Original: 1840s Adjustable Wrapper

 

Cotton Wrapper, c.1840s, Kent State University Museum.

Since a direct link doesn't work, a search for item "1984.002.0045 ab" in the Kent State University Museum's online collection is the best way to see the alternative views of this lovely cotton print (especially the final detail view of the printed fabric up close, and the front-on view which shows the diagonal grid of the pelerine front to perfection).

The vivid colorway of the printed cotton fabric is what initially caught my eye about this wrapper: there's two different wavy floral lines, one running horizontally and one vertically, with the resulting squares not only alternating between green and yellow/beige in each horizontal row, but those boxes are dyed in a graduated ombre (darker towards the bottom, lighter towards the top) with a subtle tone-on-tone coral motif in each (possibly a resist-dye effect). The size of the motifs and color differences (high contrast in some places, tone-on-tone in others) make it look striking from a distance but somehow less "busy" than I would have expected.

The second thing that caught my eye was the way the side seam in the skirt is a good half-motif off of alignment, which in such a large print really shows. I liked this because while it's strikingly obvious, the mis-matched print doesn't actually detract from my enjoyment of the dress as a visual object. In a way, it draws more attention to the detailed, bright printed design.

The diagonal grid formed by cutting the pelerine front on the bias also really stands out on this example (seriously, go check out the first image with the front view). Again, the fabric itself has so much going on, that simply rotating the motif 90 degrees in one area but not another makes a dramatic effect.

I do wish there was an interior construction photograph of this dress: the description mentions drawstrings in "both bodice and skirt", leading to the conclusion that this was a maternity dress. Strategic drawstrings are certainly a technique which can help fit an 1840s/50s/60s dress to such a changing figure, though I can't say that they are exclusive to maternity dresses versus wrappers worn at other times. Even more convincing to me, is that looking closely at the side-view waistline, it is appears that the mannequin has been padded out in the lower abdomen (mimicking a baby bump), but between the print and the wrapper's soft shape, it's hard to tell for sure. Which, from what I've read about Victorians, would make it an excellent maternity dress.  

January Mending

 Just a few small maintenance projects this month. My red stockings needed darning again, and I also re-attached the outersoles of my low 1840s shoes, which had partially separated over the wet autumn/winter.

Modern Tall Socks

Last of the Christmas presents have found their way home. I did manage a few pairs of not-for-historical reenacting socks in the process. Nothing too technically interesting, because the self-striping yarn is fun enough on its own. 

Orange and pink tones.

Used the 60 cylinder: hung hems, 3-1 mock ribbing, with short row heels and toes. I did 20 rows on the hung hem (makes a nice ~1" hemmed edge), then another 70 rows gradually increasing the tension, and adjusted the foot length to the recipient's shoe sizes.

Twelfth Cake, 2026

Camera deleted the pre-party picture, alas.

Repeating the 1857 Godey's Twelfth Cake recipe, because I like it. This year's attempt at a more accurate cake was in the icing: instead of a buttercream, I opted for the more appropriate royal icing. It was still a bit of a departure from original practice, in that I used meringue powder to avoid serving raw eggs, but that's a line I'm comfortable with holding. As with last year, I managed to find candied citron in the appropriate quantity, but also somehow (again) had exactly 10oz instead of 16oz of currants on hand. I did have about 1/4 oz of actual dried currants (red, white, and black) to use, but the rest were zante currants as usual. I did forget to add the small amount of brandy called for in the recipe, but that doesn't seem to have affected the flavor, as I feared it would.

At any rate, it tastes fine (especially with tea), and doesn't quickly go stale.

For next year, I'd like to work on presentation. I always forget how much this batter does not smooth out on its own while baking, so I am making a note to use the proper dough tool and not just try to smooth out the batter with a spoon. I should also use three layers of parchment paper in baking (on all sides), since two wasn't as effective as I'd like, and will hopefully get some more practice with piping the decorations. 

Gentlemen's Socks, c.1849

Based on the pattern given in The Comprehensive Knitting Book (1849). "For a full size sock:" thirty-six rows ribbing (1-1) or (2-2), then 30 rows knitting plain, heel, plain knitting through the foot, and then close the toe. I used Knitpicks' palette yarn, which is my current go-to for socks and stockings, in the bright red colorway.

 

Socks.

