So, life this week has been a roller coaster of sickness and travel, but I promised a second page of clothes for Peach in the Park to expand her Victorian paper doll wardrobe and I am pleased to say that here they are.
In no real order, in this set of paper doll clothes there is a promenade dress or afternoon dress, a gymnastics outfit and a set of underwear consisting of a chemise, drawers and a stayband or corset. She also has a pair of shoes with stockings and a ballgown for her doll. It is entirely possible that the doll’s little ballgown is my favorite piece of the entire set, though drawing that small was a challenge. (Seriously, the doll is like two inches tall in real life. I kid you not.)
I drew these designs based on illustrations from several different Victorian fashion magazines including Harpers Bazaar and La Mode Illustre, which as French. I highly recommend Dover’s excellent books of fashion plate reprints when working on Victorian period fashions- they bring a richness to the process of research that is of great value. Plus it’s fun to draw surrounded by open books (at least, I think it is fun.)
By the late 1860s, early 1870s, sporting activities were encouraged for children. Gymnastic’s costumes like the one in brown are often shown in magazines along with yachting and skating outfits. While it is hard to imagine a child really running around in the bustled up skirts of the era, it is possible to imagine them doing so in one of these more practical outfits.
I also think it is important to remember that while fashion magazines show perfectly coifed children, actual children’s garments are often more worn and simpler. Kid’s did get out in play even in the 1800s and parents did not dress them like little adults, despite what my fashion history teacher told me. The length of a girl’s skirt indicated her age. The poppets are, in my mind, between the ages of 8 and 11, so their skirts are mid-calve. The skirts would slowly lower until maturity when they would be floor length for many, thought not all, activities.
As a reminder, because I forget this sometimes too- any of the Poppet paper dolls can wear any of the other Poppet paper doll’s clothing. So, while I was thinking of Peach when I made these outfits, they could also be worn by Petunia, Paradisea, Poppy, Posey, Petal, or Primrose.
So, way back in December of 2013, I started a project called Greta’s Trousseau with this post. The idea was that I would draw a complete trousseau for a paper doll inspired by neo-Victorian and steampunk styles. This is the sixth page of Greta’s Trousseau. I don’t think it’s the last one, but we maybe getting close.
Today, Greta has a carriage dress, a visiting toilette, a dinner dress, afternoon costume and morning dress. Her Carriage Dress is based on two gowns from Harper’s Bazar in 1873. One a watering place costume, published in the June 28, 1873 issue and the other a Carriage dress published in the July 5th issue of that same year. Harpers Bazar is a publication which is a little hard to find online. I used Dover’s book of reprinted fashion plates edited by Stella Blum, but you can see some issues of Harpers Bazar from the Home Economics Archive and others from the Hathi Trust. Hathi Trust has better image quality, but does not include the 1873 year.
Anyway, her visiting toilette has an additional hat, as does her carriage dress. Her dinner dress and afternoon costume are the same skirt with two different bodices, a common practice in the Victorian era. Her morning dress is, of course, the most simple gown she has and with it she has slippers, stockings and some correspondence.
My goal was to create the massive wardrobe of an absurdly wealthy fashion obsessed neo-Victorian lady. Currently, Greta has sporting outfits including swimming, fencing, hunting, skating and riding. She has a seaside walking dress, two traveling suits, and clothing for exploring or hiking. For formal occasions, she has a ballgown with two bodices, opera toilette and two dinner dresses. For visiting, she has two outfits. There is a walking suit and a promenade costume. For the afternoons, she has an afternoon costume and a tea dress. For quiet days at home, she has a house dress and a morning dress. For the very rare occasion she might need one, she has a wedding dress and a diving suit.
Today’s Poppet paper doll is all about Victorian children’s clothing of the late 1860s and early 1870s. I love Victorian children’s clothing. I just love it. I even love it in the 1840s when I generally think all the clothing looks really stupid.
I think it is a combination of my natural fascination with childhood studies and exposure to books like The Little Princess at a young and impressionable age. It is likely also because I have a fondness for the idea of antique dolls with little wardrobes of perfectly sewn clothing pieces. The Little Princess was full of dolls. Anyone else remember that book?
And I am not talking about the Shirley Temple movie version where her father wasn’t really dead. I’ve never forgiven them for changing that part.
Anyway, we have Peach, a new Poppet paper doll, with an elegant promenade costume from Godey’s Lady’s Magazine in 1969. Her fashion doll also has a Promenade costume from that same fashion plate. I couldn’t find a decent reproduction of the plate online. Because Godey’s plates folded out, when people digitize the bound volumes they rarely take the time to fold out the plates. The result is that the text is reproduced, but not the folded plate. This is one of my pet peeves about mass digitization projects.
