stockings Archives • Page 7 of 14 • Paper Thin Personas

Brooches and Smokkr: A Viking Paper Doll

September 15, 2016September 25, 2015

In truth, we know very little about what Viking women wore, so that makes drawing a Viking paper doll sorta exciting (and scary). Unlike the 10th century Anglo-Saxons, the Vikings did not have a manuscript culture. Their art was generally metal work or stone carving and highly stylized. Making things more rather than less complicated, textiles rot extremely quickly in soil and those which remain in tact are often saved by their proximity to other materials such as metal, while metal breaks down it releases salts that protect the textile.

This means that what remains we have of Viking garments are fragmentary at best. While working on my Viking paper doll, I did my research, as always, and then made decisions based on my understanding of Viking garments. My understanding isn’t perfect. I am not an archaeologist, nor do I study Viking cultures extensively. My post Wednesday, Viking Women’s Dress in the 10th Century covers my sources and what I understand about Viking garments.

{Download a PDF of this paper doll to Color} {View a 150 dpi PNG of this Paper Doll to Color} {More Paper Dolls in the Bodacious & Buxom Series}Though I came away from my research with the conclusion that there is more supposition than certainty in Viking dress research, I couldn’t be more pleased by how my printable paper doll came out. Her two apron-dresses or smokkrs over shirts were both designed based on the work of some excellent scholars. I chose a closed smokkr, because I agree with Ewing’s and Geijer’s views on the shape of the smokkr. I added an apron on one, based on the work of Bau and Ewing. To the other, I added pleats based on the reconstruction of a smokkr by Hilde Thunem. She has a key, a cup, a comb and a small knife. From the brooches on her left smokkr hang a pair of scissors, a small knife and a needle case.

Her shoes are based on finds at Viking York and her stockings and garters are based on the work of Ewing who argues that Viking men wore garters. I have no reason to believe if men were wearing them than women weren’t. Besides, Scandinavia is rather chilly to be wandering around bare legged.

{Download a PDF of this paper doll to Color} {View a 150 dpi PNG of this Paper Doll to Color} {More Paper Dolls in the Bodacious & Buxom Series}When selecting colors, I tried to be aware of what colors were known to be used by Vikings. There were several references to brown twills in the articles I read (sources here) and the Kostup find is known to have been blue. Her brown smokkr, or apron-dress, has different colored straps, because linen loops were sometimes used on wool smokkrs. Linen, unlike wool, doesn’t take dye very well. I wanted to make a nod to that practice. Both the serks or shirts, I left undyed in lighter colors. One shirt is pleated, as is found in many Birka graves, and one is unpleated. The paper doll has a hair covering as referenced in Ewing’s book, Viking Clothing.

I made my Viking paper doll blond really only because when I think of Vikings, I think of blonds. Perhaps an unfair assumption, but there you go.

As with my Anglo-Saxon paper doll of the same century, I strongly recommend reading my little article and then reading my sources. I would also caution that most of the research on Vikings is not published in English. Until more of the articles are translated into English, I did the best I could with what sources were readily available.

I know people have been waiting on this printable paper doll, so I hope the wait was worth it. I certainly am nothing but pleased with how she came out.

As always, if you like the paper dolls and want to support the blog than check out my Patreon. 🙂

Calash Bonnets & Chemise a la Reine: Late 18th Century Paper Doll Dresses

January 13, 2016September 18, 2015

Late 18th Century gowns before the waist begin to rise at the turn of the century are often defined by simpler lines. You can see in some of them the beginings of the aesthetic and gave rise to the Greek inspired looks of the Empire period in France and the Regency period in England.

Working left to right, as is my usual practice, she has a caraco jacket with a peticoat based on this caraco and quilted petticoat from the Museum of Antwerp and this outfit circa 1785-1790 from the V&A.

The middle dress is based on a robe à l’anglaise from the Kyoto Costume Institute that is dated to the 1780s. I have seen very few other examples of this style of gown in museums, though I would be curious to know how wide spread the style was. The belt is particularly distinct in these gowns and I can only recall having seen one other.

