DFWCG Magazine Winter 2016

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Winter 20

Magazine DFWCG.ORG


A Note from the Editor The fall and winter seasons were packed full of all sorts of wonderful events! We enjoyed everything from Balls and Ballets to taking Christmas tours and teaching lectures. This year has been a busy one for the Guild. We’ve elected new officers and added exciting new events to our calendar. The costuming community in North Texas is growing more quickly than ever, and we’ve been honored to welcome several new members since our last season! Our relationship with the arts, history, and costuming community in this region is also growing, and we have been lucky enough to be invited back by several museums and arts organizations to enjoy festivals and performances this year. We’ve even been featured on the social media pages for the Fort Worth Symphony, Texas Ballet Theater, Kimbell Art Museum, and Plano Heritage Farmstead. We are so very fortunate to have such a wonderful relationship with our community, and we only hope that it will continue to grow and thrive in this coming year. 2016 will mark our 10 Year Anniversary. I can’t believe it’s already been 10 years since the Guild started holding its first events! We are looking to make next year an exciting one, full of great new events and workshops. I can’t wait to see what next year brings, and I hope that you are as excited as I am about our anniversary year!

05 07 12 17 Trends for 2016: See what our members predict for the new year

Bustles at the Ballet Candlelight & Roses Costumer Spotlight: A Victorian Outing A Civil War Era Ball Catharine Myers to Dracula the Ballet

23 27 32 34 Pattern Review: Butterick Colonial

7th Annual Georgian Picnic

Costume Showcase: Holley’s Green Bustle Ballgown

37 45 50 Lantern Light at Plano Heritage Farmstead

Dickens on the Strand

Calendar of Events

Front Cover: Catharine Myers at Scarborough Faire Currently Seeking Tutorials – Pattern Reviews – Event Reports – Costume Articles Visit us at : DFWCG.ORG

Pattern Review: Simplicity Gunslinger

2015 Trends

Every year brings new costuming trends and popular eras. We saw these trends pop up all across the costuming community in 2015.

Regency Regency fashions were dominant in 2015. There were a slew of Regency-era events, like the Netherfield Ball and 1812 Picnic, and large online group projects like the Vernet Project. It was also a big anniversary year for a lot of Regency-era battles, such as Waterloo and The Battle of New Orleans, which both celebrated their 200th anniversaries. All of these factors combined to make it a banner year for Regency fashions.

Beetle wing Embroidery Beetle wing embroidery swept across all aspects of the costuming community. From embroidered Victorian gowns to Game of Thrones costumes, beetle wings were everywhere. A lot of costumers also started planning beetle wing projects, which we’ll likely see finished in the coming year.

Big Wigs With the publication of Kendra van Cleave’s 18th Century hairstyling book, the costuming world was suddenly equipped to go to new and more exciting hair heights. 18th Century hair became much more elaborate and period correct. Add to that the release of a period correct line of hair care products by Abby of Colonial Williamsburg, and you have all the makings of a great hair year.

2016 Trends

As we move into a new year, we’re bound to see a new round of interesting trends. Let’s see what our members predict will steal the show in 2016.

Big Sleeves 1830s, 1890s, and 1940s! I think big sleeves need to come back in a big way. Costumers have started picking up the 1830s so much more than they used to and after Crimson Peak, the 1890s were re-introduced to the mainstream again. We haven't had a good bout of big sleeves in 30 years. It is time for them to rise again! I know I have plenty of projects planned for those eras. ~Liz Kearns th

18 Century

Last year, series like Poldark and Outlander brought the 18th Century back to popularity. With season two of both these shows right around the corner, and lots of 18th Century themed events planned for the year, I think 18th Century fashion is going to make a big comeback. ~Megan Martin

1830s Fashion This year is the 180s anniversary of Texas independence, and there are celebrations set to take place across the state. The 1830s also started gaining popularity in the costuming community at the end of last year, so it’s sure to make a splash in 2016.

