A Quick Ladies' Waistcoat

A very simple ladies' waistcoat in linen, lined with silk - linen shirt, Walker Slater tweed trousers, a silk floppy bow tie, and saddle shoes from RoyalVintageShoes.com

When I was in Scotland, there was a Walker Slater ladies' shop right down the steps from our rooms. For those who don't know Walker Slater, they're purveyors of tweeds and waistcoats and trousers and flatcaps and cardis and all things wonderfully, wonderfully dapper. I've been following them on Instagram for years, so of course I partook of the splendor when in Edinburgh.

But coming back, I got off the plane to 90 degree Nevada heat. So my tweedy things have gone in the closet until the 'Ember months and I turn back to linen, linen, and linen.

I bought a large quantity of sand-colored suit-weight linen in LA last year, intending it for lady-menswear pieces of a Regency bend (inspired by Zack Pinsent), but the fabric is so versatile and gorgeous that I can't decide fully what summer togs of what era it should be. An easy first step, though, was a summer waistcoat.

Laying out SImplicity 7376. Waistcoats are a great way to use small scraps of fabric.

I used Simplicity 7376 from 1976 for this very simple design. It's just two pieces - front and back - shaped with darts. I did a little customization with a silk lining, false pocket tabs (I'm lazy), and fashion fabric facings to give it a more professional appearance and I'm very happy with how that came out.

The pattern did not have facings like this, so I created them myself. The lining silk here had been cut into a blouse pattern that I never made, so I repurposed and re-cut for the linings. I just love this deco pattern on the silk!

The waistcoat in progress, after bag lining it, which was not a great method tbh - next time I'll just set it in by hand like with 18th century construction.

I bag-lined the vest, which I realized again was a mistake. In proper tailoring, linings are set in my hand, and I really should have done so this time too. It was honestly more of a struggle to bag line even this simple garment, and I ended up going back and prick stitching the bottom and armscye edges just to get things to lay right. Note to self for the future.

Turning up the lining and hemming it at the bottom - I later went back and redid this because I did not make the ease fold and the outer fabric hung oddly. It's a tailoring trick, hard to explain, but I'll try to show it and other bits in my next tailoring project coming up.

Test fit - everything seemed fine at this point, but the waistcoat actually came out a little too tight once the buttons were on, so I let it out an inch.

I also thought I'd do some lovely hand-worked, contrast button holes, but they turned out terribly! I have very little hand button hole experience and my goodness, they were truly an abomination! Along with those horrors, the waistcoat came out a little bit too tight, so the following morning I ripped out and re-did the button holes on the machine, and let the side seams out a half inch each side, which resulted in a much, much better fit and finish.

Incredibly horrible button holes done by hand. Just awful!

Better button holes done by machine and with matching thread. They're not perfect, just better.

Now it's done, I've worn it a couple times, and I really love the little thing. I so seldom make everyday clothing, even though I hardly ever find what I want in stores or online. I'm pleased with how crisp and lovely the fabric is and I've already starting cutting out an 1890s-inspired jacket to wear with the new waistcoat.

The finished waistcoat before I went back and ripped the button holes out and let the side seams out. I hate fully finishing something only to tear into it again the next day - it takes a lot of willpower to make corrections and I usually have a little tantrum before I do it...but I'm always glad I buck up and finish it correctly.

Hooray for simple stash-busting projects!

There are, of course, things about the final waistcoat that I'm "meh" about, but I learned for next time. I love wearing waistcoats and I definitely plan to make more, so now I have an adjusted pattern for next time.

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1780-81 The Glasgow Polonaise Sacque Jacket - Done!

My sacque jacket from the back, with the beautiful hanging pleats

Last I updated about this jacket, we'd just set the shoulder straps and I had a bit of finishing to do before our trip to Scotland.

Working on the Isabella Mactavish Fraser gown - photo graciously provided by Atelier Nostlagia

Well now we're back from Scotland and I can finally share some photos of the finished jacket! I wore it three times - once for an impromptu photoshoot in Prince's Street Gardens, and then both days of the gown-in-a-weekend project at National Museums of Scotland.

The jacket was very comfortable to wear and I'm so glad it was cotton because it was *hot* in the museum. My shift, stays, and jacket were all soaked at the end of each day, but quick drying (yay, linen and linen linings!).

