Directions on painting a muslin dress from 1855

PAINTED dresses have become fashionable in Paris; and as nothing can be more recherché than their appearance, it is worth taking the little trouble to produce them, always provided, my fair young friends, that when undertaking some fascinating piece of fancy-work, that which is less elegant, though more useful, is not neglected; or worse still, home duties, or intellectual culture, set aside for comparative trifles.

Our flounces hemmed, we must proceed to business. Procure a sheet of very thick card-board, from which cut two strips about twice as broad as each of the accompanying designs; let both be some quarter of a yard long. Trace out these designs on the centre of each strip, adding on at the end similar branches to those here given, but remarking that the centre stem meets exactly at both ends, as this is absolutely necessary to enable you to carry on the pattern without interruption all around the skirt, or flounces. When the design is drawn, cut out the centre part entirely, following exactly every little twist and turning of the pattern, as jagged edges would entirely mar the effect. This done, stretch your flounces upon the table before you (with paper or cambric smoothly laid under), and fixing it down by leaden or other weights, so placed that it may not possibly move about. Then place the cut-out card-board design above the hem; take a paint-brush (of the scrub kind, that used in poonah tinting we believe to be the best), soak it well in Chinese vermilion water-color, a good quantity of which should be prepared beforehand, and ought to be very thick. Then rub the brush well over the whole space left in the centre of the card-board, pressing down the pattern tightly as you follow the edges of the design with the brush. Next lift your pattern with the greatest possible care, wiping it well before carrying it further along the flounce, lest any particle of color might remain, so as to soil the edges of the work. Great nicety in these matters is, I need scarcely add, a most important part of the operation. The design is thus nearly completed at once; but to render it more perfect, it were better to shade it slightly on one side with brown. (Blistre is the best color for this.)

Nothing can be more simple or easy than this style of painting; care and promptitude alone are needed, as allowing the work to drag about for days would entirely spoil it. The second sized pattern, of course, in intended for whatever muslin frill or trimmings may be required to ornament the corsage or sleeves.

Should it be requisite to add a sash, bretelles (braces), or other ribbons to the dress, plain watered silk or taffetas ribbon of the width required can be painted, of the same color and pattern as used for the dress, in the manner already described. It will be necessary to try a small piece of material first, to see whether the color will take upon it without running; if not, gum or isinglass must be added; and, of course, the color had better be laid on as dry as possible. But practice will point out all these little niceties (so requisite to perfection in any art) to the fair worker, and for which it is impossible to write down detailed directions.

The same pattern as we have given would be very distingué painted in lamp or ivory black, on a rose or cherry-colored muslin; while black velvet, intermixed with roses of the same shade, without leaves or ribbons to match, should be worn as a cache-peigne to fasten the bandeaux that the back of the head. Black velvet wristlets, or jet bracelets, and black satin shoes, with rosettes edged with the rose color, might complete a dress fit for the most elegant soirée, and yet one that will cost but a very moderate sum, if made entirely at home.

I need scarcely hint how pretty and varied dresses in this style may be made, by exercising a little ingenuity and taste. For instance, two or three white muslin skirts (each shorter and less full that the lower ones), painted just above the hems in this way, with a wreath of roses and buds, or rose-buds alone, with trimmings and ribbons to match, as already described.

Or one of bluets and red field poppies, with headdresses as above to match.

Another of convolvulus would be elegant in the extreme. Or one purely of wreaths of foliage, with a branch or garland of the same, entwined round the back of the head.

Take nature for your guide; any wreath of ivy may serve you as a model for that purpose. The roses, of course, must be painted like the coral wreath, with a pattern of card-board for the ground tint; then add darker shades of the color (pink saucer) used to paint the flowers; and dark green (Prussian blue and gamboge mixed together form the most brilliant tints for foliage) can be added, in the same way as the brown on the coral pattern, to finish off each wreath or sprig.

As the last described toilettes would be fitting for full dress, white kid gloves and white stain shoes, in that case, would be required to render the toilette complete. But avoid all extra jewels or ornaments, as in positive bad taste, and altogether unnecessary to the young, to whom alone the above toilettes are adapted; as white muslin must not be thought of if freshness and bloom have fled from the cheek, or the frame become attenuated by time or care.

White silk, satin, or gauze dresses, might be painted after the manner already described; but the first two would be suitable to married women only, and all three too expensive for general use.