Fairfax project 1750s

New week, new task. Travelling back in time ( wibble wobble, wibble wobble) to 1750 or there abouts.  Location Fairfax House o Castlegate, York.  Minor difficulty is that the house was built 5 years into the future, but the portrait I'm taking inspiration from did exist, and hung and currently hangs there.

Hope that is clear.

in situ in her bedroom

The portrait is of Anne Fairfax is dated 1750, showing her as a young lady shepherdess. ( quite a common conceit  - see It's About Time for more imagery.)  Lady Anne was the only surviving daughter of Charles, 9th Viscount Fairfax of Emley  and the house was built for her. The painting  hangs in her bedroom facing the bed and she apparently was very fond of it.
The painter, a French artist who worked extensively in England, is Phillip Mercier. He lived in York for a time, painting many of the society ladies.  
 The painting is very whimsical, but I think I quite like it because it raises questions,   the rose at her breast is rather odd - painted differently, and there is a mystery orange line across her chest, plus one of the sheep looks like a neighbour, but it will do as the start point for a costume task.  I would like to recreate this - or something based on it. ( If it goes well in diddy scale  it might get made full size!) 

quick initial sketches and notes

The painting does pose some problems - it was about her and the allegory, not her dress. The two sleeves are different - one fits smoothly at the shoulder but the other is gathered into pleats, there is a faint line down the centre forn suggesting  a seam or an opening, but the brush work at the junction of bodice and skirt is so loose it is going to be interpretation and best guess. My assumption is that the dress is conventional, a closed bodice over a full skirt. The closest example I have found so far is the 1780 wedding dress from the V&A exhibition to the left. The low scooped neck, tight bodice and pleated skirt are what I am imaging. Just 30 years difference.

But the current question is really about the fabric. It shines so must be satin or silk, but it looks much softer in the creases and on the surface than the pink drapery, so it can't be the same as that. Could it be fine velvet?  I took some samples of satins and silks in to compare with the painting and remained unconvinced by any of them.

While all of this is happening I have not been idle - much.  I am now in possession of a 12 inch artist's mannequin and am trying to make the underwear to fit. It is currently nameless.

Progress  so far has been good, 'she' has  a chemise - with gussets!, an approximation of stays, and even pocket panniers.

The chemise is to an C18th pattern, the standard issue, rectangles and underarm gussets (- much the same as the blue print used for gentleman's shirts)

very masculine....

The stays were more of a challenge - boning, binding and eyelets! The boning I will admit to being narrow cableties, The binding is the smallest I could make, and the eyelets - I know they should have been hand done but.... so they are just what I had and are completely huge!  The first try was agonising but these ( version 2) went together quite simply.
The stays are really so that I could alter the shape of the torso - widening at the top and narrowing at the waist to the C18th cone shape. This is partially sucessful so more padding may be needed. Added padding to the upper back as well as bust  and it has made such a difference- happier now. 

They could do with more tabs at the waist but that will have to happen on the next ones.  

To give the exaggerated hips I decided on pocket hoops/panniers - small cages either side rather than the full width one more associated with formal or court dress. The discussion was whether to go for bum pads but actually wanted to try out the panniers! Umm.

They were based on a pair on display in the 'Head to Toe, Accessorising the Georgians' exhibition currently on at Fairfax House. Although fiddly at this scale they were fairly straightforward- channels were made in the outer panel, one side of the inner panel was attached, the bones slotted in and the other side seam made.

That the inner panel is narrower than the outer gives the tension to create the required curve. The top is pleated  to fit to the waist and sewn onto a band. Simple!

The overall silhouette is an improvement- would still like to pull the waist in more - the contrast between waist and hip should increase anyway as the petticoats are added so this is not crisis thinking yet.

Wonder if I would warm to her if she had hair?
Definitely lacks personality at present. Any suggestions for a name?

You never know - might have tidied up by next week.