flower water & natural perfumes

Rose Water

Before the Northeastern I made rose water from the heirloom roses than grow around our house.

For years they have entangled themselves in the field-stone foundation of my parent's home, and they are nearly impossible to get rid of... though I can't think why anyone would want to be rid of them. They smell so sweet for the first two weeks of July and are the most perfect pink imaginable. Weeding is a bit tricky as the thorns are sharp and they grow close together, but the beauty and scent of the blooms are well worth the pain of caring for them. They are very pest & blight resistant and just love being cut back. They flourished after Dad mowed them down.

Since the blooms only last a day I didn't feel bad for picking the petals that were about to fall and using them for rose water.

Rose water can be used as a facial astringent, perfume, light facial/body wash mixed with water, or you can even cook with it. While I was camping I used it in the rinse water for my hair and it smelled delightful all day.

Be sure to pick the blooms in the morning and only use the petals, not the hips or leaves.
No pesticides!
It must be used within 2 weeks or it will go bad. Using it in time will not be a problem, believe me.
Distilled or spring water works best, but you can use tap water if you filter it through a Britta or let it stand overnight so the chlorine evaporates.

Pick a bunch of petals (just dead-head before they are completely wilted) and remove any bugs or green bits.
Rinse in cool water briefly to get rid of any dirt.
Add equal parts petals & water to a metal pan and slowly bring to a simmer. Don't let it boil until all the color has faded from the petals. You will have to watch it the entire time, so don't walk away. Do not allow it to actually boil; turn it off as soon as the first big bubbles come up. Boiling will destroy the scent.
Allow to cool naturally to room temperature.
Strain out the petals and squeeze the last bits of water from them.
Put the rose water in sealed, refrigerator-safe glass containers. Canning jars will do fine, but vinegar decanters look very nice too.

This is a fast & easy way of making seasonal scents for yourself, family & friends.
It doesn't take a lot of petals to make a large quantity of flower water, so you can get a big batch from relatively few flowers.
It's not something to keep, it's something to use and enjoy in the moment.

Alternative flowers: lilacs, lavender, orange blossoms, peonies, hibiscus, etc. Any edible flower with a nice fragrance will make good flower water.
You can find some wonderful cooking recipes on the internet that use flower water.
Caution: only use flower water that you KNOW is edible.




Natural Flower Perfume

The next thing I am making is natural floral perfumes. I'm roughly following the directions from here: http://www.ehow.com/how_4480818_make-perfume-using-flower.html

The nice thing about perfume is that it lasts for a year or two, rather than two weeks. The down-side is that you only get a little bit. You can use just about any non-toxic flower or herb with a pleasant scent.

It takes about 3 weeks before a perfume is usable, so plan ahead if you want to make this as a gift.

Gail's Variations & Directions:
I'm using rubbing alcohol instead of vodka. Vodka perfumes are illegal to sell without a liquor license in most of the US, and I don't want anyone trying to drink something made from potentially inedible flowers.

I'm figuring 1 part chopped blooms to 2 parts spring or distilled water. So if you've got 2 cups of chopped flowers, soak them in 4 cups of water. I've also cut the alcohol : flower water ratio. 1 part alcohol to 1 part flower water seems to work just fine. The down side to using rubbing alcohol is that you can't smell the perfume in the bottle. But once it's on your skin the natural scent takes over and it's divine.

Directions:
Pick blossoms in the early morning when scent is strongest. You can use fresh-fallen blossoms, but fresh is better.
De-bug & De-slug your petals and briefly rinse them in cool water.
Chop finely and put 1 part petals into 2 parts room temperature spring / distilled water.
Cover & allow to steep overnight. I used glass canning jars and they look very pretty.
I also put the mixture through the blender before the next step and let it soak another hour or so.

Strain out the petals, squeeze out the water & throw away the "pulp."
Slowly reduce the water in a sauce pan or deep frying pan over low heat. This will take an hour or more. Have patience and don't let it boil. Steam & simmer are OK, but boiling will destroy the scent.
You should reduce 1 cup to 1 tablespoon, approximately.
I used coffee filters to get the fine petal bits out of the water at about the 1/2 way point in reducing. Do not allow it to cool in between.