As the original pattern is for hand-knitting, the changes to make it fit my (current) sock machine abilities were switching the ribbed section to mock-rib with a 2 row narrow hung hem, and then using the short-row techniques for the toe and heel. The overall height and use of both ribbing and plain work are original to the pattern, as is the lack of widening/narrowing through the leg of the sock (which the instructions note is common for socks). I tried latching the gaps of the mock rib into a true ribbing, but there were some tension issues.

Sontags, Pelerines, Habit-Shirts, and Bosom Friends, c.1840-1860

For the 10th Day of Christmas, some references for a particular variety of warm garment, generally called a sontag in reenacting circles.  As you can see, there's a lot of variation in the terminology, but all of these garments are sleeveless knit or crochet pieces which cover the chest, back, and shoulders (more or less). Some fasten close around the body with ties and buttons, while others have no fasteners at all. All of the, appear to be worn between the bodice and and a larger piece of outerwear such as a shawl, though some may also be used as an under-layer. I have omitted the more closely-fitted knitted waistcoats, as well as the various sleeved polka-jackets and paletotes, and garments such as a larger shawls which are obviously intended as an outer-most layer. 

Further note on terms: many of these garment names (canezou, pelerine, habit-shirt, handkerchief) are also applied to non-knitted items, which are in some cases rather different from these knitted versions.

Habit Shirt from The Workwoman's Guide (1838/40).

The Workwoman's Guide (1838/1840) includes instructions with illustrations for a "small knit habit shirt" to be worn "under the shawl." It follows the same lines as the later sontag: a flattened V-shape which crosses over the front of the chest, and even includes the cord to fasten the back of the garment around the waist. The most notable departure from later practice is a inclusion of a standing collar, and that the pieces are made separately and seamed rather than knit all-in-one.

The Practical Companion to the Work Table (1844) has instructions for a bosom friend, a warm layer for the chest. This offers less coverage for the back than the above habit shirt, instead consisting of a large block of knitting which covers the chest and much narrower straps over the shoulder. The Illuminated Book of Needlework (1847) goes into greater detail in their similarly-designed gentleman's bosom friend.

Riego's Knitting, Crochet, and Netting, with Twelve Illustrations (1846) gives instructions for a pelerine of the familiar flattened V shape, to be knit in scarlet or blue with a white-spotted-black border "in imitation of Minerva." Except for the lack of explicit ties and the use of "double knitting" (brioche) instead of basket weave, this is basically the 1860 Godey's sontag in both shape and color.

Mrs. Mee's Exercises in Knitting (1847) has a sontag-like "knitted bodice" made in three pieces (one back and two fronts, sewn together) which closes with ties. Made in double knitting with a plain knit border, the garment is explicitly a middle layer: "This is worn outside the dress; and under a shawl or cloak is very comfortable."

Miss Lambert's My Knitting Book (1847) has "a warm habit-shirt, for wearing either over, or under, the dress", which is again knit in that flattened V-shape and has a contrasting color border.

Jane Gaugin's Lady's Knitting, Netting and Crochet Book (1847, 6th in her series) describes two different triangular fichus which seem to follow the shape of the slightly more cape-like sontag (smaller than a triangular shawl, and with some shaping around the neck).

The Winchester Fancy Needle-Work Instructor (1847) gives instructions for "a warm pelerine, to wear under a shawl" in the familiar flat-V shape, with no mention of fasteners.

The Knitters Friend (1847) has an intriguing "kamtschatka body" which is knit back-to-front over the shoulder like so many of these garments, but in a square rather than triangular shape and with the sides stitched together, into more of a sleeveless vest. It's unclear whether this is meant to be layered above or below the dress.

Riego's Winter Knitting Book for 1848 has a knit pelerine, again of the flattened-V shape, but without the waist tie. Another of her titles from the same year, Mlle Riego's Knitting Book focuses on lace knitting, but gives a round Shetland Shawl similar in shape to the 1859 Peterson's sontag (see below), and a canezou which covers the back and crosses slightly in front.

Canezou in Shetland knitting, from Riego (1848).

The Ramsgate Knitting Book (1848) features a habit shirt, in the one-piece flat-V-construction of the later sontag, with a ribbon to secure the waist front and back.

The Comprehensive Knitting Book (1849) has a chemisette/stomacher pattern with instructions for making it into a canezou (by extending the side edges into the classic flat-V-shape), as well as a shaped "pelerine or under-handkerchief" meant to fit close around the neck and shoulders, and be layered under a shawl (I could be wrong here, but the description seems to follow the familiar sontag V-shape, but with a more pronounced point at the center back).