The jacket hangs open in the front, with a false waistcoat stitched in at the side-back seams. The front drape is shaped with pleats at the side and the front edges.

I wore my Penny River hand-embroidered stockings (Etsy), red Dunmore shoes, and green Charlotte buckles by Sign of the Grey Horse (Etsy) 

I had a chance to see the original jacket on display at the Kelvingrove Museum in Glasgow when we nipped up there for the day. It was like seeing an old friend, except I could also observe everything I got wrong on my version! Ah, but that's the point of the exercise, I think...to learn about historic construction, and the why's and how's of it.

The original jacket at the Kelvingrove Museum in Glasgow - it was such a treat to see this!

I'm going to wear this jacket again to Costume College at the end of this month. I plan to add some cord and button to hold the cuffs up, but other than that and a washing, it's ready to go. If you're going to Costume College, we'll see you there!

And now we know why it's called a "pet en l'air" :-P

Photos are by Abby Cox, naturally <3

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18th Century Hairstyles for Long Hair

Jenny's long hair was plenty to go over the ski slope hair cushion.

Nearly as often as we receive questions about doing 18th century hairstyles for short hair, we see the question come up for long hair. Can you do a frizzed hairstyle with long hair? How long does your hair have to be to do the tall donut styles? Is there such a thing as hair that is *too* long?

In "The American Duchess Guide to 18th Century Beauty" we cover the 1750s through the mid 1790s, and for a greater portion of that timeframe, shorter hair *in front* was the fashion, particularly with the frizzed 1780s hairstyles.

In the 1770s, though, very long hair was preferred for the very tall styles simply because you needed that much hair to get up and over the cushion. The bigger the cushion, the more hair (yours or someone else's) you need.

Laurie has very, very long and fine hair. Once pomaded and powdered, her hair was double the size and easily put up into the donut hair style with plenty left over for top curls, buckles, and chignon all made of her own hair.

Both Laurie and Jenny had quite long hair for the 1770s "Beignet" and "Ski Alpin" styles, but truth be told, Laurie's hair didn't need to be that long. So long as your hair can reach up and into the donut hole, you can do the tall coiffure, and remember...your donut or ski slope cushion don't need to be as large as the ones we make. Hair just past the shoulders can do a perfectly lovely "Beignet" with a scaled-down cushion. Add more height with a pouf, cap, hat, and feathers.

Hair that is very long - waist-length or booty-length also works perfectly well with the 1770s styles. Because of the hole in both cushion types, excess hair can be rolled up and stuffed down in there, or pinned within the hole and the ends curled to sit atop, like we did with Laurie's hair.

Cynthia's hair was just past her shoulders and was plenty to create the sculptural late 1760s hairstyle. Because of the shaped buckles and rolls of this coiffure, very long hair also works - just add more buckles!

But what about the short, curly styles? These are definitely more a challenge for long hair, but several costumer friends have done beautiful coiffures with their quite long locks by using the toupee hair piece. The trick is to curl your long hair all over, then work the front back and through the toupee hair piece (which should be short and tightly curled or crape'd, like we show in the book), pinning as needed. Your own hair forms the long chignon down the back. (Particular credit goes to Taylor of Dames a la Mode and Lauren Marks, who named her toupee Fred).

Jasmine's 3C hair was very easily pulled over the grub hair cushion to create the early 1780s style with all her own hair. This is a good option for long hair that you've curled or crimped.

As always, we encourage you to make the hair pieces in the book and then play around with your own hair, pomading and powdering it, curling it, and finding what works best for you. It may be that the 1780s crape'd hairstyles is just never going to happen, but the early 1780s transitional "Chenille" hairstyle is a perfect fit.

For more information and, of course, the how-to's for all of these hairstyles, cushions, hairpieces, products, etc. check out our book "The American Duchess Guide to 18th Century Beauty" on Amazon, AmericanDuchess.com, and other major booksellers.

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Bastille Day Sale!

It's time for our annual mid-Summer Bastille Day Sale!

We have looooooots of lovely historical shoes on sale this year:

Theda Edwardian Oxfords - $145 ($165)

Vienna Victorian Congress Boots - $160 ($180)

Amelie Satin Edwardian Pumps - $75 ($120)

Dashwood Regency Slippers - $65 ($99)

Dunmore 18th Century Wool Shoes - $120 ($155)

Eliza Early Victorian Shoes - $99 ($145)

Mansfield Regency Boots - $150 ($199)

Moliere Edwardian Pumps - $120 ($160)

Tissot Victorian Pumps - $80 ($155)

Balmoral Civil War Boots - $150 ($180)

The sale lasts until all of these are sold out - we're low on many styles/sizes, so don't wait. We will NOT be restocking any of these!