When you've got the right amount of liquid left remove from heat and allow to cool.
Add equal parts rubbing alcohol & floral water together in a stoppered bottle.
Shake gently and allow to sit for 3 days.
Test on your skin for scent & allergies.
If it's too strong, add 1 tbsp of water. Let sit for another 24 hours then test again. Add more water as needed, but allow it to rest between each addition.


The entire process is delightful, from picking the blossoms, to chopping, soaking, cooking and mixing. Once it's in the colored glass containers it will be absolutely lovely.

The phlox is the most delightful scent on my skin. It lasted about 4 hours strong, and is still lingering at 6 hours. I wanted to roll in it it smelled so good.
I made one batch of phlox, one of white rose and two batches of honeysuckle. After you get the hang of single-scent perfumes, try double and triple scents.

Alternative flowers: iris, tulips, violets, vanilla, jasmine, geranium, etc.
Avoid: foxglove, morning glories, lily-of-the-valley, wisteria, oleander and other potentially toxic plants. Leave these to the professionals. Please do some research before handling any of these plant materials, some plants can be dangerous or deadly, especially in concentrated forms.

Caution: some flowers may cause allergic reactions, so if you are unsure do a small test-patch on your arm and hope for the best. I make no promises on the safety of any of these perfumes, you are responsible for doing your own research on the plants you are using.


Some links for your enjoyment.
History of Perfume: a brief history of perfume.
Timeline of Perfumes
Another timeline of perfumes with people, styles, etc.

18th century pocketbooks

The eternal question of 'what to do with all these scraps?' had many answers in the 18th century when little went to waste.
As a modern businesswoman and seamstress I tend to stash tiny bits of silk, trim & brocade because I can't bare to throw it away when I paid so much per year... after all, I just know I'll need that 1/8 yd or 2" strip of whatever eventually. When I accumulate so much scrap that it becomes clutter, it's time to get sewing!

A very good thing to do with small pieces of fabric (aside from patchwork quilts) is to make accessories.

In the 18th and early 19th centuries men and women carried pocketbooks or silk purses. Important documents, money, love letters, scissors, sewing kits, etc. were kept in these tiny works of art.
Most were heavily embroidered and highly prized. They were given as gifts by very close friends, or purchased for important occasions such as housewarming or wedding gifts. Not everyone had a pocketbook.

Most commonly, pocketbooks had two main pockets with a 3rd or 4th sewn on top and a flap covering the added pocket. There could also be another pocket sewn on top of that to hold scissors, penknives or calling cards.
They could be made from silk, brocade or linen and were trimmed with gimp, silk ribbon or finished with cut edges and embroidery.

Men kept their pocketbooks in the breast pocket of their inner-most waistcoat. Women kept them in their pockets. These accessories were similar in function to a modern safety deposit box.

They are approximately 4" x 7" when closed and 8" x 7" when open. They can be larger or smaller, depending on the intended use or the available fabric.
If you decide to make or buy one, make sure it will fit in your coat / pocket.

A good place to see (or buy) historic examples is Vintagetextile.com. She has 3 lovely high-end examples at prices that are similar to other vintage sites.





This is a basic pattern without instructions (because there are too many variations).

This is relatively easy to make.

It's all approximates, you will have to look up historic examples and decide on the individual details of your pocketbook.

Bind all raw edges and be careful that any hand sewing doesn't come through on the inside of the pocket.

Remember to stitch the "bottom" edges closed or you will lose things in the far corners of the pocketbook. This won't be a problem if you bind all the way around, but if you only bind the sides you will have to do a narrow stitching line on each end.

1775 English Gown: The Pumpkin Coach Dress

1775-80 English Gown

I made another English Gown or Robe A l'anglaise from The Cut of Women's Clothes. This one is made from burnt orange cotton with the same color embroidery in a pinwheel floral design. The petticoat is a linen/rayon blend that is the exact color of the embroidery and just a step away from the gown fabric (it's affordable, and matched perfectly... also safe around fires).
Now pictured here are the wider green silk ribbon ties (that I finished last week), I have decided against the ruching on the sleeves, at least for now.

I have made pockets & a fichu and will make hip & bum pads to go with this gown. It seems to want them, unlike the white gown, which didn't really need them as it was made for a lady with a very full figure. I'll also make a pair of lightly boned stays... most likely in a cream color and a matching cap with one of those huge puffy tops and a green ribbon for accent.

