Truy Victorian has just released a new Edwardian skirt pattern, the 1906 Ten Gore Princess Skirt - TVE23. With a raised waistline, our skirt fits smooth through the hips and hangs in a graceful flare to the hem. The top has a raised point in the center back, and tapers lower to the center front. It has the smooth fitted back closed with hooks and eyes, known as the "habit" back. The hem line is round at floor length. This skirt is perfectly suited to dresses of 1906 -1908, with it's wide hemline. Pair it with a blouse, and perhaps a long jacket or a copped Eton jacket.
And here is a little back ground on the Empire skirts of the Edwardian Era:
Skirt shapes of the Edwardian era change quite rapidly, with almost every year seeing something new. 1901 starts out the era with the Trumpet Skirt; a shaped skirt that is fitting over the hips and thighs, then flares out below the knee for a wide hem. Very quickly, the slim skirts begin to get fuller at the hem, with the addition of vertical pleats and tucks around the skirt, though the skirt remains lean and controlled through the thigh. By 1904, the skirts are getting wider though the knees and thighs as well.
1906 brings an innovation to the skirts by raising the skirt above the waistline in a style known as the Princess or Corsage. The addition of multiple gores to the skirt (9, 11, 15, and even 24 gore skirts) allows the top of the skirt to fit closely to the body like a corselet. Tall belts achieve the same accentuation of a slim waist with a full hip and bust.
At right - 1908
1907 sees the skirts getting fuller over the hip, and often gathers are added at the waistline. The waist front "dip" becomes raised up also, so that the dip is now at the natural waistline, and the back is raised above the natural waist in the Empire Corsage style. To structurally support this new waistline, the lining of the skirt becomes detatched as a corselet, independent of the skirt. The outer skirt attaches near the top of the hidden corselet, and fabric "belt" is sewn over the top of the skirt attachement. The skirt is then allowed to hang with ease over the waist and hips, obscuring the natural waistline.
Below - 1909
By 1909, the slim waist and hip return, with ever slimmer skirts in general. The hidden corselet becomes taller and the skirts less fitted to the natural waistline. The desired effect is to create a higher-than-natural waistline, with a long smooth hip line, a trend that continues into the next decade.
Truly Victorian has just released it's newest pattern; an overskirt to go with the new Imperial Skirt and Bustle. The 1887 Cascade Overskirt - TV367
This overskirt is drafted based on an actual garment as seen in the October 26, 1887 edition of La Mode Illustre. The front apron is a long swag, pulled up high onto the hips in large pleats that fan beautifully. A slit in the center front hem forms 2 points. The back is in two pieces, and falls in graceful cascades down the center back forming two points. The cascade is achieved through creative pleating, highlighted by 2 burnous pleats. The closure is in the center back. The apron is cut on the cross grain.
This overskirt is ideal for lengthwise stripes, which would then go across on the front, and downward in the back. Any light to medium weight fabric will be suitable, however.
For more information on Burnous pleats, we have a blog post all about them.
And of course, you can find this pattern at our shopping pages.
If you have already made the new 1887 Imperial Tournure, aka bustle, then now you need something Imperial to go over it. Truly Victorian's newest pattern, TV263 - 1887 Imperial Skirt is exactly what you need. For more specifics on the pattern, click here.
1887-1888 saw a very specific skirt shape that was designed to maximize the look of a bustle. The front and sides were very narrow, with the sides extending back over the bustle. The back itself is confined to a cascade over the top of the bustle.
Our 1887 Imperial Skirt comes in 3 train variations; floor length, round evening train, and full square court train. The floor length skirt has a full width back, and is lightly rumples with a single burnouse pleat that also acts as the skirt closure. The round train is of medium length, with a extra wide back made of three 22" wide panels. Gores added to the side back seam let the train transition more transition more naturally across the floor. The closure is between the side back and center back panels on the left side. The full court train is long, square, and double wide. It has 2 burnouse pleats at the top for a rumpled effect.
Below are some of the original gowns that inspired this pattern.
Over the last year or so, I have noticed the Truly Victorian Message Board getting slower and slower, and the outages increasing in frequency. So I finally jumped ship and moved the bulletin board to the new server. It went much more smoothly than I expected. (The last time I tried to move it, it was a week long exercise in frustration and failure. Thank you, programmer people, for creating scripts to make the move so much easier, i.e. Big Dump.)
The Truly Victorian Message Center can now be accessed at http://trulyvictorian.net/phpBB3/index.
Though today some weird issues popped up with the site being unaccessible, I was able to sort it all out. The only reason I can come up with for the issues this morning, was that I maybe left open my ftp client on my screen, and the dogs or cat stepped on my keyboard and wreaked havoc with the servers? All I know is everything was fine last night when I left it.
I currently still have half my website on the old server, .com, and the other half on the new server, .net. But with only the gallery to move now, and some other easy files, I might just get the whole site moved, and finally get away from the horrible server. I will be retaining both the trulyvictorian.com and trulyvictorian.net in the future.
Here is the link to the new pattern, just to get this out of the way first: TV403 page. And now my story:
When I told my sister Laura I want to find ideas for and Early Bustle bodice, she was mildly interested in helping me look. For about 5 minutes. Undaunted, I pulled a dozen books off the shelf and set to finding the next "new thing." Every five minutes or so, I made her turn away from her computer to look at what I had found, receiving an unenthusiastic "okay..." to the proffered item at hand. After failing to really get her attention by the 10th try, I had to give up and try a new tactic. So the next hour was spent whittling down the list to 3-4 pics I thought might work. I then showed the short list to Laura, and asked her which one she liked the best. She picked one, and of course, I picked another.
The more she looked at the one she liked, the more excited she got about the idea of a new bodice. She already had a skirt and overskirt made up for a new dress, she just needed a new bodice to go with it. This would be the perfect match to what she needed.
But since I am the one who does all the work, I finally made the decision to do the one I liked, and "thank you for your help." Her response was to turn back to her computer and mumble "okay..."
So, over the next few days, I draft up the pattern for my new bodice. I work out the kinks, have it pretty much finished, and ask Laura if she wants to try it out for me. She says she is going to wait for the other one. This one won't really work right for the skirts she already made. Looking at her outfit, I can only agree. And then I start to think about it, what kind of skirt/overskirt would this bodice go with? Answer? Not much. As I picture the bodice paired with each of the patterns in the TV line, I am left with the realization that it just doesn't blend well with what I have.
I am forced to concede to Laura's wisdom, her bodice is indeed the better choice. A few days later, I show Laura the pattern for her bodice, and she says "Print that up for me, so I can make it." Laura, who hasn't made a bodice in over 2 years, started in on it right away. And even more surprising, she finished it in a couple weeks. OK, she still has some finish work to do, but it is wearable.
End result, I have to say, Laura looks amazing in this dress.