16th Century Dress
Early examples of underwear are not available but there are pictures of what was worn.
Early opinions of women in the 15th century where that they should be smaller, thinner in size, and more graceful than men and that their assets should be emphasised so that they appeared to have large, child-bearing hips padded out with cloth and wool leading to greatly exagerared proportions. There was also a trend to increase the height with "chopines." (shoes?) Men were offended by the deceit women used and some even thought it to be a sin to appear something you are not.
"Receyul de ka Diverusite des Habits" - 1567, shows what is the bottom of a whaleboned or caned petticoat. The women wore a -"Spanish Farthingale" also spelt vertingale or vardingale. There are also some interesting exstant written references available which tell of the fashion of extremely narrow waists of a hand-span size, further emphasised their proportions with the wide shoulders and large sleeves of their gowns, with their bell-shaped skirts held out by whalebone and the farthingale, made 5yds of taffita of white, red, grey fabric or other colour trimmed sometimes with a border of velvet to protect from the mud. nb. One farthingale requires 3yd of whalebone encased in 7 and a half yards of casing". Under this was worn the chemise or smock and over this a corset or bodice also called a ,"corp pique" which is fastened at the back to cause the bust to be pushed high the neck short and the bust much fuller. The body shape is straight and the wearer was very uncomfortable trussed up sometimes even using iron plates to achieve the effect. With this they wore coloured "hose." The adverse effect was that there flesh could rot away or even cause premature death.
Over the dress would be the stomacher also known as a placard - examples of this can be found in the KCM. They are basically a triangle made of about half a yard of a rich material like velvet and elaborately embroidered with threads sometimes of gold or silver with, for example flowers,and sometimes embellished with pearls, which was pinned to the front of the gown and stiffened with whalebone.
Saturday, 17 December 2011
Sunday, 11 December 2011
Places worth a visit in the United Kingdom
Gallery Of English Costume http://www.manchestergalleries.org/ Admission Free
Staircase House, Stockport
Tatton Park Admission cost and parking fees
Lyme Park.
The Jane Austin Centre Bath
Staircase House, Stockport
Tatton Park Admission cost and parking fees
Lyme Park.
The Jane Austin Centre Bath
Friday, 20 May 2011
underthings
CHEMISE OR SHIFT
The chemise was the essential undergarment to be worn under the corset and was the only garment which was actually washed - urrr! The sleeves can be made of another, more expensive fabric
To make this garment measure the length of your body and multiply by two, fold in half (the fold is the shoulder). Measure the length of your arms to just below the elbow from the shoulder and approximate a width, times by two. Find the centre point of the shoulder and cut a cross in material. Make a horizontal slit large enough for the head, then cut out arc shape.To get the correct sizing you will need to try it on with the dress,make the chanel for the drawstring.
It is simply a body and sleeves with two small squares folded in half to form a triangle. These are placed under the armpits with the point at the top. The two long triangles taken from the trimmmings of the body are sewn with the point at the top to widen the sides of the chemise. Sew the sleeves to the body then put in the two. Then put in the two long triangles cut from the body.these are cut from the body from the shoulder to the hem. Put the point uppermost and the wide part at the hem. I just used an old piece of cotton sheet here. This is a simple first garment to make.
POCKET HOOPS
The pocket hoops show here areaa lot harder as it took ages to figure out how it went together. I used wide, plastic boning strips to stiffen the legs.
REGENCY UNDERSKIRT in cotton with tab fastenings at shoulder. Very simple to make.
POCKETS
Pockets that tie around waist and are accessed through slit in dress, they
have slit running vertically in the fronts which are faced with bias tape
VICTORIAN DRAWS
Cotton fabric, buttons down front and has a shaped panel at the top to fit waist.
VICTORIAN TRAINED UNDERSKIRT
Red, cotton fabric. This underskirt has a waistband, button fastening to back and overlapping frills sewn to a base of the same material.
