "ideal" the opposite of "pretty good". And we all need to keep the dialogue going.

An Absinthe Minded FAQ - Part 5; The Absinthe Ritual

Photo credit: John Mays

Q: Having acquired the absinthe and all the accouterments, what's next? Isn't there fire involved?

R: Coughs delicately. No, we call the Absinthe Heresy.

But first, some mechanics.

Essential oils from the herbal macerations are dissolved in  absinthe during distillation. Ice water is added to the absinthe before serving, to emulsify with the essential oils. This is what creates the "louche", the characteristic swirling opalescent cloudiness that defines a good absinthe. Simultaneously, the essential oils release a bouquet of fragrances - floral, herbal, spicy, honey. The fragrance will  fill the glass, and sometimes the room. Fragrance is considered part of the experience; enjoy it.

The louche should not be too thin nor too thick. Too thin is typical of an inferior absinthe; too thick would indicate presence of a gum or resin, which is how some low quality or faux absinthes get a louche, because there's not enough anise oil in the mix to do it properly. This is, by the way, an "authentic" adulteration, as it was used in the 19th century too.

The trick to getting a nice louche is to add ice water slowly to the absinthe. If you have a lot of control, a carafe will do the trick. If you've gone "all in" and bought an absinthe fountain, your finesse counts a little less.

So, let's prepare some absinthe. 

Photo credit: John Mays

You will need your glass and spoon, ice water in whatever delivery container you have acquired, and some sugar cubes. Packages of absinthe sugar are available on line, and I do recommend those little green-wrapped cubes. Gourmet refined or raw sugar is also available in cube form, and the raw sugar in particular will add a different note to your prepared absinthe. However, they are larger in size compared to the absinthe sugar and they don't melt as quickly or thoroughly.

Start by pouring an ounce of absinthe into your glass. If you have a glass with a measured dose or bubble, that's easy. If not, you'll want to add a jigger to your bar.

Place the sugar cube on the spoon, and lay the spoon across the glass. Sugar is, by the way, optional, and should be added to taste. If you prefer sweetness, use an entire cube. If you like less, feel free to cut the cube to a smaller size. Sugar balance is important; it tempers the bite of the wormwood, but it can also mask flavors.

If you are using a carafe to deliver the water, start by wetting the sugar cube. Then set down your carafe for a few seconds - up to a minute - to give the sugar a head start on melting. If you're using gourmet sugar cubes, this is a good idea, even if you have a fountain.

Now start to drizzle the ice water over the sugar (from the carafe or fountain) in a thin steady stream. Watch the louche magically develop. Inhale the fragrance.

The typical ratio of absinthe to water is 1:5, or one ounce of absinthe to five ounces of water, resulting in a 6 ounce drink and about 12% or 14% alcohol - comparable to a glass of wine. If you want it a bit stronger, use three or four ounces of water.

Coordinate the speed of pouring with the dissolution rate of the sugar. This might take some practice.

Using the absinthe spoon, stir the glass briefly to mix in any undissolved sugar grains in the bottom of the glass.

L'Heure Verte est arrivée!

Sip slowly, allow the mix to slip across your tongue and enjoy the sensations, the fragrances, and the flavors. Notice how the fragrance has changed with the addition of water and sugar. 

But what about that burning sugar part?

Pointless, dangerous, and heretical. 

It was an "innovation" designed to enhance the allure of absinthe, to underscore the illicit drug image, a marketing ploy that does nothing more to the absinthe than to impart the flavor of burned sugar to it, while burning off some of the essential oils that are critical to the flavor. It's not traditional, unless you count the past 20 years of Czech practice. 

Next time: how to evaluate an absinthe. 

An Absinthe Minded FAQ - Part 4; Absinthiana

Q: I've purchased an impressive-looking bottle, and I'd like to do a respectable presentation. What else do I need to serve absinthe?

My Pontarlier reservoir glass

R: While there are no actual requirements beyond a pretty glass and an absinthe spoon, there are myriad available examples of each out there - and more. Let's first look at these two basics and then the other absinthiana that will complete your set. And some Cheapside sources!

The Glass

The first item that you'll want to look for is a good absinthe glass.

Historically, absinthe was served in multi-purpose bar ware, stemmed water or wine glasses that worked equally well with other drinks, and would stand up to heavy use. As absinthe-specific glasses were developed, the absinthe makers started using barware to advertise their brands, adding logos to virtually every item of absinthiana. As glassware specialized, the classic shape developed, with a dosing bubble or line to assist in measurement.

The typical absinthe glass is a funnel shape with a short, often ornate stem. Glasses are often decorated or faceted to reflect light into or through the louche. A good glass will cost you as much a $20, although they can occasionally be found in thrift stores [1] for far less. Mine is a finer quality glass than would be found in a Belle Epoch bistro; it's a delicate glass, probably mouth-blown. La Rochere makes a variety of lovely sturdy machine-molded absinthe glasses. To start, there's the basic Pontarlier, a classic shape with a dosing bubble. La Rochere also makes an ornate absinthe glass in the Versailles pattern, with a dosing line rather than a bubble. There's a carafe (which I'll talk about in a bit) in the Versailles pattern.