On the far right,there is a gaulle, or chemise a la reine. This radical style was introduced by Marie Antoinette in the early 1780s. I based my version of this iconic garment off a portrait of Antoine-Laurent Lavoisier and His Wife from 1788. To understand the shock such a garment would have induced in the 18th century, consider the reaction people might have if the First Lady of the US suddenly started talking around in her bra and panties in public, rather than chic clothing. Never the less, as is often the case with fashion, the simple lines of the gown caught on and it wasn’t long before all sorts of women were being painted in elegant and simple versions of the chemise a la reine. In fact, this gown could be seen as a direct predecessor to the simpler styles of the Regency and Empire periods. Very few of these gowns seem to have survived from the 18th century, but here is one example from the Manchester Art Gallery.

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There are two distinct hats to go with today’s paper doll gowns. The first hat is a formal hat and comes from a portrait of Adélaïde Labille-Guiard from 1785 held at the Met. Adélaïde Labille-Guiard was an accomplished female painter in 18th century France. She was inducted into the French Académie Royale in 1783. Also, she clearly had excellent taste in hats.

The other hat is what was called a Calash. Calashes were a type of bonnet that was boned and could fold down for storage (and also was tall enough to get over the crazy high hairstyles of the century.) Calashes can be found easily in museums. Here are a few examples of them- one, two, three from the Met and one from the MFA in Boston. The Calash isn’t just an 18th century thing, either, these bonnets can be found in the 19th century as well.

The shoes are fairly standard 18th century style and aren’t based on anything specifically. I just thought my three paper dolls might need another pair of shoes.

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The color selections were all dictated by the original garments colors, except for the caraco jacket ensemble on the left. The one I wanted to do in warm autumnal colors since the chemise a la reine always seems a summer or spring sort of style to me.

This brings us to the end of this little series. If you missed any, check out the entire 18th Century Pixie series.

Hope: A Late 18th Century Paper Doll Set

January 31, 2016September 11, 2015

Hope is based on the styles at the end of the 18th century. So, something major happened around the 1789 in France. It was, for those who weren’t asleep in high school history class, the French Revolution. To say that “everthing changed” wouldn’t be an understatement and the ripples of the events in France spread across Europe in dramatic ways. It is tempting when looking at the end of the 18th century to simply assume that after 1789 everyone just jumped into Empire styles and that was the end of it, but the reality is that there was a very slow evolution to the high waisted gowns we think of as “empire” or “Regency” dress.

So, I was less interested in worrying about the Empire look and much more interested in the every transitional styles that are easily forgotten and often ignored.

This all brings us rather neatly to Hope. Hope is our paper doll model for the later part of the 1700s. Her dresses will never get up the high waisted styles that characterized the transition into Empire. Rather, I think of her as being a woman of means right before everything gets radicalized. And, for her sake, let us assume she lives in England which was always behind on the fashions a bit anyway and a much safer place to be than France at the end of the 18th century. They don’t call it the Reign of Terror for nothing, after all.

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Hope’s hair is done up in a style known as coiffure à l’enfant. This was a style popularized by Marie-Antoinette in the early 1780s. The style is a frizzy halo of hair with several longer strands curled, braided or left straight. Here is a portrait that shows off the hair style from the Met and here is a fashion plate featuring it from the V&A. I have to confess that I am not totally pleased with her hair. I fear that it looks a little bit too “mad scientist” for my comfort.

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Moving away from her hair for a moment, Hope has undergarments, of course, and then a gown known as a Redingote. Redingote’s started their lives as actual riding coats, but eventually transformed into women’s gowns which were coat like and then cut away to reveal the petticoat underneath. The word “redingote” is believed to be a French transliteration of the English term “riding coat”. Hope’s redingote was based on this gown from LACMA circa 1790. The term “redingote” sticks around into the early 20th century as a term of long coats.

Her hat is from this hat from the MINT circa 1770. Her shoes are based on this pair from the Met from 1780. Her muff and her mitts are both from Colonial Williamsburg.

I think that’s all the sources I need to list for Hope. I might have forgotten something, but I think that’s everything. Next Friday, there will be the last set of outfits for the 18th Century Pixie Series all from the later part of the 18th century.

Joy: An 18th Century Historical Paper Doll Set

May 28, 2020August 21, 2015

Today’s 18th century paper dolls is my second of three. Joy, all of these paper dolls will have virtue names, is from between the 1760s though 1780s. She has underwear and a gown in the polonaise style. Poloniase gowns had a skirt that is raised up and bunched over the petticoat. Usually a gown could be worn either with the skirt looped up in the polonaise or with the skirt down- offering some versatility to the 18th century silhouette. The polonaise gown sticks around into the 19th century and is sometimes mistaken for a bustle.

