Concerning Hobbits - Part Two
The Hobbit is all about the journey there and back again - from the Shire to the mountain kingdom of Erebor and back. I started this project in the Shire with my Bilbo-inspired ensemble, so it only felt fitting to theme the second project around Erebor. From what I remember of The Hobbit, Tolkien describes Erebor loosely - we mostly get information on the treasure hoard and Smaug the dragon. I looked towards the movies for further inspiration. The design aesthetic of the dwarves and of their kingdom was very angular and geometric, almost like the Art Deco design trend of the late 1910s and 1920s. Needless to say, I was set on a research deep-dive right away.
I found this orange gown right off the bat, and it was perfect. I loved the different layers and textures in the original gown and mimicking that would allow me plenty of creative freedom. There was a little bit more time spent researching and finding other extant examples, like the black and maroon gown and that lovely pink number. I sourced my fabrics from the lovely folks at Silk Baron.
Once the math was done and the pattern was drafted, I was on to beading. A lot of this beading was completed while I was recovering from the plague, and not all of it got used in the final design. The belt “buckle” was modeled off of the belt buckle Thorin wears in the first movie. The front beaded panel was inspired by the crest of Durin, also a common symbol in Thorin’s movie costumes. The beading on the bodice is the design on the secret door to Moria in “Fellowship of the Ring”. I wanted to get the beading done while all the pieces were independent of each other. I did it this way so that I could have things on embroidery hoops to keep the right tension and so I could move the piece around to get a comfortable angle. I used at least a dozen different varieties glass and semi-precious beads. The beading alone took the entire month of August.
After the miles and miles of beading was complete, I then hemmed all the chiffon edges with an eighth inch hem. Dear reader, I deserve a sainthood for that task alone. Once all the different pieces were assembled in their units - the chiffon bodice, the beaded taffeta bodice, the underskirt, the ruched taffeta and chiffon overskirt - I assembled the whole gown.
Before I sign off, a brief word about this coat. A prominent designer of the era, Paul Poiret, was the first to premiere the cocoon coat in the early 1910s. These coats, typically draped velvet confections, became the coat to have for the girl on the town. They were typically cut in one or two complete pieces. I altered a modern McCall’s pattern to suit my needs and used fabrics from Zelouff Fabrics and Firecracker Fabrics. That silver lining was a nod to the mithril chainmail that Bilbo is gifted during the book. That fabric was sourced at a charity sale.
Next up here in the journal will be a brief reflection on the month of October, similar to what I wrote about this time last year. Then, the apron tutorial I’ve promised you at least twice now. November’s programming will be up by the end of the month! Until next time, dear reader.
Yours sincerely,
Madeline