Dracula A Bustle-Era Event at Bass Performance Hall

Photo courtesy of Texas Ballet Theater

The legend of Dracula has had many incarnations. We have seen movie versions of the famous novel, documentaries on the real man behind the legend, and countless retellings of the original tale in different forms. Dracula, the ballet, is certainly one of the more unique platforms that have been used to tell the story. Developed by Ben Stevenson in his time at the Houston Ballet, Dracula tells the story of a young village maiden who is snatched away and taken to Dracula’s castle, where her family must rescue her. The production is very lavish, with elaborate sets and fantastic costumes. When the first few costume sneak-peaks from the show began to appear on the Texas Ballet Theater Facebook page, with Dracula in his monarch-themed cape and the colorful, detailed costumes of the villagers, it seemed clear that this would be a perfect outing for the Guild. People were so eager to see the show that many purchased tickets before a group buy could even be organized!

We arrived just before the start of the show. The doorman greeted us with a big smile. “There are a couple of others dressed up, too! You guys look great!” We had just enough time for a very brief hello before we had to run up to our seats. The show opens with a warning – there a pyrotechnics in the third act, so be aware of sparks. The curtain rises on Dracula’s castle and his harem of ghostly, undead brides. The production is spectacular. Every foot of space on stage is used. Brides dance not only on the stage, but above it, floating across the scene on invisible wires. Dracula descends dramatically from above them. The first act ends and we have a few brief minutes to dash to a nearby drink station for some refreshments. A few more of us find each other and have a moment to chat before the show starts up again. The second act is a contrast from the first. We are now in the village, which is full of bright colors, happy, laughing people, and a young couple trying to get engaged (her father is

very stubborn, though.) At the end of the act, the young bride is snatched away by one of Dracula’s devotees and the henchman Igor, who steals the show every time he is on stage The final act has the bride’s family come to rescue her at Dracula’s castle. Dracula himself is finally defeated as the dawn rises and the curtains are snatched away from the windows. Dracula bursts into flame as the sunlight hits him, the promised pyrotechnics which startle everyone since we had all forgotten the warning by that time. After the performance, we all met up at the staircase to catch up with each other and take pictures. Quite a few people seemed to think we were part of the show, and wanted pictures with us. A lady that works for Texas Ballet Theater’s PR department was so excited that we were there in costume that she snapped some group pictures, which eventually ended up on the TBT Facebook page. She encouraged us to come back in the spring to see Cinderella.

Since it was rather late in the evening by the time the show ended, our party ended up splitting up again, some electing to head home while others walked across the street to Bird CafĂŠ for a late dinner. The temperature was cool and crisp and perfect for sitting on the patio that faced Sundance Square. Bass Hall and the Texas Ballet Theater were both very welcoming and both loved that we decided to come in costume to one of their performances. I think we can look forward to many future events with them!


It was a dark and stormy night… October is traditionally one of our busiest costume seasons, and this year was no exception. October is also one of our most unpredictable weather months, and this October proved to be one of the soggiest in recent memory. It was on one of those rain-soaked afternoons that I headed out for the Candlelight & Roses Ball, an event I’d been looking forward to for quite some time. I was unfamiliar with the area the event was taking place in, so I relied entirely on my GPS to get there. Technology loves to toy with us mere mortals, so I was quickly lost. After a bit of backtracking and retracing, we finally found ourselves on the right road. After snaking down a winding country road, we came across the sign for Chandler Rose Gardens. It seemed that turning into the gardens instantly transported us to the English countryside. There were large green spaces and small picturesque lakes lined with stately trees. The roses themselves seemed to stretch on for ages. If the weather had cooperated, it would have been a wonderful place to take a stroll through the landscape. The road wound through the gardens and eventually deposited us in the parking area, where we saw a large, wedding-style tent set up in a nearby green space. People were already starting to trickle in, even though

set up in a nearby green space. People were already starting to trickle in, even though we’d arrived rather early, so we made our way inside. Arriving early gave us an excellent opportunity to meet and mingle with the other guests. Some of the party at our table had traveled all the way from Illinois to attend, and came armed with lots of wonderful stories about the different Civil War dances and balls they had attended across the country. They even belonged to a professional historical dance society, and they were up and dancing before any of the rest of us, even while the band was still warming up! Dinner was served at 6:30, and we were provided with a variety of meats and cold salads. An assortment of Bundt cakes in different flavors served as the centerpiece for each table, and we happily devoured them for dessert. Dancing kicked off after dinner with the Grand March, which spiraled all through the room, and the caller walked us

through several different square, circle, and contra dances. We ran through several dances before the band took a short break. It was about that time that I received a weather alert on my phone – there was a large line of storms headed straight for us. We agreed that we should have one more dance before heading home for the evening, and then we made our goodbyes before departing. The weather certainly didn’t put a damper on anyone’s spirits that evening. The dances were lively, and the room was always filled with music and laughter. The tent was sturdy and kept the weather at bay. It was altogether a wonderful event, with lively music and good company.

