Stenciled Victorian Dresses
A circa 1900--05 Home Needlework Magazine ran an
article by Mabel Tuke Priestman about a now-little-known form of dress
trimming: stenciling.
"The art of stenciling has brought into vogue many charming ideas for utilizing this charming craft. Its popularity has not, by any means, decreased, and stencil decoration for curtains, table covers, pillows, and other things that pertain to the house is still in evidence, but it is a new feature to make use of it for wearing apparel. It is especially suitable for evening dresses, and as these do not need to be washed...Usually when stenciling curtain materials that have to be laundered, difficulty is met with in finding a dye that will stand frequent washing and direct rays of the sun. Therefore, it is quite a consideration that practically any of the commercial dyes on the market can be used for decorating clothes. Oil paints or even water colors are, either of them, suitable and are often used.
A further development in this craft is the introduction of embroidery in
connection with the stencil, which gives it individuality and beauty of
detail that is well worth while. For the benefit of those who do not know
how to stencil a few directions as to the method will not be out of place.
If a stencil pattern cannot be found at an artist's supply place, make use
of a good needlework design. It can then be traced on to oiled or stencil
paper...The design must then be cut out, and the stencil paper left for the
background...The material is then laid on a padded board over which is
placed some white blotting paper. The stencil is then placed over the
material, and after it is firmly fastened to the board with drawing pins it
is ready for the color. The dyes must be reduced to liquid form by adding
cold water. A stencil brush or hog hair brush can either of them be
used...Apply the color to the stencil...(an easy rule to remember...have
very little color on the brush.) ...A large stencil brush...does the work
very rapidly, and the brush can be held upright more easily than the long
handled ones. For delicate lines a small hog hair oil brush is
required...Stenciling is very simple when these few directions are carried
out.
[We used a] rose stencil...This is used to ornament the evening gown
illustrated. It is a beautiful dress, and yet was most inexpensive, being
made at home for a few dollars. The material is 12 1/2 cent silk mull. The
gown is trimmed with several yards of broad lace at 12 1/2 cents a yard. The
points of the overskirt are outlined with a ruching of the mull. The
stenciling ornaments each point of the overskirt and the little bolero coat,
with just a touch of color on the sleeves. The rose is a soft shade of pink,
while the leaves are a very pale green...The whole costume when finished has
a very French and dainty appearance, and was designed and stenciled by
Dorothy Tuke Preistman. Pale pink kid shoes, matching the color of the rose,
are worn with this gown. When the shoes cannot be bought to match the gown
easily, white kid ones can be used, and the color of the flower applied in
dye with a stencil brush. These little points are so important that too much
attention cannot be given to such details.
White Swiss muslin ornamented with a simple stencil design makes a very
dainty evening dress, the stenciling giving just the touch of color which is
so much in vogue this season. One could use the same wild rose stencil
illustrated, making the roses yellow instead of pink and this change the
color scheme entirely, or the same wild rose design in pink and green could
be most effectively used on a delicate blue material.
Crepe de chine and India silk stencil beautifully, and have just enough body
so that they can be embroidered as well. A simple stencil pattern like the
one illustrated would need only to be outlined, with perhaps the centers of
the flowers worked solid. Other designs might perhaps have the flowers
worked in Long and Short stitch.
Stenciled scarfs for wear under the coat for afternoon or evening wear are
easily within the reach of anyone, and add a very dainty touch to the
costume. Chiffon, India silk, or crepe de chine are the materials used, and
the scarfs vary form two to three yards in length."
For modern fashion enthusiasts who wish to try their hand at a stenciled
reproduction, here are a few tips:
* Thankfully, today, pinning a stencil in place is unnecessary. Ordinary masking tape will work for securing stencils onto fabric.
* Stenciling is not recommended for anything other than
cotton, linen, hemp,
and like blends. Stenciling on slick fabrics like taffeta or satin is not
recommended. Chiffon is difficult to stencil well, but a cotton chiffon can
be stenciled.
* Pre-cut stencils are available at any craft store in a variety of designs.
* For a wide variety of period and period-inspired stencils, consult Dover Publications' complete catalog or craft catalog.
* Use a modern stencil brush (short and fat) and modern stenciling paint. Today, stencil paint for use exclusively on fabrics can be purchased.
* When doing your actual stenciling, don't "paint" with your brush. "Dab" with it or "pounce" it against the stencil.
* Plan out your design ahead of time, and know exactly where you want your stenciling to be. Sketch it out on paper as a reminder or "pattern."
* It is preferable to do your stenciling before the garment is actually sewn up. This is where planning ahead becomes vital. Do your stenciling after you have cut out your pattern pieces; allow the fabric and paint to dry thoroughly; then stitch the garment together.
* As a test, or practice run, try stenciling scraps of
fabric, or make a scarf, as the original turn of the century article
suggests.
(c) Copyright 2000 by Kristina Harris
04/22/2006