There are other typical shapes. La Rochere's torsade is one of the most frequently seen glasses in Impressionist paintings. (One of the great things about La Rochere is that they're 500 years old - some of the glassware that they make today is unchanged from previous centuries.) They also make the Lyonnais, another pattern that also has a matching carafe.

Luckily, the funnel shape is still in production by a lot of other manufacturers as "water" glasses. IKEA's Pokal wine glass is a perfect shape and size and it's about $1.50. Water glasses are also readily available from your local thrift store. Look for the funnel shape, clear glass, no more than about 7 ounces, with the short, ornate stem and you'll be set.

The Absinthe Spoon

Most people prefer their absinthe sweetened to some degree. The usual process of adding sugar requires an absinthe spoon.

Spoons come in a wide variety of designs, but they all have a couple of commonalities - they're all perforated in some way, and they have a notch below the flat bowl to rest on the edge of the glass. Like glasses, spoons were very often branded in some way, and Kübler still produces branded spoons. Spoons usually run at less than $10, unless you get a silver-plated one. Mine is a silver-plate Eiffel Tower spoon, a reproduction of a tourist item commemorating the inauguration of the Tower in 1889. I think that it was around $20.

There are also grilles available for the same purpose. They look like a saucer that can be suspended above a glass.

There are of course a number of other items that the absintheure might obtain to fill out the respectable absinthiana collection. Marketing being what it is, absinthe manufacturers made every effort to get their brands in front of customers, and this is in part what contributed to the wide variety of absinthiana in the 19th century. Most of the rest of these items are in the "cool to have" category, and I'll list them by purpose.

To deliver water 

Absinthe is never served neat, but always mixed in some way. It might be in a cocktail, but more commonly absinthe is diluted with ice water. Of course one has to have mechanism to do this. In the Belle Epoch bistro, the ice water was often served next to the glass in a carafe so the patron could dilute the absinthe to taste.

However, unless you've got artful water dripping skills (patience and finesse!), using an absinthe fountain is an easier route to your louche. The ice water is loaded into a globe elevated above glass level on a stand. The stand incorporates several spigots which allow water to slowly drip over the sugar cube and to properly develop the louche.

If you're preparing for one, a brouilleur is a handy tool. A small bowl which fits over the rim of a glass, the brouilleur has a tiny hole on the bottom which slowly drips ice water. One can add sugar to directly to the brouilleur.

To hold your glass

In the bistro, absinthe was customarily served on a porcelain saucer which contained the width of the foot of the absinthe glass. The dish often was marked with the price of the drink, and at the end of the evening, one's saucers would be collected to add up your bill.

To contain sugar

Footed metal dishes were used to hold sugar cubes. Reproductions are available, but we use footed glass dishes. They're elegant, amply sized and cheap at the thrift store!

Other interesting stuff

Match holders - not for the heretical Czech burning ritual, but because smoking was common in 19th century bistros. Always emblazoned with an absinthe-maker's marque.

Spoon holder - for, well, absinthe spoons. Usually metal, funnel-shaped to accommodate a collection of spoons. Again, we use similarly-shaped glassware. Also from the thrift store.

Sugar tongs - any ornate tongs will do.

Next time: The Ritual and how to use all this stuff!

[1] I've even found Lucid-branded glasses in the thrift store. So very 19th century!

An Absinthe Minded FAQ - Part 3; Extraordinary absinthes

This time, let’s chat about some truly extraordinary absinthes.

Q: I hear that European absinthe is the cream of the crop. Is it available in the US, and from where?

R: The short answer is yes, and yes. And you’d best get out the credit card to pay for shipping.

But first, a bit of recent history.

T.A. Breaux probably knows more about absinthe than anyone alive today. He is an environmental microbiologist, native to New Orleans. In the 1990’s he found a few unopened bottles of century-old absinthe. Knowing that the prevailing opinion (no science was involved in the US’s absinthe policy) was that absinthe was poison, Ted decided that the only way to re-make the classic aperitif was to relocate to Europe where it had been legal since 1988, when the EU standardized its food and beverage regulations. Happily, the equipment remained in France to properly distill real, authentic absinthe. He used his scientific education to engage in some forensic research, analyzed the contents of these very old bottles and began to develop modern versions that are indistinguishable from the one-hundred-year-old real thing.

Ted’s Jade absinthes began production in 2000, and I consider them to be the very best. Native botanicals and antique stills produce an absinthe that is indistinguishable from those served in Belle Epoch Paris. Here is a selection that we have enjoyed.

Jade Nouvelle-Orléans – The first in Ted Breaux’s creations, this may be my personal favorite. It features a lovely floral bouquet, which I suppose to the gardener is especially appealing. Rolling clouds form the jade green louche. The Wormwood Society rates Nouvelle-Orléans at 4.4/5.