I keep thinking of Cinderella's pumpkin coach when I look at this, which is why I wanted the green accents. In my head, I've shortened it to "the coach dress," though it really has nothing to do with travel.

The back can be worn down or bustled up A l'polonaise with 2 ties (see picture below), and can be worn with or without a fichu.
If you have a plain shift, wear a fichu with it.
If you have ruffles on your shift, let them show at the neckline and nix the modesty cloth.

It is for sale on my web site.
Bust: 38"
Waist: 30"
underarm - waist: 9" (with hip pads).

This dress would be lovely on a small lady with brown or gray eyes & dark or olive skin.
Someone with blue eyes or very pale skin would have to wear a modesty cloth to prevent the color of the gown being reflected on your face, but just about anyone could wear this without too much trouble. Very light blondes would have to take care not to be overwhelmed by the strong colors, but a honey-blonde would look fabulous in this.






Recap on the history of the English Gown:

This gown was worn throughout the 1700's. It started life as the Mantua in the late 1600's, and slowly evolved along-side the sack back gown into what we see here. As the century progressed, it becomes difficult to tell the difference between English & French gowns unless one can see the pleating in back. The Robe A l'anglaise finally disappeared in the early 1800's, being replaced by the Empire dress. It wasn't until the 1840's that a similar cut was seen again.

The English Gown changed very little through the century. The shape of the bodice evolved a little, and the bustling method & sleeve decoration changed with the times.

Early in the century the center front of the English Gown was deeply pointed, and later on it became more rounded and shallow.

Here you can see the 1730-40's styles, worn with aprons & modesty cloths. They can have rounded fronts, stomachers, open or closed skirts, sleeve flounces or cuffs (flounces were most popular through the century for wealthy ladies, cuffs were most popular for working-class, though both styles were worn by everyone).

Group Portrait of A Family By A Lake And A Classical Pavillion




The English Gown can have a V neck & stomacher, or a closed round bodice (both seen in The Polite Maccaroni). 1770's.

Both ladies here are wearing their gowns A l'polonaise, which means they have tied them up into various styles that increase the folds of the fabric, keep the skirts out of the mud and give them that "milk-maid" look that was so fashionable in the 1770's.

Both ladies also have contrasting petticoats, the wealthy one with a ruffle on hers, and the working girl with a quilted petticoat (most likely from a consignment shop).
Note that the wealthy woman's petticoats are longer and cover her ankles, while the working girl's petticoats are above the ankle to avoid draging in the mud.

*Flower sellers who worked for shops were not the dregs of society. They were usually working class daughters or young wives who needed extra coins. Occasionally they were prostitutes who used both jobs to earn their living.




At it's latest incarnation there was an inverted V from the bust to the waist with a contrasting color at the bottom front. (Mari Antoinette & Her Children, 1780's). There is another name for this gown... Turkish robe I think, but I'm not sure. It is the same cut as an English Gown of the times, the main difference is in the color contrast & double sleeves... you can see the red sleeve above the white.

The most common decorations on the English Gown were pleated cuffs, sleeve flounces, lace and ruffles. Ruching was used at the cuff & the center front of the skirts. Bows and puffs were also very common on all gowns.

Not all gowns were decorated. The more decoration, the higher the social class. (note the difference between the flower girl's dress & the lady next to her and then look at Mari Antoinette's gown).

How to make an 18th century jabot, stock or cravat.

Men's neckwear in the 18th century took several forms.

The first was the stock, a gathered band of fabric that tied or buckled at the back of the neck over the shirt collar. It could have an attached jabot that mimicked the cravat, or could be worn in combination with the cravat. The most common fabric was linen, followed by cotton and silk. It was usually white, but occasionally black.

The second was the cravat (about 1660-1830), a long piece of fabric or lace that was tied in many different ways. It could be wound around the neck, the collar, and tucked into the waistcoat in a variety of fashions. It reached it's peak around 1800 with the wide use of starch, and then gave way to neckties in the mid 1800's. Again, the most common color was white, but any color could be worn, and there was a language of the cravat, just as there is a language of flowers.

The third most common neckwear of the 1700's was the jabot, or ruffled stock. This was tied around the neck or shirt collar, and the collar was folded over it. It could be made from lace, linen or a combination of both. The most common color was white, but other colors were seen as well. This was often worn in combination with the stock.