Back to the paper doll- Peach has, of course, a French fashion doll with her who I have left unnamed. Her fashion doll has a walking dress of her own with a hat attached. I have rarely drawn something as small as the fashion doll and I am worried a little about the fit of the gown. I did a quick Photoshop fit test, but you might want to leave some black border for wiggle room on that one. I love the whole paper dolls with their own dolls which are also paper dolls thing. It is hard to pull off though.
Anyway, I used several sources when working on today’s paper doll. The doll herself is based on the brown-complexioned bisque bebe dolls produced in France and Germany by companies like Steiner, Bru, Jumeau and many others. You can see some examples of these dolls on my Pinterest Board about Antique dolls. These dolls were most common in the late 19th century. As I mentioned above, her dress is from an 1869 Godey’s Lady’s Journal fashion plate. I used Dover’s excellent book- 80 Godey’s Full-Color Fashion Plates, 1838-1880 (ISBN: 978-0486402222), now out of print, for the 1869 plate. I know there are lots of sources online today for fashion plates, but too many of them omit the context of the plates, since plates were often cut. That is why I like having books of fashion plates in my collection for reference.
Next week, I will share a related Poppet clothing set with some underwear from the 1870s- when even children wore staybands or corsets- and two more outfits and a ballgown for her doll. Also, another pair of shoes with stockings.
I really do have to draw more historical children’s clothing for the Poppets. I had far to much fun with this set.
Remember that you’ll need to cut along the shoulders of the paper doll, so that she can wear her dress.
It has been a while since we saw Marisole, hasn’t it? I mean… at least since early April, I think.
As her friends grow, I find I sometimes miss her. She is the longest running paper doll on this site and I really do still have a fondness for her.
Today, Marisole is rocking a wardrobe inspired by the boho looks of brands like Free People. I have only recently discovered Free People and if I had a job where I could get away with wearing their clothes on a regular basis, I would. I also wanted to draw a jumpsuit. I don’t like jumpsuits, but they are in fashion and I am trying to be more open minded about them. Today’s Marisole paper doll also has glasses, because I think glasses are cute and I don’t draw enough paper dolls with glasses.
I also have horrendous eyesight and am blind as a bat without my contacts in. As a child, I had glasses and I hated them. Maybe a paper doll or two with glasses will help kids not dislike glasses so much.
Over the years that I have been drawing paper dolls, which has been a fairly long time, I have come to realize that I really value diversity and variety in my paper dolls. I can’t imagine just drawing modern paper dolls or just drawing historical paper dolls or just drawing fantasy paper dolls. One of the things I like about paper dolls is that they can literally be anything. I’m about to get through the last of the backlog I have of Marisole Monday & Friend’s paper dolls. I have one more after this colored and one more waiting to be colored.
That means it is time for me to return to my sketch book. I’ve made a poll to help me decide what I should make next for them. Below I’ve listed my four major ideas. Vote on one of them and I might make it.
I first stumbled across Cranach dress or gowns in this rather gruesome painting of Judith with the Head of Holofernes months ago and her gown was fascinating. I didn’t know much about it, except that it was painted by Lucas Cranach. As it turned out, I discovered as I did more research, that the artist- Lucas Cranach the Elder- painted countless versions of this gown on countless both real and mythological figures. Coming out of the Saxony area of Germany, Lucas Cranach was hired by Fredrick the Wise who to be the court painter of his court in 1505 and Cranach stayed there for the rest of his life. He was extremely prolific and his art is distinctly romantic and stylized. Even his portraits all rather do look the same after a while, I have to confess.
Around 1546, Cranach illustrated a manuscript for the Court at Saxony. This collection of portraits of Saxon princes and family known as Das Sächsische Stammbuch – Mscr.Dresd.R.3 is fascinating. I was immediately struck by the illustrations of the Saxon princesses (image 220, f. 89) and I knew I wanted to draw these dresses.
However, there is a debate as to whether or not Cranach’s gowns actually existed in the real world. Here’s my view: We don’t have an extant one, but then we don’t have very many extant garments from this era anyway. Should we find one the debate would be settled, but until then we have to work with the primary sources we have. The value of fabric and the expense of clothing was so great the people usually chose to be painted to garments they actually owned.
Plus, I tend to approach history with the belief that in the absence of proof to the contrary, we should assume that people of the era were not trying to mislead people of the future. Why commission a family history with crests and portraits of your family, if you are not going to accurately render the people in the images? Das Sächsische Stammbuch – Mscr.Dresd.R.3 is a collection of portraits of Saxon nobles. Why put the princesses in imaginary gowns?