What originally got you into historical costuming? A combination of things, really. I used to make dolls in historic costume, and then I began participating in Renaissance fairs, so it wasn't too big of a jump from dolls to people.

How do you feel your costuming focus has changed since you first started? I use far better quality materials now than I used to. The more I learned about fabrics, the easier it was to recognize the better stuff.

You’re known for your Elizabethan and Tudor pieces. What piece that you’ve created would you consider your favorite? I think my favorite is probably the black, silver and red skirted doublet I made for my fiancé. I do my best work for people I love and that is what makes it so personal for me.

What other eras do you enjoy recreating?

I love late Victorian, as well, though I'm not quite as practiced at it.

Is there an era or style that you’d like to try out but haven’t had a chance to do yet? Yes! Georgian! I'm itching to play with all the ruffles and bows!

Do you begin a project with a clear plan in mind, or do you let the materials guide you?

I almost never have a plan. I pick a few things and then let the project show me what it wants to be. Ideas will just start coming, sometimes in dreams.

Do you feel like you have a costuming signature? I hand finish everything and fit is very important to me, but embellishment is where I tend to stand out.

What is your favorite part of a costume to create?

The embellishment, for sure: crystals, beads, pearls, folded ribbon trims, & embroidery.

If money were no object, what would be your dream costume to recreate? Money is not as big a factor to me as time, but if time weren't an issue, I'd love to do a recreation of a Worth gown I once saw that was covered in tiny butterflies.

Has historical costume influenced your daily wardrobe in any way? Yes, I wear parts of costumes all the time. Prairie skirts, Victorian blouses, military jackets.

What bit of historical costuming do you wish would make a comeback? 19th century Riding habit coats and hats. They are so snazzy!

If you wish to be considered for the Costumer Showcoase, please email dfwcgmagazine@gmail.com

Making a Man’s Frock Coat A Review of Butterick’s Colonial Menswear Pattern

I have a confession – I am intimidated by menswear. Don’t ask me why, because I couldn’t really tell you the reason. Maybe it has something to do with the construction of trousers, or the inner construction of suit jackets with all their specialized stitching and unusual linings. It was all totally unfamiliar territory for me. Then the time came – I had to make something for my guy to wear to the Georgian Picnic. I looked around at some of the patterns available out there, of which there are desperately few, but none of them were quite what we were looking for. He likes the 1760s and 1770s, and it seemed like everything out there trended toward the end of the century, from 1780, when silhouettes slimmed considerably, to the Regency, when they were almost entirely different. Loathe to spend a good chunk of change on an expensive pattern that I’d have to alter, I opted instead for Butterick’s 3072 their costume version of 18th Century menswear. I ended up using the coat and waistcoat from the pattern, and disregarding the shirt and trousers as they were the least historically plausible parts of the pattern package.

When I opened the pattern I was pleasantly surprised. The shapes were very similar to those I’d seen in diagrams in period sources and sketches taken from extant garments. The front of the waistcoat was almost a dead ringer for the unfinished waistcoats that you so often see images of online. I was feeling much better about my project. As it was, the coat pattern would have made up rather well for a late 18th Century impression, especially 1790s. Since I wanted to take the style back a few decades, I needed to

do some alterations. The big one was to add skirtings to the back of the coat. I used one of Diederot’s diagrams as a guideline to add them in before cutting. In hindsight, I should have also straightened the front edge of the coat so the backwards swoop wasn’t as pronounced, but I didn’t think about doing so at the time. The first fitting for the coat showed us exactly how much ease the pattern makers had included. The coat was huge. I nipped it in about an inch at the side seams, and took an entire three or four inches out of the center back near the waistline. These were simple alterations, but such a huge amount of ease was rather unexpected! As it’s an unlined coat, the entire thing goes together very quickly and with very little fuss. I left off the sleeve cuff because of time restraints and completely forgot about the pocket flaps, though they were very simple to install on the waistcoat so I can’t imagine them being very difficult on the coat. The one peculiarity I did come across was that they wanted the front edge facing flipped to the outside of the coat and stitched down to create a decorative band at the front opening. I’m not quite sure why they decided to do that, but I ignored it and faced the coat in a normal fashion, which created a neat and smooth front edge.