Directions:

To make a stock, gather 1/4 - 1/2 yd of 13" wide fabric into 2 tabs of fabric, about 3" wide. Attach those to ties or a band to go around the neck & collar.

Use linen or cotton for starters. Silk is good if you aren't going to be doing hot things (it's very warm).

To make a cravat, roll a narrow hem on a strip of fabric (linen or silk) 10 - 15" wide x 105" long (or longer) and tie till your heart's content. Military cuts were often much shorter: 42 - 72" long.
OR
cut a 56" x 10" strip (on bias or straight), then fold in 1/2 (so it's 28" x 10") and cut a triangle from center to edges. Make neatly rolled edges & done!

To make a ruffled jabot, follow the directions below.

Cutting / Ripping.

2 base pieces (these should be about 6" x 8", or there'bouts).

However many ruffle strips, 2 - 3x wider than your base pieces. I used 5 (originally 6, but one came up short, so I got rid of it).

Rip a 1 1/2" strip of fabric about 25" long for your binding & tie.

Ruffles.

1. Make a small rolled hem on all the ruffle pieces to create a finished edge. If you can use the salvage for one side this will save you a lot of time.

2. Make 2 rows of gathering stitches along the top side of each ruffle.

Set ruffles aside.

Base:

1. With right sides together, sew side, bottom, side, leaving one end open to turn (this will be your top edge).

2. Clip corners, turn & press.

3. Mark 1/4" - 1/2" from top & bottom with chalk/fabric pen, then evenly divide the space in-between by the number of ruffles you have. (remember to count your top & bottom marks).

Set aside.

Sewing ruffles on.

1. Find the center of the base & first ruffle & mark.

2. Pin together in the center & at the sides on the bottom line.

3. Gather the ruffle into the base and secure with pins or sew on a machine.

4. Repeat with each ruffle on the next line up.

5. Remove gathering threads.

Band:

1. Find the center of the band & the center of the jabot, mark and pin together as shown. Buttonhole (hand stitching) or overlock (machine) the raw edge, then straight or back stitch just below.

2. Turn the band over & create a finished edge on the fold with a blind hem stitch or top stitching. It will be folded like double-fold bias tape... in fact, if you are lazy you can use double fold bias tape for this.

3. Finish the band on either side by turning under the raw edges (like double fold bias tape). Remember to turn the ends in and make a neat band.

How to make an 18th century cap

Step-by-step instructions on how to make a simple 18th century woman's cap.

There are many variations, but they all go together about the same.

These instructions are free, this is my own pattern based on research, experimentation and trial & error.

Caps are for sale on my business web site, if you would like one go here for more information.

I do not sell this pattern. It's too easy to figure out on your own, and it's here for free... the illustrations below are all mine.

History of the cap:

In the 18th century (1700's) most women wore linen caps. Various styles were available to all social classes, but generally the more hair you covered the more conservative you were. Caps ranged in size from tiny scraps of lace that were pinned on, to huge hood-like creations with ruffles, pleats & substructures. Or they could be simple, functional garments.

Caps were worn for multiple reasons.

The first is cleanliness. Wearing a linen or cotton cap will keep your hair cleaner longer. Caps keep smoke & other household / environmental stuff out of your hair, and the less you fuss with your hair, the less oil / dandruff will build up.

The second is health. By covering your hair, you are less likely to have your hands by your face, which helps prevent eye & skin infections, etc. It also reduces the number of 'bugs' (lice, fleas & other nasties) that jump from one person to the next. If you keep your hair up & covered you are less likely to get split ends or broken hair.... ladies didn't have access to good quality conditioner & having long beautiful hair was a point of pride.

The third is religion. Most of the western world was Christian or Jewish, and women covering their hair in public was a major element of those religious cultures.

The forth is fashion. Few outfits are complete without the proper hairdo or headgear. Caps complemented whatever the latest style was, and let's face it, they just look super-cute.

Materials:

Linen scraps (about 1/2 yd) ... you can also use cotton, but it's not as common until the 1800's.

Thread

Silk "ribbon," rip on the straight.

Cotton cord.

Optional: lace, embroidered linen / cotton, metallic ribbon, etc.