The first question I struggled to answer was if the nets of pearls so often seen the women’s hair in these portraits were actually nets of pearls, or rather some sort of cap. This article on these caps lead me to conclude it was a cap, rather than part of the hair. The paper doll’s shoes are fairly standard 15th century shoes with squared toes. Her hats are based on portraits of the era.
I picked out colors based on the main colors I saw in the portraiture which were red and black. I really wanted to do blue as well, like the illustrations of the Saxon princesses and so I did a blue gown as well. I did wonder, however, about the blue. Color is often symbolic in manuscript illustration and I wondered if perhaps blue was used to denote virginity (the Madonna was associated with blue) rather than to render the actual color of the gowns. Never the less, I thought they looked pretty and that was enough for me. I made the paper doll a redhead, because I have a thing for redheads and so did, it seems, Cranach.
The most useful document was Das Sächsische Stammbuch – Mscr.Dresd.R.3 and I owe a debt to the library that digitized it. It it through this digital work that people like me can see the great artifacts of Europe and study them. I am well aware of the risks and time such projects take, so I am grateful when libraries and museums undertake them.
As always, if you want to know when I update this blog, feel free to drop your email on the sidebar to be and be added to the updates mailing list. You can also follow me on twitter where you can see when the blog updates (though I usually tweet after I post by a few hours) and get to read about what I might be making for dinner.
And, of course, thoughts in the comments are always valued.
Today’s color scheme is based off the Pantone Colors of Spring 2015– though I confess I don’t really like the Pantone colors of Spring 2015. Still, I try to do Pantone paper doll sets, because it gets me out of my comfort zone. Every once in a while, that’s crucially important.
Since the theme of this paper doll set was color blocking, I obviously had no pattern in it. The pieces were based on fashion magazine content that comes out in Spring. While I confess that the color scheme isn’t my favorite, I really like how both pairs of shoes came out and the blue top with the orange and yellow accents. I’d totally wear that top which is not something I can say about most of what I draw for paper dolls.
In the real world, my taste is fairly conservative and leans towards tweed trousers or boho blouses.
I don’t have much else to say about this paper doll set. She’s named Maeghan which I explained last week and you can see more of her with the rest of the Maeghans in my new, Maeghan category. I’d love to say that new exciting fascinating things will happen on the blog in the coming week, but I am pretty sure it will be pretty much just paper dolls.
And while I like to think paper dolls are new and exciting, its hard to argue that they are also what people come here expecting. Surely no one shows up thinking that this place is going to be full of cat GIFs or delightfully trained mongooses.
For the record, I have no idea what you would train a mongoose to do or even if you can train mongooses.
So, I’m posting a third paper doll this week, because I totally only posted one paper doll last week. I guess this is my “apology” paper doll. 🙂
Faye here is rocking some modern outfits with geometric patterns. As I think I mentioned before, Faye is named for a Chinese student I knew in graduate school. Someone asked me how I name my paper dolls and really it is mostly out of the clear blue sky, though I tend to avoid naming them after people I’ve known who I didn’t like. There’s certain names that shall never grace a paper doll.
I used one of my favorite tools to create the patterns in this paper doll set. It’s called a drafting template and they come in all different styles. I wrote about my favorite tools a while ago. Anyway, I love them and they make from a great starting point for interesting patterns on paper doll clothes.
I usually draw a single repeat or two of my pattern and then construct the pattern in Photoshop. It’s not a hard process, but is it something people would like to learn about? I could do a tutorial I think.
Hazel also has a heavily geometrically inspired set of clothes from last year entitled Hazel’s Geometric Style. When I first named today’s paper doll set, I nearly used the same name which would have been awkward. The similar styles I think lend themselves to lots of fun mix and match opportunities though. If you combine today’s paper doll set with Hazel’s Geometric Style there’s 274 outfit possibilities, not even including the accessory items. Pretty remarkable.
I love the styles of the early 1930s and I wanted to create a paper doll that showed them off, so here is Lois- a paper doll of the early 1930s. That is to say, everything in it comes from 1930-1932.
It’s common to speak of the last century of fashion as though it happened in neat decade compartments. In reality, fashion doesn’t care what decade it is. It moves based on cultural and social shifts, often subtly, and then you look around and notice that the silhouette has shifted. Rarely, fashion changes dramatically over a short period, but only very rarely.