Joy’s gown was based on this pink silk gown circa 1770-1780 housed at the LACMA. Her shoes are based on this fashion plate from 1778. Her undergarments are based off a set held by the V&A museum dated to 1778.

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As with the rest of this series, I based her color scheme off my 18th century color pallet which I introduced in the first part of this series. After seeing this gown from MFA in Boston I knew I wanted to do something in a rich red color. Despite myself, I tend to think of the 18th century as being muted in colors, but nothing could be further from the truth.

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It has been so much fun to share this paper doll series over the last few weeks. We have four more pages with one more doll and three more sets of gowns. The whole collection, so far, can be seen here.

Since we’re talking the 18th century, I thought I would call attention to a cool project I discovered this week. The University of Michigan has begun to translate and make available online the Encyclopédie edited by Denis Diderot and Jean le Rond d’Alembert in the 18th century. The section of primary interest to those of us obsessed with dress is the plates on the Tailor of Suits and Bodices, but I’ve used the Encyclopédie to show students furniture manufacture and paper making circa 1790. I love this book and can get lost in it for hours.

18th Century Gowns: Round-Gown, Brunswick, and Sack-Back Gown

May 28, 2020August 14, 2015

Today, we have out first set of 18th century gowns for the paper dolls, including a round gown, a brunswick and a robe à la française.

Until the introduction of high-waisted dresses at the very end of the 18th century, most women’s garments consisted of a skirt or petticoat and a bodice. In garments like round gowns, less formal and/or worn by the middle classes, the bodice would fasten in the front and there would be a separate skirt. The far left paper doll costume is a round-gown, based on this round gown from the Philadelphia Museum of Art.

Sometimes, the bodice would come down partly over the skirt creating a jacket like affect. These mid-thigh length bodices were called caraco jackets. Here, for example, is an extant caraco jacket from the LACMA. Later in this series, there will be caraco jackets, but our middle gown is not a caraco jacket, but rather a brunswick. Brunswicks were traveling garments, often hooded, that had long sleeves. Though relatively practical, they were made of fine fabrics like silk- which makes one wonder about the whole “traveling” thing. Anyway, you often see Brunswick’s in art, but the V&A has a rare extant version which would have had removable sleeves. I based my Brunswick’s on two portraits- Lady Mary Fox and Alexander Roslin’s Portrait of the Girl Holding a Spaniel.

If the bodice and skirt were attached to each other in the 18th century, the skirt would be open in the front to reveal the petticoat underneath. This style of gown was called a robe à l’anglaise, closed bodied gown or an English gown if the pleats in the back of the bodice were stitched down. However, if the pleats were allowed to fall open and loose than the gown became sack-back gown or robe à la française. In modern times, this gown has been called a Watteau back or Watteau gown, after a painter who painted a lot of this style. The dress to the far right of today’s paper doll set is a sack-back gown, but I think the style is easier to see through extant examples like this robe à l’anglaise and robe à la française, both from the Met’s collection.

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Along with the gowns, today’s set includes a pair of slippers with overshoes based on this set from the Powerhouse Museum Collection. Over shoes were worn to protect the shoe from mud and muck, though I wonder how much protection a brocade and leather pair could have granted. I’ve also included several different styles of hats. My goal with the hats in this paper doll series is less to match specific dresses, but rather to provide enough variety for there to be plenty of choices. Women did not always wear their hair covered, but usually did.

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My color choices for these gowns were taken from my 18th century color pallet which I showed off in last week’s paper doll post. I chose pale blue for the round gown, since the source gown is blue striped, bright yellow for the brunswick, and a rich teal-blue color for my first robe à la française. That is certainly the most formal of the gowns from today’s set. The shoes were done in a neutral light brown color to go with any of the dresses.

In case you missed part one of this series, here is the entire collection so far. Next week, we will have our second paper doll- Joy.

Ragamuffin Girl: Steampunk Printable Paper Doll in Color

May 28, 2020August 10, 2015

You’d think after having done hundreds of paper dolls that I would actually never struggle to come up with color schemes. And yet… I still have trouble.

The problem with steampunk or anything steampunk inspired, is that there’s a lot of brown. (This is actually the same problem I have with gothic things as well- too much black.) So, I selected several diverse shades of brown to use and then set them off with some ochre, orange, olive green, and teal. Pale blue was added so that every shirt wouldn’t be cream. I wanted to avoid red or pink- these are both colors I love and colors I tend to fall back on when I am trying to come up with color schemes and I also thought they were too girly for this menswear inspired set.