AmericanDuchess.com

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18th Century Hairstyles for Short Hair

Nicole's chin-length bob was perfect, if not even a little too long, for the early 1780s crape'd hairstyle once supplemented with a few hair pieces at the back...

One of the most frequent questions we get about doing authentic 18th century hairstyles like we show in "The American Duchess Guide to 18th Century Beauty" is..."are there instructions/styles/techniques/possibilities for short hair?"

The short (hehe) answer is YES!

Surprisingly, most of the 18th century favored a particular haircut - very short in the front and very long in the back, or what we might call a mullet today. In fact, the only period we cover in our book that was all about long, long, long hair is the 1770s, when very tall hair cushions were in fashion and you needed that much hair (whether it was really your own or not!).

Crape-ing or tightly curling the hair, then fluffing it up on cushions gives such huge volume, height, and width. Remember - Nicole's hair is only chin-length!

The rest of the time, though? Short hair in front was essential to success with the hairstyle. The 1750s, 1780s, and 1790s styles all benefit greatly from chin-length or shorter hair, sometimes even just a couple inches in front, and this is noted in original sources too.

Then as now, not everyone has the ideal hair to create the idealized hairstyles. Man, I wanted beachy waves *so badly* in 2003 but it just was never going to happen because my hair just never gets longer than about shoulder length and was too lanky and fine to achieve Cosmo-approved seaside glory. Women in the past also dealt with these issues!

Even if your hair is only a couple inches long, you can easily blend it into a toupee like the one above and no one will be the wiser. We teach you how to make one of these, along with a clip-in chignon and buckles.

Original hairdressing manuals are choc full of advertisements for mail-order toupees, buckles, and chignons to supplement a lady's 'do. So effective are these easy-to-make pieces that you can put together 90% of a perfectly-coiffed 18th century hairstyle in a few minutes with hairpieces and be out the door to the market fair in no time.

An example of the clip-in chignon (long hair) - and easy and essential hairpiece we teach you to make in the book.

So, of course, we included these three hairpieces in The #ADBeauty book. They're all made from real human hair so that they work with the pomade and powder, and they're all ridiculously easy to clip in and blend your own hair into, regardless if your hair is 2 inches or 20 inches long in front.

Want to know more (all the things?)

The American Duchess Guide to 18th Century Beauty

is available to purchase here.

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The Isabella Mactavish Fraser Project - Prep Work!

Working on our mockup dress in wool flannel, carefully studying photos of the original 1785 Isabella gown.

Today Abby and I are in Scotland! We've come halfway across the world to work on the Isabella Mactavish Fraser wedding gown project, and though our recreation will be done in two days time, we've been preparing for these two days for nearly all of June.

Our preparation has included some very careful study and cataloging of techniques from what we could see in photos of the original dress taken by a few of the other team members earlier this year. This is always a challenge because dark lighting and short timeframe don't always result in photos of everything that's needed. Additional questions often come up too, and with this particular dress the construction is so atypical that we've both been begging the universe for one more photo of this or that.

Of course, the best way to figure something out is to try to recreate it, so off to Mill End Fabric we went to pick up a dress length of wool flannel for a test dress. Now, the test dress is made on a bodice draped on me, and I'm quite a bit bigger than Isabella was, but for the sake of figuring out the hows and whys of the back pleats, bodice fronts, lacing strips, sleeves and cuffs, and fascinating skirt construction, it works a treat...plus it'll be a wearable garment in the future.

The bodice fronts of our Isabella mockup dress. This bodice was draped to fit me, so is inevitably different than the original gown, but we also discovered some particular points we need to keep in mind when cutting the bodice on Georgia for the final project.

We spent a long time trying to work out the back pleats and ran into challenges with not having the actual reproduction tartan here to work with (which ironically arrived in the mail literally the next day). To get a rough understanding of how the back pleats were done, I mocked up the tartan in Photoshop based on observation of the original in photos and Peter MacDonald's 2014 paper on the textile, which gave me vital information about the fabric width and set repeat. In the end I didn't get it exactly right, but it was close enough for paper-folding experiments.

