As I embark on my journey to create an 1899 evening gown, I first must start with the underpinnings and build out the fashionable silhouette of the era. The skin-most layer I'm choosing to go with are combinations.
The lace and ruffles characteristic of the Edwardian period are an obsession of mine. So, I knew I wanted to create a pair of combinations that reflected this, and what better pair to replicate than the infamous ones housed at the Met.
My combinations are made using cotton voile, cotton lace, cotton thread, silk double-face satin ribbon, and mother-of-pearl buttons.
The Drawers
After a careful and scrutinous review of the singular image provided by the met on this pair, I set off by first working on the drawers. I consulted various sources from the 1890s/1900s on drawers pattern and determined that the shape of the met pair closely resembled that of circular drawers. With my measurements in tow, I began drafting circular drawers in various circumferences to pinpoint the exact volume necessary at the hem. I used Laura Baldt's Clothing For Women circular drawers drafting instructions as a starting point.
Insertion lace is added to the side seams.
Beading Lace is added to the bottom of each short panel. Edging lace is placed along the bottom of two long strips of cotton lawn, two rows of basting stitches are then run along the top and the ruffles are gathered and stitched to the beading lace. Double-face silk satin ribbons are then threaded through.
The last touch for the drawers is to add the waistband. The waistband consists of a length of beading lace which attaches the two legs together. The CF overlaps to create the illusion of closed drawers and is secured with two tiny mother-of-pearl buttons. The CB is pleated to create extra fullness to hide the lack of seam. The same double-face silk satin ribbon at the hem is threaded through the waistband.
The 'Chemise'
For the chemise, I created the pattern using a bodice block. I removed the darts, drew in the new neckline, and added additional volume to the hem so that it could be gathered into the waistband to give that blouson effect seen in the original. The same lace used on the drawers is continued through the chemise. The 3" lace runs horizontally through the body, while the edging lace furnishes the placket, top edge, and straps.
Unfortunately, there are no images available that show the details of the front closure on the pair at the Met. I decided to add a hidden button placket so as to not ruin the illusion of the lace at the front. I placed the lace so that the edges overlapped just right, sewed it down, and then cut away the excess cotton voile, the same as the other pieces of insertion lace.
Once the placket was complete, it was time to add lace at the top edge.
The Combinations
The two pieces are then combined to create the combinations.
All that is left now is to attach the straps. I first attached the straps at the back and then put the combinations on and pinned the front straps to the length I desired.
Project Overview