So, when looking at the early 1930s, as this paper doll does, you might be struck at how close these dresses are to the late 1920s. In truth, they are very similar, because fashion just doesn’t change that quickly. The Great Depression will catch up with the styles of the 1930s, it just hasn’t yet. All of these dresses are drawn from images in the book Everyday Fashions of the Thirties As Pictured in Sears Catalogs published by Dover. The Sears series from Dover is an inexpensive way to gather up books the show what people wore, rather than what fashion magazines thought people should be wearing. I own almost all of them.
I have mixed feelings about my color choices. I knew I wanted to pick a color scheme where I hats could go with either of the dresses, but I don’t know how successful I was. I really do like how the white hat contrasts with her dark skin and I like how rich the red coat looks, but I’m not so sure about the yellow dress. The early 1930s is a very art deco influenced period and that makes me happy. I love the asymmetrical styles and the often surprising details.
Unlike my 1920s Pixie Lynn, I actually gave Lois some undergarments. She has a girdle decorated with flowers to go under her dresses. She should, technically, have a slip to go over that and panties to go under it, but its a start.
I would have to pour through all my posts to be certain, but I think this is my second 1930s paper doll ever. The first was way back in 2010 for my original Curves Series and is just called 1930s. I got totally distracted looking through those old paper dolls trying to find the 1930s set I was pretty sure was there. It’s strange to go back and look at things I drew four or five years ago.
Some of them paper dolls I still really like and others I don’t. It rather makes me want to take on a project like Julie’s toddlers where she goes back to older color schemes. I’ll have to think on it. I don’t want to “redraw” old things, but there are some ideas there that I think could be reexamined fruitfully.
Back when I first drew this base doll for my 1300s paper doll set, one of my regular readers, Jazz13, suggested that I name her Megan.
I have several friends named Megan (spelled all sorts of ways) and I wasn’t sure I wanted to name a paper doll after them. Then, my boyfriend, remarked out of the blue that he thought she looked like a Megan. I was a little surprised and said, “Okay, well maybe…”
Then I spoke to a very close friend and got permission to name the paper doll after her. So, I am pleased to present Maeghan, the new member of the Marisole Monday & Friend’s family.
The friend for whom I named the paper doll wanted her to get to have crazy absurd dresses or clothing with pockets. I confessed the paper doll was already drawn and colored, but promised the next one could have crazy fantasy gowns.
The unusual spelling of the paper doll’s name as Maeghan, rather than the more common Megan or Meghan, was chosen because that’s how my friend spells her name and spellcheck thinks its a misspelling and I’m not sure she’s ever gotten over it.
(When she reads this post, I am totally getting a text.)
Anyway, I hope everyone likes Maeghan and her contemporary wardrobe which does not, I am sure, have enough pockets for the real Maeghan to be entirely pleased.
Lastly, I’d like to mention that it is Memorial Day here in the USA where we recognize those who have served and died for our country in the Military. While I always intend to draw something more fitting, I never seem to actually get around to it. Never the less, I consider it an important holiday and we should take a moment today amongst our barbecues and shopping sales to think about the reason for the holiday.
I won’t be barbecuing, personally. I will be stripping horrid wallpaper off a kitchen.
I collect costume history and dress books. I’ve been collecting them for years. I used to deny that it was a collection, but as it has grown I have grudgingly come to accept that “collection” is the the only word for it.
The colors in this set are based on a Japanese language book I have on Kimonos. I don’t have much of a clue what the book is about (I don’t know any Japanese), but I picked it up for a dollar from a booksale in college and its been traveling around with me ever since. I keep swearing I’ll give it away to someone who read Japanese, but somehow I can’t seem to part with it.
Funny how that goes, isn’t it?
I don’t have many other kimono history books, though I do plan to expand my “ethnic” clothing collection soon. (I put “ethnic” in quotations, because I find that term problematic for a whole slew of reasons that I don’t want to get into right now. Needless to say, all clothing is about ethnicity, even if you don’t realize it.)
Anyway, these colors are quite bright, so if I understand kimono color culture correctly, they would be most appropriate for an unmarried young woman. Of course, none of these are actual kimono, so I suppose I could just have decided that in the strange elven fantasy culture these are from anything I say goes.
I’ve had a lot of fun with this set. Next up is a contemporary fashion set and a naming poll. After that, I really haven’t decided what I am going to do. I need to buckle down and get some sketching done for my next few historical sets and give the Poppets some love. They’ve been neglected as of late.
Thoughts on what I should draw for the Poppets? Drop me a comment. Or just drop me a comment, because you care.
You do care, don’t you? (Imagine me giving you puppy dog eyes here.)