As a card-carrying member of the League of Last Minute Stitchers, I ended up making the waistcoat the night before the picnic, and finishing it the morning of the event. It, like the coat, had an insane amount of ease, but I didn’t have time to do a proper fitting on my guy, so he just ended up wearing a really large waistcoat to the picnic. Aside from the ease, everything went together quickly and smoothly. The pocket flaps, which I’d neglected to put onto the coat itself, were very simply to add on, and as there’s no functional pocket in the waistcoat itself, there was no fiddling with a pocket bag or closures or anything like that. I don’t usually consult the pattern

instructions on Big 3 patterns, but when I did have to refer to them I found them to be clear and easy to follow. There weren’t any tricky tailoring techniques used in either the coat or waistcoat, it was all just very straightforward and simple. I would recommend this pattern to anyone that needs a quick, easy men’s impression for an event. This would be a great pattern for someone just getting their feet wet with historical costuming, or menswear in general, and very little specialized sewing knowledge is really needed.Just remember to do a fitting before sewing it all together!

Tall powdered hair, crisp, rustling silks, warm woolen cloaks - the turn for the cooler weather of November signals that it’s time for one of the Guild’s most popular events, our annual Georgian Picnic. What began as a small gathering in the Fort Worth Botanical Gardens seven years ago has blossomed into one of our biggest and most anticipated events, drawing people from all over the states. This year was no exception, with people from all across Texas traveling to join us. Last year’s picnic was one of the coldest in memory, and this year seemed to want to challenge it for the title. The night before the picnic saw a cold front slowly creep across the region, leaving us with chilly temperatures and blustery winds for the day of our gathering. But our members are hearty and determined, and armed with warm wool cloaks and cozy fur-covered muffs. For the first time in the picnic’s history, we had a change of venue. River Legacy Park in Arlington acted as our host this year. We had access to a large stone pavilion with picnic tables and a paved walkway, and large stone pillars capped with iron lanterns. Visitors spread out food and drink to share, and we spent some time picnicking

and visiting together under the pavilion . We adjourned then to the lawn for a bit of a stroll, where we discovered that the slope blocked the worst of the wind. Jen had brought some period games with her, so we set up Pall Mall, a cross between croquet and golf, on a small spot of lawn. The ball and mallets resemble those used in croquet. Each player takes their turn hitting their ball, trying to strike the pole at the far end of the lawn. It took much more force than anticipated to get the ball to move, and there was a lot of laughter and cheering during the course of the game

game. Inevitably, the sun began to set and the cold began to bite, so we headed to a nearby La Madeleine to continue our evening in the comfort of the indoors. The restaurant has the wonderful feel of an old French tavern, especially when one is tucked away in one of the little nooks in the back. There was even a crackling fireplace to greet us and take the chill out of our bones. We spent the rest of the evening at the restaurant, enjoying a bit of food and many rounds of good conversation. It was a wonderful, relaxed day to end a fabulous day.

Costume Showcase 1870s Bustle Ballgown Costumer: Holley Anthony

DFWCG member Holley Anthony created a wonderful green taffeta ballgown for our Dracula event. We asked her to tell us a bit about creating this stunning gown. When we decided to attend the ballet "Dracula" and wear bustle gowns I realized mine had all suffered from the dreaded closet-shrinkage. So a new dress was in order. I started with the hooped petticoat, then a black taffeta petticoat over that. I had traded with Catharine [Myers] for the green taffeta and the matching plaid so I had my fabric already. After a few sketches and some draping I decided how I wanted to put the design together. I used two Truly Victorian patterns, the 1872 Vest Basque and the Parisian Trained skirt. I made a LOT of changes to the patterns, especially since I find the instructions for these patterns lacking clarity. It took me about a month to complete the outfit since I work full time.