Before the test chunk of fabric arrived we tried to work out the pleats on paper and got a little bit befuddled.

We spent a lot of time folding and stapling and taping the plaid-printed paper together. I won't call it a waste of time, but let's just say...when the sample piece of reproduction tartan did arrive the next day, it was all a heck of a lot easier than we thought. Thank goodness for that, at least!

Once the test piece of reproduction tartan arrived, we were able to work out the back pleats quickly (thank goodness!). The large tartan was a huge help.

As for the rest of the test dress, it went together fairly well despite thinking we'd have some issues with how the original was constructed. The blue wool is now currently here in Scotland with us and is in a half-finished state so the rest of the team can check out the insides to see how it was put together.

Working on the solid blue wool for the test dress was in many ways more challenging that recreating our tartan dress will be. We didn't have the large tartan pattern to guide us. For working out the how's and why's of the skirt seaming, the sleeve construction, and other oddities in the original gown, though, it has been invaluable. #mockupsbeforefockups !

Truth be told, I'm quite terrible at making mockups, but in a case like this it's been pretty vital. We're confident that the final 1785 tartan gown recreation will come together smoothly and with very close construction to the original. I want to reveal all its secrets to you now, but can't! So stay tuned for behind-the-scenes videos, photos, and our official documentary about the dress and project coming later this year. <3

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#ADBeauty - 18th Century Hats, Caps, Bonnets, and Accessories

Jasmine wearing her Therese hood, a very simple early 1780s accessory

It is my belief that one can never have too many 18th century accessories. Hats and caps are essential to getting the period look right, plus they all serve their own functions (even if sometimes it's just *fashion*).

In our new book "The American Duchess Guide to 18th Century Beauty," which I've been going on and on about for weeks now, every hairstyle tutorial/chapter also comes with instructions for making at least one, but more often two, accurate pieces of headgear with which to decorate your coiffure.

A good choice for all of the second half of the 18th century, a straw hat lined in silk and trimmed in silk ribbons is a go-to for sunny event days.

Here's what you'll learn to make:

• 1750s "Coeffure de Dentelles" (Lace Head) cap
• Lace lappets
• Late 1760s "Proto-Pouf"
• 1760s-1770s silk-lined and be-ribboned Bergere straw hat
• 1770s French Night Cap (the mother of all giant caps)
• 1770s Calash Bonnet (omg it's huge)
• 1770s Pouf (read: it's not the hairstyle)
• Ostrich Plumes
• Early 1780s Toque
• 1780s Therese hood
• Early 1780s "Bonnet a la Jeannot" cap (my fave)
• 1780s Black Silk Bonnet
• Mid-1780s "Bonnet a la Meduse" be-ribboned cap
• 1780s Gainsborough Straw Hat
• 1790s Chiffonet

Some of the accessory projects, like the Therese and the Toque, are so quick and easy that you'll have them done in an afternoon. Others take more time, like the Calash Bonnet and the Proto-Prouf, but they're all worth spending the effort to make because when event day arrives and you're wondering what the heck to wear on your head, you'll be spoiled for choice!

The fashionable black silk bonnet is perfect for the 1780s. Nicole wears hers over her crape'd hair.

Some more perks of headgear include:

• Hairstyle not really working out? Put on a cap and cover a multitude of sins!
• Sun in your eyes? Black silk bonnet to the rescue!
• Coiffure looking a little boring or, dare we say, too short? Add a pouf!
• Attendees not paying much attention to your presentation? Calash bonnet!
• Don't want to talk to anybody? Therese hood!

Now, as always, the accessories we make in each chapter are specifically designed to go with that hairstyle from that set of years. If you want to make something for a different shaped hairstyle, or an earlier or later time frame, you will need to adjust the pattern shapes and sizes. For instance, the Calash and the French Night Cap are very tall, designed to go over very tall hair. They'll need scaling down and shortening up to work with 1780s hairstyles. Luckily this is very easy to do!

The 1770s calash bonnet is a real showstopper - learn to make one step-by-step!

So there we go! We've covered the cosmetics, hairstyles, and accessories in "The American Duchess Guide to 18th Century Beauty." We hope you enjoy our second book!

"The American Duchess Guide to 18th Century Beauty"

comes out July 9, 2019 and is available on

Amazon, AmericanDuchess.com, Barnes & Noble,

and other major booksellers.