Time:

This will take about a day for an experienced hand-sewer, or an hour for machine sewing. It could take more or less depending on the variations & how fine you want the stitching to be.

Cutting:

Note: the pattern below is just a guide, not a hard & fast rule. Feel free to make as many variations as you like. Look at paintings & prints from the time for more ideas. Not to scale at all.

1. Cut a 1/2 circle or 1/2 oval with a curve measuring 25" - 50" (depending on how much room you want in the cap). The smaller the circle, the less the cap will cover.

2. Cut 2 bands 4" - 9" wide & 16" - 30" long. Length will determine if the cap has barbes or not (barbes are the bits that hang down, flip up or fasten under your chin).

Width of the band will determine how much of a "brim" your cap has. This cap has a 1 1/2" band & ruffle, not a brim.

From center, mark 16 or 17" (this is where you attach the cap).

3. Optional: cut a ruffle 2 - 3 x the length of the band. 1" - 5" wide (will depend if you want pleats, ruffle, etc.). You can also cut it double wide, fold over & stitch the raw edges together.

4. Cut or rip silk for ribbon (or use silk ribbon). length = crown + 10" for bow.

Sewing the cap:

1. Turn over a small hem at the corners of the cap. Back stitch or do 4 short running stitches then one back stitch to secure.

2. Turn over a small hem along the flat side & finger press it. You can stitch now or later.

Turn over again to create a small cord channel. Stitch using 4 short running stitches then one back stitch to the end.

3. Find the center of the arch & pin, mark or tailor tack it.

4. Using 4 strong threads, go from center to ends in a double gathering stitch. These will be removed later.

Set aside.

Sewing the ruffle:

1. If it's in pieces, stitch pieces together using a French or welted seam.

2. Turn a small hem over & use a blind hem stitch, overcast, back stitch or 4 running & 1 back stitch to create a neat, secure hem. What stitch you use is up to you, it will change the look of the ruffle slightly.

3. Make 2 gathering stitches along the back edge of the ruffle & either gather in sections, securing each section as you go, or gather all at once, (up to you how you want to do this). Make sure your gathers are even, or well-distributed.

If you plan on removing the thread, use a different color, if you plan on leaving it, use a matching color.

Set aside.

Sewing the band & ruffle:

1. Sew the ends together if straight, folding 1/4" of one band up to wrong side. This will be the top finished edge of the cap-side.

2. Mark center on band & ruffle.

3. Sandwich ruffle inside the bands, making sure the "up" sides are facing each other.

This can be done in 1 or 2 steps:

A. For all at once, sandwich all layers. (same color gathering threads)

B. For 2 steps, face undersides together, stitch, then pin up to up & stitch. (contrasting gathering threads)

4. Pin & preview. (Make sure up-sides are together, down-sides are together, etc.) before you sew.

5. Sew together using a button hole stitch, then running or back stitch below that to make a clean sewing line.

Remove gathering stitches if applicable.

6. Turn & finger press.

Sewing the band & cap:

1. Find center of cap & band. Pin at center & ends.

Pin down-side to down-side first.

Make sure up is to up and down is to down.

2. Gather the cap into the band, making sure gathers are even or well-distributed.

3. Sew together using button-hole and/or running stitch.

Remove gathering threads now.

4. Flip top of band over & pin. (this is your folded-over edge).

5. Sew together using a back stitch for the neatest finish.

You can also use a blind hem, running or overcast, whatever you prefer.

Sewing the ribbons & cords:

Note: these can be sewn in during previous steps, but for easy laundering I like to sew them on afterwards with an overcast stitch.

1. Sew silk ribbons together at desired width (1 1/2" is nice). Turn & press. Turn edges under & blind hem stitch together.

2. Sew ribbons onto the underside of the band using a whip or overcast stitch. Be sure to secure them with at least 2 stitching lines so there's no stress on the fabric.

3. Insert cotton cording into cord channel.

Wearing:

1. Pull cotton cord tight to fit your head, tie in bow & leave it tied (you may have to re-tie after several wears or laundering).

2. Cross ribbons under the back of your head & tie up & over in a neat bow. Tuck ends under & make sure the ribbon lines up with the band.

This works best with hair in a braided bun, bun or chignon.