The chemise was the essential undergarment to be worn under the corset and was the only garment which was actually washed - urrr! The sleeves can be made of another, more expensive fabric
It is simply a body and sleeves with two small squares folded in half to form a triangle. These are placed under the armpits with the point at the top. The two long triangles taken from the trimmmings of the body are sewn with the point at the top to widen the sides of the chemise. Sew the sleeves to the body then put in the two. Then put in the two long triangles cut from the body.these are cut from the body from the shoulder to the hem. Put the point uppermost and the wide part at the hem. I just used an old piece of cotton sheet here. This is a simple first garment to make.
POCKET HOOPS
The pocket hoops show here areaa lot harder as it took ages to figure out how it went together. I used wide, plastic boning strips to stiffen the legs.
REGENCY UNDERSKIRT in cotton with tab fastenings at shoulder. Very simple to make.
POCKETS
Pockets that tie around waist and are accessed through slit in dress, they
have slit running vertically in the fronts which are faced with bias tape
VICTORIAN DRAWS
Cotton fabric, buttons down front and has a shaped panel at the top to fit waist.
Red, cotton fabric. This underskirt has a waistband, button fastening to back and overlapping frills sewn to a base of the same material.
Saturday, 5 March 2011
Long corset
The long corset I am making has 3 layers, 1 lining, 1 for stiffening in calico and an outer-casing of strong white linen.
THE PATTERN PIECES
The corset basically consists of 4 triangles at the bust (2 either side of the centre-front.) It has 2 hip-triangles (gussets.) After cutting out all the pieces three times (one top, one callico one lining) I made up the gussets by marking and turning the edges inside, trimming the callico by the amount of the turning so its smaller than the other two, then tacking this down, pressing, then sewing it to the slits cut out of the fabric, however after trying to sew the gusset on top of the outer shell it works better on the inside.it You then have the problem of the point which means you have to cut a v-shape out of the outer material to get a neat turning. I marked the positions with a blue,washable fabric pen. When sure it was correct I sewed the seam neatly in place.
BUSK
The 1800s busk would be wood and is 14in long and about the width of a ruler (not easy to bend forward.) The front seam has to fit the busk so this seam needs to be as wide as the busk plus the turning. All the seams are hand sewn from the outside. On the first attempt I tried to sew a box pleat to insert the busk as I had allowed enough material at the centre front but had problems getting it symetrical. In the end I had to make a strip of material and sew it on the outside to cover the centre seam which I don't think is strictly accurate still it did the job.
HAND CORDING
I used for the cord sizal garden string but cotton packing string also works.
The cording needs to be done before the corset pieces are sewn together or you will have problems with the side-seams. I tried these two methods:
A Sew the top fabric to the canvas
B Sew all the 3 pieces together at the same time.
If you do a running stitch with method a. you can then sew the 3rd layer on between the original running stitches.
I also tried sewing all the vertical seams of the corset together first and then adding the cording and then sewing them this didnt work well as the cords come to
the edge of each piece.
ADDING THE CORDS
Before sewing anything together work each piece separately. Draw the lines where the cording needs to be placed by transfering from the paper pattern. Mark the lines with a washable pen or tacking stitch. Secure the cord to the canvas by overstitching the cord to the fabric. Now pin the top fabric in place and tack the outside edges and with a few pins and a bit of practice you will be able to sew each side of the cord without it moving. Go back through the gaps of the running stitch to get a back-stitch.
CORSET EYELETS HAND-SEWN
You will need 5 metres of lacing for a long-corset as this saves time undoing a lot of lacing to get the stays on. You will need 2 sizes of knitting needles, a sharp pair of small nail scissors.
Sew two row of stitching one at the centre-back and add a cord and one next to it with another cord the other side. Make another line of stitching and a cord to go the other side of the lacing holes.
Mark the position of the holes.
Poke a small hole with the scissors.
Push through first the smallest needle, then the larger.
Trim off the warp and weft of the fabric by a few of threads.
Use a strong thick linen thread and sew around the hole. Open the hole up if necessary with the kbitting needle, pull the thread slightly as you sew.
NB over-sewing was used in this period instead of a button-hole stitch and I found it strong enough to do the job.