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1780 - 1781 Glasgow Polonaise Sacque Jacket Progress

1780 - 1781 Polonaise sacque jacket almost done! I love the back, even if it has double the fabric in it that it really needs.

Alllmmmooosssttt doooonnnneeeee!

This project has been one of much doing and re-doing, but I've learned a lot along the way. I'm thankful to say that as of this post my new sacque-back jacket is wearable!

Even though I had to re-do the sideback seams in situ, it gave me a chance to do a much better job on the trick back skirt pleats where they nip in under the sacque pleats.

The sleeves gave me the most trouble of anything on the gown. The original garment has these massive turn-back cuffs that are pleated into the sleeve and fold back nicely for a dramatic effect. Unfortunately my version didn't play so nicely and my cuffs were far too large and didn't lay nicely, so I reduced them. They look better now, but they're not true to the original and I'm not in love with them. They cause the sleeve to ruck up a bit, and I'm just way more into other cuff styles so I doubt I'll do the all-in-one-turn-back cuffs again in the future.

Grumble.  Turns out there is too much of a good thing...

Once the sleeves were constructed, Nicole helped me fit the shoulder strap seams and then the sleeves. I like to do this in one fitting, though it means putting the garment on, taking it off, putting it on again, taking it off again. The result is an almost-finished garment!

For a little bonus, here's a video I put together on how to do the convertible pinning trick we talk about in the book, since it's confusing in photos:

With the cuffs greatly reduced and the sleeves set on.

 With shoulder straps sewn, underarms of the sleeves securely back-stitched, and the tops firmly basted, I took the jacket home and applied the printed cotton shoulder straps over top to finish the whole thing off. I also made an extra little tuck along the flyaway bodice front for a more fitted look, and I'm calling it done.

The nearly-completed jacket. Sleeves set on and partially sewn. Front flyaway pinned into a more flattering position. You can see on the left sleeve here how the cuffs cause some issue.

I'm glad this project is complete. The Ikea duvet cover cotton, despite being so pretty, was a right royal PITA to sew because it's woven very tightly. Great for a bedspread, not so great for handsewing.

I have one or two more millinery details to add - a silk ribbon tucker around the neckline (I never skip this, even if I'm planning to wear a kerchief), and I *might* do some cord loops with buttons on the cuffs to help shape them.

I look forward to wearing this pretty jacket in Edinburgh at the end of June for the Isabella Mactavish Fraser Wedding Gown recreation project. We'll be sure to get pictures!

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#ADBeauty - 8 Authentic 18th Century Hairstyles!

Big Hair? Yes you can!

Possibly the post you've been truly waiting for, today I'm going to give you some previews of the hairstyles in our next book "The American Duchess Guide to 18th Century Beauty" coming out July 9th and available to order now.

Before we get into the hairstyles specifically, we give tutorials for making hair pieces - a toupee (the middle portion of the hair), the chignon (the long back hank of the hair), and buckles (the large curls). These extensions are historically accurate and a godsend when it comes to doing any of these styles, especially the 1780s and early '90s fashions.
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We started our hairstyling adventure in c. 1750 with a very typical French style. The reason we chose 1750 as our origin point is because hair styling for the first 50 or so years of the 18th century wasn't all that different decade-to-decade. We wanted to show what came before the 'rise' of tall hair, so to speak.

Abby in the 1750s-1770s Coiffure Francaise.

Abby kicks off the book hairstyles with the Coiffure Francaise, which was was done entirely with her own shoulder-length hair. It's an easy one to do, despite its sculptural effect!
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Once we get into the mid 1760s, the hairstyles start to ascend and become more intricate. We worked with Cynthia and her massive amounts of natural red hair to create what we call the Coiffure Banane (banana hair style), which follows the taste and teaching of Legros de Rumigny.

Cynthia wearing the 1765 - 1772 Coiffure - all her own hair!

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Just a few years later, by 1772, hair is *big*, built up on large cushions. Laurie's long hair was perfect for this enormous style, which we call the Coiffure Beignet (donut hairstyle). It's actually one of the easiest styles in the book and is open to lots of variation. This is one of the styles that is perfect for long, and even very long hair.

Laurie Tavan modeling the 1772 - 1775 giant donut hairstyle with all her own hair!