Washing:

Hand or machine wash. I always hand-wash hand-sewn garments. You may want to remove the colored silk so it doesn't get ruined in the water... or go ahead and wash it anyway. Set over a ball, milk jug or balloon to dry.

Hot iron on linen, warm iron on silk.

This cap was made from a 35" 1/2 circle, a 17" x 2" band and a 1" x 50" ruffle (x3)... seam allowances included.

Thistle Stomacher

It's finished!!!

My current (finished) embroidery project is an 18th century inspired black linen stomacher with bull thistles.
(The photo has a lot more contrast than the actual piece).

The first layer is finished, the second layer will help unite the colors & values, and there will be a lot more orange. The main colors were done with 3 strands of cotton embroidery thread. The top layer will be one or two strands, depending on the individual details. This should give it that high-detail look of 18th century embroidery. (Only using 1/2 of the thread made the stitches finer, and the thread go farther).



When I started this project I was very interested in the branching quality of 18th century stomachers, along with the central stalk (tree of life) design. Carnations were very popular and have that amazing structure, but I had just finished a carnation and didn't want to repeat it.


Thistles caught my eye; the violets, pinks and greens are striking against the black linen.

I drew the free-hand design on with a white watercolor pencil, which is a little more forgiving on linen than colored pencil, and stays better than chalk. I had to re-draw after several sessions as it fades. The stalk is perfectly centered and each of the main shapes falls along that axis. I wanted balance, without perfect symmetry... some elements still need tweaking, but can be corrected in the 2nd layer.

As with the first stomacher, I will eventually make a gown to go with this. I have enough fabric for a pet-en-l'aire, caraco or a small English gown. I think I will add tabs, but they will not be embroidered, and the shapes will depend on what type of gown I make.

Analyzing and re-creating paintings, 1700 men

Here are the gentlemen that I've picked out. It took me a while to get these to post.

I found these paintings the same time as the others.

Nicholas Boylston
1767
JS Copley
Shirt: white linen with ruffled cuff & collar
Cravat: white linen
Breeches: gold silk
Waistcoat: gold silk
Banyon: green & gold silk, lined with green silk
Cap: red silk
Stockings: white cotton / silk
Table, 2 books, curtain, chair.
I have nothing for this. It will take me a while to get the material, though I've got all of the patterns... I think I've even got the cap pattern somewhere.


Paul Revere
1768
JS Copley
Shirt: white linen, straight cuffs & collar, fabric covered wood buttons.
Sleeveless waistcoat: blue linen, pewter buttons
Table, carving / etching tools, tea pot & sand pillow.

I can do this one now. I just need a model.





Woodsman
1788
Gainsbourough
Shirt: white linen, straight collar & cuffs
Waistcoat: red wool
Fall front breeches: brown leather
Leggings: brown leather
Moccasins: center seam, dark brown leather
Cloak/coat: green wool
Belt: leather with 2 belt bags
Antler handled knife
Walking stick, dog with leather collar
Standing in the woods.
This will be fairly easy to have done by the end of this summer... yet I find myself with the eternal problem of no male models.

The Ale House Door
1790
Henry Singleton
Man:
Shirt: linen, plain collar & cuffs
Breeches: tan leather, drop front, wood or brass buttons
Waistcoat: white wool, pewter buttons
Coat: Gray wool, big pewter buttons
Neckercheif: tan cotton / linen
Hat
Stockings: white over breeches
boots: black
Pipe, bag on a stick, dog.

Serving Girl:
Shift: white linen with tight sleeves
Jumps: brown linen
Petticoat: dark linen
Apron: dark green linen
Modesty cloth: striped silk
Cap: white linen
Necklace: black ribbon
Stockings: white cotton
Shoes: black leather
Ale tankard: ceramic
Standing in front of a dutch / english cottage door.

Robert & Gouverneur Morris
1783
Robert Peale
Both:
Shirt: white linen, ruffled cuff & collar
Sleeveless Waistcoat: wool
Sleeved Waistcoat: wool
Breeches: matching wool
Cravat: white linen
Bookshelf, desk, quill, document, curtain. One sitting, one standing.

Robert Morris (left) is one of my ancestors on my mother's side. My grandfather looked very much like him, except Frank's nose was quite a bit bigger. The cheeks have stayed with us through many generations.