THE PATTERN PIECES
The corset basically consists of 4 triangles at the bust (2 either side of the centre-front.) It has 2 hip-triangles (gussets.) After cutting out all the pieces three times (one top, one callico one lining) I made up the gussets by marking and turning the edges inside, trimming the callico by the amount of the turning so its smaller than the other two, then tacking this down, pressing, then sewing it to the slits cut out of the fabric, however after trying to sew the gusset on top of the outer shell it works better on the inside.it You then have the problem of the point which means you have to cut a v-shape out of the outer material to get a neat turning. I marked the positions with a blue,washable fabric pen. When sure it was correct I sewed the seam neatly in place.
BUSK
The 1800s busk would be wood and is 14in long and about the width of a ruler (not easy to bend forward.) The front seam has to fit the busk so this seam needs to be as wide as the busk plus the turning. All the seams are hand sewn from the outside. On the first attempt I tried to sew a box pleat to insert the busk as I had allowed enough material at the centre front but had problems getting it symetrical. In the end I had to make a strip of material and sew it on the outside to cover the centre seam which I don't think is strictly accurate still it did the job.
HAND CORDING
I used for the cord sizal garden string but cotton packing string also works.
The cording needs to be done before the corset pieces are sewn together or you will have problems with the side-seams. I tried these two methods:
A Sew the top fabric to the canvas
B Sew all the 3 pieces together at the same time.
If you do a running stitch with method a. you can then sew the 3rd layer on between the original running stitches.
I also tried sewing all the vertical seams of the corset together first and then adding the cording and then sewing them this didnt work well as the cords come to
the edge of each piece.
ADDING THE CORDS
Before sewing anything together work each piece separately. Draw the lines where the cording needs to be placed by transfering from the paper pattern. Mark the lines with a washable pen or tacking stitch. Secure the cord to the canvas by overstitching the cord to the fabric. Now pin the top fabric in place and tack the outside edges and with a few pins and a bit of practice you will be able to sew each side of the cord without it moving. Go back through the gaps of the running stitch to get a back-stitch.
CORSET EYELETS HAND-SEWN
You will need 5 metres of lacing for a long-corset as this saves time undoing a lot of lacing to get the stays on. You will need 2 sizes of knitting needles, a sharp pair of small nail scissors.
Sew two row of stitching one at the centre-back and add a cord and one next to it with another cord the other side. Make another line of stitching and a cord to go the other side of the lacing holes.
Mark the position of the holes.
Poke a small hole with the scissors.
Push through first the smallest needle, then the larger.
Trim off the warp and weft of the fabric by a few of threads.
Use a strong thick linen thread and sew around the hole. Open the hole up if necessary with the kbitting needle, pull the thread slightly as you sew.
NB over-sewing was used in this period instead of a button-hole stitch and I found it strong enough to do the job.
Wednesday, 9 February 2011
hats, bonnets and caps
These are a few hats/bonnets I have made.
Matching bonnet for 1830s dress
Cap for 1830s - no pattern made from cotton from an example in Stockport Hat museum
Hat for redingote
Tricorn hat, gold cord and feathers
Matching bonnet for 1830s dress
Cap for 1830s - no pattern made from cotton from an example in Stockport Hat museum
Hat for redingote
Tricorn hat, gold cord and feathers
Sunday, 30 January 2011
1839 dress
MATERIALS
4 yards for skirt, I think about 6 or 7 yrd should do it.
Lace, calico, some braid for binding seams. fastening for back
FRONT BODICE These pieces were the most difficult as I had to cut it out 3 times and still don't think its quite right. This is caused by a)the cut-out darts that curve on one side it is best to leave the cutting out until you had got the sizing right. When enlarging the pattern it is hard to tell how to do so without altering the shape of the centre front v, These darts are much wider than modern ones, hense the need to trim the material to half an inch (too bulky to leave.) When finished trim all seams with braid to strengthen. Add a piece of boning encased in canvas and sew to centre-front seam. I think the darts carry on to taper off at the centre of the shoulder as it doen't fit right otherwise.