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Next comes the 1776 Coiffure Ski Alpin (ski-slope hairstyle), the fashionable silhouette for the Revolutionary War period. We named this style for the very interesting cushion shape (pattern in the book!), which is higher in the back than the front, creating a lovely platform for the display of your pouf. Jenny is our model and we give advice for working with Asian hair, which can be applied to other styles in the book.

Jenny rocks the 1776-1779 hairstyle built on the "ski slope" hair cushion.

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Once we hit the 1780s, the hair silhouette begins to morph from tall to wide. The early 1780s Coiffure Chenille (caterpillar hairstyle) uses the "grub" hair cushion to give oomph in the front, with a cascade of buckles and the chignon in back. We worked with Jasmine, using her natural hair texture, and give tips for working with 3C and 4C hair types.

Jasmine displays the early 1780s hairstyle with the "grub" hair cushion, done with all her own hair.

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Also in the early 1780s we present the Coiffure Friseur (frizzed hairstyle), which uses a popular and common 18th century technique called crapeing to semi-perm straight hair into tight, frizzy curls. In this chapter, Cheyney McKnight discusses the cultural appropriation of African hair texture, and we demonstrate how to crape and then create this fascinating style with Nicole's chin-length bob.

Nicole shows the 1780 - 1783 Coiffure Friseur.

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By the mid 1780s, cloud-like hair is still in fashion. In this chapter we discuss the 18th century mullet haircut and demonstrate another method of curling and coiffing this style on me, using my own hair and the chignon hair extensions created earlier in the book.

Lauren models the 1785 - 1790 curly hairstyle with buckles and long chignon hair (a hair piece!)

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The last style is the Coiffure Revolution from the early 1790s. This bevvy of curls is more relaxed and natural. We worked with Zyna, an Asian Pacific Islander, and her thick, shoulder-length hair. This is a very easy style to do!

Zyna shows the 1790 - 1794 curly and loose hairstyle tied with a chiffonet.

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It's a wild, hairy ride, but we try to explain and demonstrate each of these styles to make them as accessible as possible to all sorts of hair types, lengths, and textures. We encourage everyone to experiment and adjust as desired to create the height, width, and effects most flattering to your faces, using the historical tools, products, and accessories we give in each chapter.

"The American Duchess Guide to 18th Century Beauty" comes out July 9, 2019 and is available to order on Amazon, Barnes & Noble, AmericanDuchess.com, and all other major booksellers.

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Resplendent in 1835 - A Photoshoot

Nicole Rudolph in her c. 1835 ensemble.

OK, so it's pretty obvious I'm obsessed with the 1830s now (though I will never stop loving the 18th century deeply). I've made two gowns and I'm just itching to make more, plus the wacky accessories that go with them. The fact that "Gentleman Jack" is costumed so fantastically is only fuel to this fire.

So when Nicole came to visit last December, joining us on our 1830s excursion (invasion? infestation?) to Dickens Fair in San Francisco, we did a little pre-game photoshoot with her in her tomato red silk gown.

The full look - Nicole's sleeves made her a full yard wide

And I nearly died over the beauty of it. Nicole's skill is just incredible. The fit and execution on this gown was just stunning.

Nicole's gown is circa 1835-ish and she was sporting the HOOJEST sleeves of us all, with sleeve plumpers a good third or more larger than mine.

Amongst the massive sleeves you can see the checkered ribbon belt with original 1830s belt buckle. The delicate chain draped across the shoulders was another '30s trend.

The cleverly cut and pieced net pelerine gave an ethereal quality and allowed the details of the bodice underneath to peek through.

Nicole Rudolph in her c. 1835 ensemble.

Nicole paired the lustrous red silk with turquoise and gold accents in the checkered ribbon belt and fantastic hat with egret feathers.

For the photoshoot, we paired the ensemble with Eliza Early Victorian Slippers in black and grey houndstooth wool and black leather. The adorable little square-toed, split-vamp oxfords are true reproductions of original 1830s shoes and looked wonderful with the costume.

Eliza Early Victorian Shoes in grey/black were just the ticket.

You can follow Nicole on Instagram - @silk_and_buckram

Also on Facebook - Diary of a Mantua Maker

Shot on location at Rancho San Rafael Park, Reno, Nevada
Gown & Millinery - Nicole Rudolph
Shoes - "Eliza" Early Victorian Shoes (1830s - 1860s)

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