My favorite part is the train! I made it removable from both the petticoat and the skirt. Trains are lovely- but impractical. I found this out when an usher stepped on mine right after we arrived. Both have a long band at the top of the train with buttonholes. The buttons they fasten to are under a ruffle and reinforced with a band of grosgrain ribbon. I did make a discovery- I had sewn the lower ruffle to the dress with a machine basting stitch. When the usher stepped on my ruffle, the stitches tore out instead of the fabric! The biggest challenge for this outfit was getting the bodice fitted since I don't have anyone to help me. It takes so long to get the muslin mock-up fitted alone. This was my first usage of a Truly Victorian pattern as well and that in itself was challenging. I am very pleased with how it came out and I think the contrasting colors in the bodice are very flattering.

Pattern Review: Simplicity 2895 Gunslinger

Here it was – the second time in the same number of months that I was faced with making a complete men’s ensemble. Where before it was Georgian, this time it was Victorian. I had been planning a Crimson Peak inspired 1890s outfit for myself for the Lantern Light event in December, and in a stroke of absolute madness I decided that my fellow needed to be my Thomas Sharpe. Time, as it usually is, was very short. I had just a week to pull together a convincing Victorian look. There was no time to order a pattern from an online seller and I still don’t have quite the experience drafting menswear that I would like, so I turned, once again, to the Big 3. There I found the Simplicity “Old West” pattern – a long coat with a waistcoat and shirt. The lines of the pattern looked very similar to the black suit that was in the film, so I was encouraged that the project would turn out a decent lookalike to the movie costume. Since I was pressed for time, I made the pattern up as it was, without any alterations for style or fit. The coat calls for tweeds and twills for the fashion fabric. I chose a black twill which worked well for the look of Sharpe’s suit in the film. To keep costs low, I used a black taffeta from my fabric stash as the lining and a fusible interfacing that I already had on hand. The first thing the pattern wants you to

do is to create the welted pocket on the left front of the coat. I had never sewn a welted pocket before, so I tried following their instructions as closely as possible, but I found their method to be rather confusing. It seemed like they wanted the pocket lining sewn on over and stitched to the welt, which didn’t make any sense, and of course, didn’t work. Thankfully, I wasn’t the only one that was confused, and a quick search online brought up a tutorial on how to do the pocket the correct way. It still didn’t turn out quite right because of the mistakes I’d already made, but it was much better than it had been. The other two pockets were in the waist seam, and were easy in to install.

falling at about mid-thigh, but unless their model was over 7 feet tall, that have been impossible with the pattern I had. I ended up cutting off almost a full 10 inches of length! Perhaps it was just a peculiarity of the one I had purchased, because others who have used the pattern reported no issue with the length. Besides these few minor issues, the coat went together really well. Aside from the strangeness with the welt pocket, the instructions were clear and easy to follow. There were only minor fitting issues in the back shoulders, but I didn’t have any chance to do a fitting before our event, and in the long run it’s only a minor annoyance. However, the pattern specifies not to snip the pocket lining to the stitching at the waist and to simply turn the lining to the inside. No matter how hard I tried, I could not make the lining lay flat without snipping it, so I just snipped it anyway. The pocket laid down much better, and there wasn’t any sort of problem at the waist because of the snipping, so I don’t really know why they’d tell you not to do it. The length of the coat was also baffling. The pieces had seemed rather long when I cut them out, but I dismissed it and merrily kept sewing, but when it was all assembled it was incredibly long! The picture on the package had the coat hem

I would recommend this pattern to anyone looking to make a quick, general Victorian impression. I made this coat over the course of a day and a half, and ended up only having minor issues while working on it. It would certainly help to have experience with welt pockets and other such details, but even without it a quick internet search will help you find tips and information for any difficult parts of the construction.

This Fall we made a lot of changes to our regular line-up. Along with moving the Georgian Picnic to a new location, this year we decided to change our December event, from our usual visit to Candlelight at Dallas Heritage Village, to Lantern Light at Plano Heritage Farmstead.

We were honored to be contacted by Plano Heritage Village personally, asking us if we would provide a dressing demonstration for their Christmas-time event. Jen Thompson acted as our liaison with the museum and put together a wonderful program to share with the farmstead’s visitors We were honored to be contacted by Plano Heritage Village personally, asking us if we would provide a dressing demonstration for their Christmas-time event. Jen Thompson acted as our liaison with the museum and put together a wonderful program to share with the farmstead’s visitors. .