The Ladies' Companion (1850) has a knitted Under Habit-Shirt, which follows the same V-shape, open-piece construction as the earlier habit shirts and later sontag. [Terminology note here that non-knit habit shirts are chemisette-like garments used to fill in an open-front riding habit. While the earlier knit habit shirts I've mentioned here often specify being worn "under the shawl" rather than under the bodice, this example seems more nebulous. The same magazine also gives a tucked muslin habit shirt which is clearly more of the chemisette-style (and inspired by 18th century stomachers) but which specifically notes that it can be made up for wearing under bodice, or extended into an over-bodice garment, with fichu or canezou as interchangeable terms for the later.]

The Royal Victoria knitting book (1851) gives a knitted wool "Victorine" pattern, which differs from a sontag only in that back is shorter than waist-level and the front pieces meet at the center rather than crossing (and thus gives no coverages to the sides of the torso or the back-waist, but does provide an extra layer over the chest).

Victorine from The Royal Victoria Knitting Book (1851)

The Ladies' Work-Table Book (1852) has a habit shirt of identical construction to that in the earlier Workwoman's Guide, constructed as four knit pieces (two fronts, back, collar) sewn together, with ties at waist and neck. Like the earlier work, this book also confirms that a "habit shirt" in this instance is an outer layer worn under the shawl (not under the bodice as a chemisette would be).

Mlle Riego's 1857 Winter Crochet Book has a "Eugenie Collarette" which follow similar (though more dramatic) lines to the Victorine. It has less coverage than some of the earlier habit shirts and later sontags.

In February 1859, Peterson's published a knit sontag pattern with a button front. This version fits over the upper body and arms like a short, pointed cloak (elbow-ish length on the sides, closer to waist-length at the front).

Peterson's 1859 sontag.

January 1860 sees Godey's publish their basketweave knit "bosom friend or sontag" which has become so popular in reenacting circles thanks to Colleen Formby's modern sizing instructions (also on Ravelry, in case the original link ever goes down).

American Agriculturalist, in December 1860, published Martha Pullan's instructions for a knit sontag: it has the familiar cross-over front and distinct belt.

Sontag from American Agriculturalist (1860).

Fun fact: while the name "sontag" (after opera sensation Henrietta Sontag) doesn't seem to come into use for these almost-outer-layer knit garments until 1859, the term shows up much earlier applied to a light knit headcovering. Otherwise known as a cephaline, it appears in Miss Lampert's 1843 Hand-book of Needlework and in her 1845 My Knitting Book, First Series. There's also a sontag cloak in Godey's in 1852.

2026 Costuming Resolutions

Looking ahead to my sewing goals for 2026, it's time to start on a few 'someday' projects in eras I haven't often done. I'll start with the ones which I expect to have opportunities to use this year:

• Evening dress for a c.1926 event (October)

• New nightgown for mid- Victorian camping events (February)

• 16th century wool gown and kirtle, ideally in time for the Two Rivers, which can get cold.

• A 1776 ensemble (gown or short gown & petticoat) by the summertime America 250 events. I've been accumulating undergarments and accessories, so it's time to finish the main garments.

• 14th century ensemble (probably cotte and surcotte) for some possible events in that era

• Sheer 1850s dress for fancier summer wear (July)

• New early 1800s chemise, as the old is starting to wear out

• Start on some 19th century tailoring lessons (overshirt and jean trousers).

• Linen divided skirt. (Summer)

• 1918 ensemble (November) 

That's a pretty solid to-do list, but just to keep track of them, here's a few more project ideas that I have material for or been hoping to get to.

• 1912 wrap cape

• 18th century peignoir

• 1850s tucked petticoat

• Red paisley 1850s wrapper 

• 1848 Oregon Trail dress

• Victorian dancing slippers

• Update my 1810s ballgown

• Re-fit 1810s day dress

• New 1810s petticoat

As usual, I'd also like to keep trimming the un-posted blog drafts list (aiming for 80 or fewer by the year's end), and not working on projects the night before they're needed. I mostly didn't make the 'completed a week before the event' goal this year, but it helped me avoid staying up late the night before an event sewing (either because I finished the projects a few days ahead of time, or else acknowledged that I couldn't complete the new item and used a back-up).