Good Morning,
Today's post is dedicated to my Dolley Madison gown. The painting first came to my attention via a wedding gift. Eden Celeste, a portrait artist whom also painted our wedding portrait, gave us a re-imagined fantasy print entitled "Dolley Mouseidson" by A. Zeck. I was curious about the original by Gilbert Stuart, which is part of the White House collection. In turn, I then became curious about the sitter herself, Dolley Madison. When I was in grade school, I had read mini-biographies of all the First Ladies. So I had some idea of Mrs Madison's background. Born May 20, 1768 in a Quaker community in North Caroline, her family eventually moved north to Philadelphia. In 1790, she married John Todd and had two sons by him. However, in 1793 her husband & one son succumbed to a Yellow Fever epidemic that had swept the city. A year later, she was introduced to James Madison and they married a short time later. She threw off her Quaker simple ways, and embraced society, fashion, and politics. Her husband served in the House of Representatives, and was later Secretary of State to Thomas Jefferson, Third President of the United States. While her husband was Secretary of State, she often aided Thomas Jefferson, co-hosting dinners & receptions. During this time, Mrs Madison honed her skills and became a popular Washington hostess, known for her graceful carriage, impeccable manners, and stylish fashions. When James Madison was elected the Fourth President of the United States (1809-1817), Dolley became one the most beloved First Ladies in American History. She took an interest in politics and was instrumental in fund raising campaigns and is credited with hosting the first "Inaugural Ball" for her husband in 1809. The 1804 painting by Gilbert Stuart represents Dolley at the height of her beauty & powers, in a simple neoclassical gown popular on the continent. Her dark hair is simply dressed, and Stuart uses golden pink tones that create warmth & intimacy with the viewer. This lovely pose & similar gowns may be seen in other paintings of Sarah McKean & Elizabeth Betzlehoove, also by Gilbert Stuart.
I had wanted to recreate this gown, but did not have an occassion to wear it and did not feel my skills were up to re-creating a historical gown. I did find an irridescent silk taffeta at Mill End last year...then I found a silver & gold braid that I thought might work nicely. But it wasnt until we received our invitation to for the New Year's Eve Vespertine Ball, that I finally decided to go forward with this endeavor. I had 8 weeks to accomplish my goal, so I took a deep breath and plunged in. Of course, there are always complications.
To begin with, silk taffeta was a fairly new fabric for me to employ. I had used a lovely moss coloured taffeta to line my pelisse, but as mentioned in another post, that project has been set aside. I poured over my Kyoto Costume Institute book, and other references to determine the construction of gown. The portrait is somewhat misleading as Mrs Madison is *ahem*, bosomy. And it would appear she is also unencumbered by a corset. Not unusual for this time period. For a wonderful discussion of corsetry (or lack thereof) in portraiture, leading up to the turn of the 18th Century, please see the Dreamstress' delightful blog post "What do you wear under a Chemise a la reine" here:
http://thedreamstress.com/2010/06/what-do-you-wear-under-a-chemise-a-la-reine/
As a back of the gown is not available (I am not aware that this particular gown has survived), I looked to both "The Empire of Fashion" book, as well as "The Age of Napoleon", for examples of various gowns. I decided to fit the neckline, but create a drawstring under the bosom, so that the gown still slips over the head. A decorated belt closes in the front with pins. The neckline & sleeves have ruched (puffed ruffle) details, although I am not entirely happy with the result. It was my first time attempt at ruching, but I have some revised ideas for another project in cotton. The back was drafted by me, but based on designs from earlier fashion plates & extant gowns 1798-1800. I prefer the higher back, and the pieced design created more visual interest.