We held four shows, one every hour on the half hour. Jen and Beth headed the presentations and did an amazing job with each show. The room was packed each time, and the crowd at each show was large, enthusiastic, and very engaged, full of questions about the garments and customs of the Victorian period. We held our presentations in the Young House, which had one large, open room where the presentations were given and a smaller room to the side where we set up a display room , where the audience could examine and try on hats, petticoats, corsets, bustles, and interact with the clothing one on one. The display room was a big hit with the kids that came to see the presentation, and they had a great time parading around in hats and capes. The adults in the audience enjoyed the display room just as much as their kids, trying on the corsets and bustles we had brought to share.

After our presentations had finished, we took some time to explore and enjoy the rest of the festival. The main house, which was built in the 1890s, had been decorated for the Christmas season with period appointments. Each room had costumed interpreters that gave a bit of history about the house and typical Christmas pastimes for the period. There had been a drought the year the house had been built, which meant that they had to make do with a smaller tree, and the formal parlor had been decorated with just such a small tree that was surround by packaged wrapped in white paper. The dining room had been set with an array of period desserts which all looked delicious. There were gingerbreads, bundt cakes, spice cookies, and a beautiful sugared fruit centerpiece. The fancy china had been put out on the table and a red runner ran the length of the table, bringing some Christmas color to the table setting. The music room featured an array of period musical instruments. There was a costumed dulcimer player that provided music for the evening.

At the end of the evening we headed to the small outdoor ice skating rink the museum had set up. It was too warm for real ice, but the faux ice served us well enough, and a couple of us got to finally fulfill a dream of ice skating in costume.

Lantern Light was a beautiful event, and the museum was incredibly kind and wonderful to work with. Our museum liaison was enthusiastic about having us back for more presentations at a future museum event. With as wonderful as our experience was during Lantern Light, we certainly hope that we have many future opportunities to work with them again!

An Escape to Dickens A Trip to Dickens on the Strand in Galveston By Catharine Myers

Dickens on the Strand in Galveston, TX. If you are into costume, steampunk, or Victorian in any form, then this is an event you shouldn’t miss. This makes my fifth year to attend, though one year we skipped it because I had a costume malfunction and there was no way I was going without the right clothes. The first couple of times, we stayed in a bed and breakfast, which was lovely, but the last three in Tremont House have really MADE this event for us. This hotel has been in existence since 1839 but has been destroyed and literally raised from rubble twice. Once leveled by hurricane, and once by fire. The 2nd Tremont House was built in 1879, and housed a dry goods company by the name Leon and H. Blum. The building was purchased in 1981 by George and Cynthia Mitchell, and was transformed into the third Tremont House, which held its grand opening in 1985, and was commemorated by a Mardi Gras Ball, still held every year. It was the catalyst for the revitalization of Historic Downtown Galveston.

On the first weekend of December each year since 1974, this annual Christmas Festival celebrates the Dickens era in grand Victorian style, and participants from all over arrive in their period finery. The streets are blocked off from traffic, and there are all manner of street performers, shops and food vendors. EVERYTHING smells delicious. Step into the hotel and you’ll really crank back the clock on your time travel machine. Order a Mimosa at the bar that occupies the corner of the lobby and you will find yourself surrounded by a crowd of authentic Victorians in all their best from chapeaux to toe. Even the rosewood bar is period. It is on permanent loan from the Galveston Historical Foundation, but began its life in 1888 at Henry Toujouse’s Palatial Saloon. After the bar’s demolition it bounced around several downtown locations before being donated to the GHF.

from the Galveston Historical Foundation, but began its life in 1888 at Henry Toujouse’s Palatial Saloon. After the bar’s demolition it bounced around several downtown locations before being donated to the GHF. Walking the streets of the strand, you’ll see stilt walkers, unicyclists, madrigal choirs, primary school aged pick pockets, and whole troupes of steampunkers, civil war re-enactors, and pirates. You’ll want to write yourself a schedule because there is an event for everyone. If you are lucky

enough to garner an invite to the Gingerbread Ball, hosted by Ginger Burkholder and the Yesteryear Society, that happens on Friday evening. Wear your best ball gown, as there will be many watching through the windows of the Tremont’s enormous gallery windows. Sparkling gowns, wonderful food, lovely company, and dancing until midnight (even dance cards!). There’s also a late night game of Cards Against Humanity to follow, so bring a frilly sleep cap and robe if you’re staying in the hotel. Warning: Maggie Smith always wins!