The tiny braids in Mia’s braided hair created a new series of challenges. There’s three choices when highlighting a feature like that- go darker than the main hair color or do lighter than the main hair color or go a radically different color than the main hair color. I knew I didn’t want to do option three and I decided the lighter braids looked better than darker braids.

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I will confess that this set took forever to color and while I really like how it turned out, doing the layout of all these pieces was a pain as well. I need to remember my “10 to 11 pieces plus 2 pairs of shoes” rule when I’m drawing or else doing the layout takes forever. This set was 13 pieces and 2 pairs of shoes, plus a lot of these pieces are big. Anyway, it might not seem like a big difference, but it does make a difference.

Anyway, I hope everyone enjoys Mia in her steampunk get up. Next Monday, there will be ballerinas. Actually, we’ll have a whole month of ballerinas- because I might have gotten a little carried away. 🙂

Debuting my 18th Century Historical Paper Doll Set with Faith

May 28, 2020August 7, 2015

Sometimes, I get started on projects and they don’t seem “insane” and then a few weeks later I find myself further into them and I am thinking, “Was I crazy to start this?” and, of course, “Will this ever be done?”

So, over the next seven weeks on every Friday, I will be sharing pieces from a historical paper doll project that started with a simple, “I should draw some 18th century clothing for the Pixies.”

It kinda grew a bit unexpectedly.

My original plan was to do three Pixie paper dolls, all with different skin-tones, and each would focus on the first part, middle part and then last part of the 18th century.

No plan, as they say, survives contact with the enemy.

Instead of three clearly defined sets, I ended up with three paper dolls and four pages of dresses and only one set, my late 18th century set, seemed clear cut. So, I did what any rational paper doll artist would do, I said, “Meh. I’m just going to go forward anyway.”

Today I am pleased to present the first of my three Pixie paper dolls and for the next six weeks, each Friday, there will be another Pixie paper doll or a set of dresses for the 18th century Pixies.

As you can see from my 18th Century Color Palette graphic above, I knew I wanted to use a consistent color palette through all of these seven pages of paper dolls. I chose to based my colors on a stomacher, also from the V&A Museum. I wanted all the colors to be fairly soft, but also rich, reminiscent of what you see in portraits of the era.

Today, I am pleased to present Faith, the first of this seven week series.

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Faith wear’s her hair in a style known as tête de mouton (or “sheep’s head”) and it was extremely popular in the 1750s. She, of course, has her hair powdered, through powder was not universally worn, despite what some people seem to think. Her underwear consists of stays and hoops. As with many of my forays into historical underwear, her undergarments won’t fit under all the dresses of this set. Her stays are based on Stays from the V&A Museum . These type of wide narrow hoops were usually used to support the wide skirted formal gowns of the 18th century, but Faith doesn’t have a formal gown on this page. Instead, she has a riding habit. Her riding habit is based on Riding Habit from the V&A museum dated between 1750 and 1759. Her small hat is a combination of a hat from the Met Museum and the hat in this portrait of Princess Marie-Thérèse-Louise de Savoie-Carignan which was sold at Christie’s.

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The colors of her garments were, of course, influenced by the original riding habit, but also by the stomacher I showed above. I wanted a consistent color scheme across all these paper doll pages, for maximum mix and matching possibilities. Playability, a word I am not sure is a word, is something that I value very highly in my paper dolls. While I rarely cut them out and actually play with them, I like to think about how people would cut them out if they were going to do so.

Tune in next Friday for a page of dresses and then the next week a paper doll and then a page of dresses and then… well, you get the idea. 🙂

Ragamuffin Girl: Steampunk Paper Doll

May 28, 2020August 3, 2015

I previewed this paper doll back in April, but even when I previewed it, the paper doll set had been sitting in my sketchbook for a month or more. I was dreading work on it, not because I didn’t like the paper doll, but because the idea of coloring all the detail was terrifying.

So, last week, when I was finally out of everything else I had drawn for Marisole Monday & Friends that I could feed the blog, I found myself finally tackling this paper doll set. Sometimes I have to be forced into these things.

All right, so inspirations for today’s paper doll set include the film Newsies and that’s really about it. Though I confess I do rather see today’s version of Mia hanging out with my airship mechanic Marcus. I mean they both have tools and newsboy caps.