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| 1799 fashion plate detail |
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| late 1790's Extant gown with a pieced back |
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| my version of the pieced back |
The taffeta was crisp, but more buoyant than I expected. During my research, I also discovered it is notorious for puckering & wrinkles easily. As expected, I encountered rough waters due to the puckering while hand sewing the skirt panels. I am quite sure, that a more experienced seamstress would not have this difficulty, as it would seem to be an issue with stitch tension. Therefore, I ended up taking apart the skirt twice to reshape, and finally over-stitched all of the skirt seams. I further consulted Le Chevalier concerning technical construction of said skirt, and whether it was hanging correctly based on his observations. I believe this over-stitching is period appropriate, based on the 1803 yellow taffeta gown shown in the KCI book, which we used as a visual comparison.
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| 1803 Yellow Silk Taffeta Gown--KCI |
Trains were popular until 1805ish, and also knowing that "Queen Dolley" was partial to them, I did add one to this gown as well. The trim at the neckline & sleeves is French Silk Tulle. The tulle is like gossamer, and I added a narrow lace trim to help it hang properly and not become caught up in the main sleeve. However, when trimming the neckline, the lace would have been too clunky, so I hand rolled the edges with a button-hole stitch in silk thread. I don't know how to truly do white-work embroidery, but I felt this still created the effect of delicate lace, as seen in the painting. As well, it gave the ruffle some body. As a bonus, I have enough tulle left over to make a bonnet veil in the future.
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| silk tulle trim |
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| silk tulle & ruched trim on sleeve |
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| silk tulle ruffle on bodice, reminds me of lettuce leaves |
I was on pins & needles (pun intended) until the day of the ball, hemming the train and fussing over the details. I wore the "Indra Ove" wig, and pulled back the curls into a Grecian-style chignon. It was held in place by a vintage strand of pearls and a few rhinestone buttons that I decided not to use on the dress. For jewelry, I chose large pink crystal & pearl drop earrings, that would show up against all that hair, paired with a simple pearl necklace. I completed the ensemble with white elbow length gloves and black slippers tied with ribbons.
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| Ready for the Ball |
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| back of the gown & train |
The evening was cold, and my mother loaned me a Silver Fox coat to wear. It is a wonderful luxury to wear real fur, and as the ball's theme was White & Silver it was deemed appropriate. I also comforted myself that the wearing of fur during the 18th & 19th centuries was not frowned upon, as it is now. I dubbed the little fox Artemis. We attended a pre-ball cocktail party, and Artemis proved quite popular--admired & petted by several guests.
While at the ball, I was invited to enter my gown in the historical portion of the costuming contest. I did attempt to swan gracefully onto the stage. However, I was somewhat self-conscious, surrounded by many statuesque Snow Queens, Winter Faeries, and at least 3 elegant Marie Antoinette's--complete with wide panniers and towering coiffures. Needless to say, my simple neoclassical gown, however diligently hand-sewn and fussed over, did not win. And sadly, the next morning my train was worse for wear--it appears there was just as much champagne on the floor, as in guests' glasses. I had tried to be so careful outside the ballroom, but did not consider modern party-goers are not as careful of personal space--my train was stepped on at least twice and became quite water-stained. I hesitate to dry clean it, but several at-home cleaning methods have been recommended to me. My other option, is to remove the train, as the front panel is fine.
That small casualty aside, I think the project & evening were successful. We had not attended a New Year's Eve event since our marriage, and as a whole the ball was enchanted and full of merriment. Our thanks to the hosts of Chateau Iniquitous: the Pre-Ball Cocktail party was delightful as always. And further thanks to Lady Raven, the hostess of the Vespertine Ball: her invitation to the ball, & inclusion of a historical category in the costume contest, encouraged me to go forward with the Dolley Madison Gown.
So, what's next for the Fox & Thimble? Le Chevalier has hinted he'd like another waistcoat, and I am currently working on a winter spencer. And, as a belated Christmas Gift, my husband & In-Laws gave me this
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| Kitsune approves of the new Fox & Thimble Sewing Nook |
Of course, I will continue to hand sew, but it does open up other project options...drapes, tableclothes, less puckered skirt seams perhaps?
Warm Regards.
Mme Theo