Jade Edouard – Another perennial favorite in our house, Edouard spots a complex aroma and a spicy flavor note. Thick trails form in the opalescent light green louche. 4.5/5 at TWS.

Jade Verte Suisse – A bit of spice and mint distinguish this fine, nicely balanced absinthe. It’s got a good tingly mouthfeel, which lingers on the palate. Some consider this the best of the Jade absinthes. TWS gives it a 4.5/5.

However, Jade isn’t the only fantastic European producer out there. We recently sampled La Clandestine (TWS gives it a 4.3), which is light and lovely, even though it was mixed a little sweet for my taste. The anise is a bit less than some absinthes, and the mouthfeel is silky with a slight tingle. La Clandestine is a Swiss absinthe, which is known for the “clandestine” (bootleg) absinthes. After prohibition in the early 20th century, Swiss producers skipped the final herbal maceration process – the one that produces the green hue. This colorless absinthe is termed “la Bleue” or “blanche”. That way they could plausibly fool the government men into thinking that the clear contents of those bottles was gin. Maybe. Maybe the government men just liked to think that it was gin, and went home to their nightly absinthe after all.

Post-ban style Swiss absinthe is now commonly called la Bleue, and there are several good ones available. They tend to have lighter herbal notes because of the missing second maceration. Alandia’s Suisse la Bleue is a standard favorite, distinguished by the aromas of honey and flowers.

The problem is that these labels are virtual unobtanium in the US. The good news is that they are readily available for import – for a price. Alandia (www.alandia.de) is our usual supplier. Shipping cost for one bottle from Germany to the US is $44.45 which is 60% of the cost of a bottle of Jade. Eep! The good news is that the shipping cost is exactly the same for three bottles, which reduces the cost per bottle to something more reasonable. In fact, it’s cheaper to buy 3 bottles from Alandia than from the one liquor store in the US that will ship Jade absinthe. Good reasons to coordinate an order with friends.

It’s still higher than domestic absinthes, but remember that these are the extraordinary absinthes.

Next time:

The absinthe serving ritual.

An Absinthe Minded FAQ - Part 2; Local sources and recommendations

Hazel's in Boulder, CO. Photo credit: Chris Bays 

Q: I'm at my local package store for a bottle of the Green Fairy. There are too many pretty labels on the shelf! How do I decide??


R: First of all, know that this is an investment. As such, you will get exactly what you pay for in a bottle of absinthe - there is a positive correlation between price and quality. If you look at nothing else, the highest priced bottle is likely to have the best balance of flavor, color, mouthfeel (that faintly astringent or tingly-on-the-tongue quality), and louche (the clouded appearance).


Consider too, that there are about 25 "doses" or servings of absinthe in a 750 ml bottle. At $75 for a bottle, that's about $3 per glass. So, actually cheaper than a $20 bottle of wine! And the alcohol content is about the same.


However, maybe you've got some choices in the $60-$75 range. In Denver, there are three local craft producers that are worth checking out.


Redux (Golden Moon Distillery, Golden, CO) 4.0/5 rating from The Wormwood Society. We've gone through one bottle of this very respectable absinthe, and were quite pleased. Flavors are fresh and intense, and the louche is a very entertaining mix of trails. Available from the distillery; checking on store availability.


Leopold Brothers (Leopold Bros, Denver, CO) - 4.3/5 rating from TWS. I haven't tried this one, but it is appealing; said to be well-balanced with at room-filling fragrance. The bottles are labeled with batch numbers. Select batches after #15. Readily available in liquor stores in the Denver Metro.


Trinity (Novovino Wine, Loveland, CO) 3.3/5 rating from TWS. A new one to me, this absinthe is described as "a good start", although it has already garnered a gold medal at the Denver International Spirits Festival. It is described as having light flavors, and a good candidate for a "standard" absinthe. Well worth a try. Available in many area liquor stores.


Looking at the shelf at Hazel's in Boulder (one of the better-appointed stores in the Metro), I honestly can't recommend any of the other offerings. (Check out the first FAQ in this series for cautionary tales.) Chambers Wine and Liquor carries a good variety, but beware of that lurid green one.


In short, you *can* pick up a perfectly good absinthe in Denver tonight.


Next time: More Sources and Recommendations.

Dress Diary: Post Edwardian evening gown - That Corset!

In the "a little knowledge might not be a good thing" category:

I just got a look at the pattern directions for Laughing Moon's corsets pattern.

Ho-boy, does that one have a lot of interesting information.

The LM pattern recommends finishing the front and back openings before doing the actual fittings. This means installing the busk and the grommets, lacing it up, and then doing the actual shaping of the panels. The mockup seems to be valuable only to determine the height of the corset and possibly ensuring that the width is correct.

Radical. Makes absolutely perfect sense. When you're making a Gothic fitted dress, you put the eyelets in the front, lace it up, and then do the final fitting.

And now I'm thinking that I need a redux on the 1910 corset. And a trip to Colorado Fabrics with the almost-finished corset to buy boning.