{Click Here for a PDF to Print} {Click Here for a PNG to Print} {Click Here for More Marisole Monday & Friends Printable Paper Dolls}I try to create for all my Marisole Monday & Friend’s paper dolls somewhat evenly. Currently though, this is only Mia’s second set this year. That puts her behind well… everyone else. So, she’ll get some more love soon though since I’ve got a ballerina set in the works for her and Monica. (Yes, I tackled my fear of tutus.)

Today’s paper doll set will, of course, be up in color next week and then… I have no idea what’s next, actually. Probably ballerinas.

Alien Fashions for the Ms. Mannequin Paper Dolls

April 8, 2020July 31, 2015

Yesterday, I posted Xylra my new alien paper doll and I wanted to get her fashions up today. Not just because I think they are neat, but because I have been rather neglectful of the blog this July and if I post these this week then I won’t feel so guilty.

Blog guilt is a powerful motivating factor in my life.

Xylra is a fashionable intergalatic astrophysist and I confess I have no idea how practical any of these pieces would be for someone studying astrophysics. Truth be told, I have no idea what an astrophysicist does all day, but then I suppose most astrophysicists probably don’t know what Special Collection librarians do all day which makes us even. (For those of you who haven’t read my about page, I am a Special Collection librarian when I’m not drawing paper dolls.)

Anyway, one of my rules with paper dolls is to avoid being bogged down by practicality or common sense when designing fantasy or sci-fi clothing. A rule I haven’t violated here.

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I did want to take a moment and talk about the colors in today’s set of paper doll clothes. Originally, I was planning on a more traditional cyberpunk color scheme, but I wanted to see if I would work with colors that I actually didn’t like. Perhaps an odd mental exercise, but important, I think, to growing as an artist. I considered doing two coloring jobs, one with colors I liked and one with colors I didn’t, but once I’d colored the paper doll clothes with my “ugly color scheme”, I found that I actually rather liked them. Perhaps spending time with the colors softened me up towards them or perhaps I just didn’t want to recolor the whole thing. Either way, enjoy my foray into an “ugly color scheme” and if you don’t like it, well… there’s a black and white version for a reason. Enjoy!

Isadora Goes to the Ball: A Fantasy Princess Printable Paper Doll Coloring Page

May 19, 2020July 4, 2015

This is not an Independence Day paper dolls, but I have some links to a few down at the bottom of the post. This is a princess paper doll.

Let’s be honest for a moment: A lot of the appeal of princesses lies in their glorious dresses.

We all know intellectually that being a princess would kinda suck. (There’s a great video about this by Amy Schumer.) You’d have to marry someone who you likely didn’t choose. Your value would be entirely defined in your ability to produce an heir. Also, that person you would marry might end up being your cousin.

Never the less, your wardrobe would rock.

So, I’m not sure if Isadora would be a princess, because she doesn’t have a crown. Do princesses need crowns? I suppose they should if they are coronated. But once they get coronated than are they actually queens?

Royal stuff is complicated.

{Download a PDF to Print} {View a 150 dpi PNG} {Check out some More Mini-Maiden Printable Paper Dolls}These three gowns are all ball-gowns in my head, but the glory of paper dolls is that we can choose what they are. Maybe these are what Isadora wears to the grocery store. Actually, if I had these dresses, I might wear them to the grocery store, though I have been told that driving in a hoop-skirt is really difficult.

So, this is the fourth of July or Independence Day in the USA. I did not, however, get a thematic paper doll done. If you wish for one, then I recommend Hazel’s 4th of July set, my Marisole Monday & Friends 18th century 4th of July set or Marisole Monday’s Nautical set which, while not technically 4th of July related, does have a red white and blue color scheme.

Promenade and Play: Victorian Paper Doll Clothes for the Poppets

May 19, 2020June 20, 2015

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.)

poppet-1870s-victorian-historical-paper-doll-dress-up-black-white

{Download a PDF in Color} {View a 150 dpi PNG in Color}{Download a PDF to Color} {View a 150 dpi PNG to Color} {More Poppet Printable Paper Dolls}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.

That is a lot of P names.

Anyway, enjoy the Victorian paper doll outfits.

Greta’s Trousseau: Spring Costumes

May 19, 2020June 17, 2015

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.

{Download a PDF to Print} {View a 150 dpi PNG} {Check out some More Mini-Maiden Printable Paper Dolls}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.

Here is the rest of Greta’s paper trousseau in case anyone missed a page or something.