Saturday morning, you go to breakfast in your frillies if you are me, and morning dress if you are everyone else. Choose comfortable shoes when you dress, for the day brings MUCH shopping. No visit to the strand would be complete without a visit to La Kings Confectionery. Here you’ll find an old school candy maker and real soda fountain. I do love a root beer float but our travelling companion let me taste her lemon ice cream that was tres fabulous! There is taffy pulling to watch, and a mile long counter with

with every sort of refined sugar on the planet (chocolates, and licorice, and gummies, oh my!). I took home two big bags of salt water taffy, a handful of candy canes in chocolate, cherry and chocolate peppermint, and truffles, of course. You also want to stop into the Rocky Mountain Chocolate Factory down the street and snag some amazing caramel and chocolate apples. Out the door and on to steampunk square, where you’ll find a plethora of steampunk engineers and their wares.

Watch out for the Victorian bed racing in the street and find a good spot to watch the parade. I had some sort of tasty frozen drink there, but I can’t remember what it was, exactly. Strand Street is where you want to people watch, and there are a couple of great antique shops, too. GORGEOUS, bustled day dresses all over the place, and HATS, oh, the HATS!! Flowers, bows, feathers, ribbons, yummy! Handsome gentlemen in their dapper suits with hats and canes won’t hurt your eyes any, either. More people watching at the costume contest, and then I hear there is a steampunk dance that night, but I have never been, because I’m always at the wharf with a very large party causing all sorts of trouble (like you do!). Saturday night we collapsed in a heap, way too full and still smiling from the day’s fun. Sunday I usually run around in mundane clothes and pick up the things I forgot the day before, then we head to “Shrimp N’ Stuff” a local favorite for seafood on the cheap. Best fish tacos and coconut shrimp EVER, paired with the house wine of the South: sweet tea. After that, you cram your overstuffed tummy into your

overstuffed SUV, along with your equally overstuffed sweetheart and companions in mischief: David Mars, Vanessa Alberts and Leah Patton. You then faithfully vow that next year you will have your authentic steamer trunk refurbished and ready to go. Sure you will. Home, James!

Calendar of Events 30 January


January Winter Tea Adolphus Hotel Dallas, Texas 2PM $42/person

Caillebotte at the Kimbell Kimbell Art Museum Fort Worth, Texas $18/person


13 March

Jazz Age Sunday Social Dallas Heritage Village Dallas, Texas $10/person

26 March

23 April

10 June

Tiaras and Toe Shoes Cinderella the Ballet at Bass Hall Fort Worth, Texas 8PM $15/person Battle of San Jacinto 180th anniversary reenactment San Jacinto, Texas All Day Free

Costumers’ Lost Weekend June 10-12 Retreat Tyler, Texas http://clw.dfwcg.org

We would like to thank all of our readers for their support We look forward to bringing you our Summer issue in July Contributors


Holley Anthony Liz Kearns Megan Martin Catharine Myers

Events are added to our calendar as we learn of them, and so the list in DFWCG magazine may not reflect the entire list of upcoming events for the DFW area. If you are hosting or know of an event that you would like to see listed in our Upcoming Events calendar, please email dfwcgmagazine@gmail.com. For the most up to date information on Guild events, and other costume events in DFW, please visit our website at DFWCG.org.

Costume Showcase

Contributing to DFWCG Magazine

Our Costume Showcase is designed to celebrate excellence in costuming displayed by the members of our Guild. If you are a member of the DFW Costumers Guild and would like to have your costume considered for our Costume Showcase, please email dfwcgmagazine@gmail.com with a clear full-length color photograph of your costume and a short description of the inspiration, materials, and construction process. If you costume is chosen for the Showcase, we will contact you for a more in-depth interview.

We are always seeking contributors to our magazine! If you have a sewing or costuming tutorial, an event report, a costuming research article, costume movie review, or any other costume related content that you would like to see included in an upcoming issue of the magazine, please email us! Submissions can be sent as Microsoft Word documents or PDF files, and will be formatted to best fit into the magazine. For tutorials, please include a clear color photo of each step that you have written in your article.


Magazine DFWCG.ORG

Dallas-Fort Worth Costumers Guild Magazine

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