BACK BODICE consists of 2 curved side pieces and 2 centre-backs. These are easy to fit and sew and also require binding on seams.
SLEEVES Consist of 2 pieces. The top has 3 gathers, just above the elbow, held in place at the back with a rectangle of canvas sewn on with 3 rows of stitching, top,bottom and centre. This should be done before the sleeve is joined at the side or stitched in the arm-hole, or it's very tricky to handle there are two over-lapping layers of cotton lace stitched to two of the gathers on the sleeve. The sleeves alone took two hours each one! The bottom section is gathered to the top and flares out at the cuff.
COLLAR The collar is mounted on a piece of light-weight fabric with two darts at the under-bust in the bottom part. There is a left and right piece. Onto this piece of canvas is sewn strips of the dress fabric one and three-quarters wide folded in half lengthways max length 16ins. These are overlapped down this piece and then sewn into the centre-seam to join the two sides together and then into or on the shoulder seam. I also think the top is sewn to the back of the neckline and turned to the front.
LINING This is cut out at the same time as the top fabric an is sewn together so the raw edges are facing outside . This means that the bodice/top fabric will not move. The bodice/top fabric is attatched to the skirt by a strip of material or band cut to size and turened in top and bottom by half an inch after the bodice is attached to the skirt.
SKIRT Cut out this in cotton to match tne skirt. The top of the skirt is curves downwards because of the pointed front on the bodice.The hem-line is resting on the ankle. Sew the lining and the top section together. Attach the skirt by dividing into 4 and gathering each section separately. Unlendss you decide to pleat. Tack and sew onto the bodice through the 3 layers of fabric n.b trying to do this separately ends up with a too bulky waistline. On the right side sew braid to the seam to further strenghthen it. Try on the garment to measure the hem-line and sew it up.
BACK CLOSING Attach hooks and eyes to centre-back. It is difficult to get these strong enough or evenly spaced so it is best to make some hook and eye tape marking the distance equally between. Make the top ones half and inch down and the bottom the same distance. The hooks need to be a reasonably size or its fiddly to close.
The finished garment is quite heavy if the top fabric is not quite light-weight. The skirt/bodice pieces have to be attached very firmly or it will not stand up to much punishment. I still havn't got the bodice right because of the darts
4 yards for skirt, I think about 6 or 7 yrd should do it.
Lace, calico, some braid for binding seams. fastening for back
FRONT BODICE These pieces were the most difficult as I had to cut it out 3 times and still don't think its quite right. This is caused by a)the cut-out darts that curve on one side it is best to leave the cutting out until you had got the sizing right. When enlarging the pattern it is hard to tell how to do so without altering the shape of the centre front v, These darts are much wider than modern ones, hense the need to trim the material to half an inch (too bulky to leave.) When finished trim all seams with braid to strengthen. Add a piece of boning encased in canvas and sew to centre-front seam. I think the darts carry on to taper off at the centre of the shoulder as it doen't fit right otherwise.
BACK BODICE consists of 2 curved side pieces and 2 centre-backs. These are easy to fit and sew and also require binding on seams.
SLEEVES Consist of 2 pieces. The top has 3 gathers, just above the elbow, held in place at the back with a rectangle of canvas sewn on with 3 rows of stitching, top,bottom and centre. This should be done before the sleeve is joined at the side or stitched in the arm-hole, or it's very tricky to handle there are two over-lapping layers of cotton lace stitched to two of the gathers on the sleeve. The sleeves alone took two hours each one! The bottom section is gathered to the top and flares out at the cuff.
COLLAR The collar is mounted on a piece of light-weight fabric with two darts at the under-bust in the bottom part. There is a left and right piece. Onto this piece of canvas is sewn strips of the dress fabric one and three-quarters wide folded in half lengthways max length 16ins. These are overlapped down this piece and then sewn into the centre-seam to join the two sides together and then into or on the shoulder seam. I also think the top is sewn to the back of the neckline and turned to the front.
LINING This is cut out at the same time as the top fabric an is sewn together so the raw edges are facing outside . This means that the bodice/top fabric will not move. The bodice/top fabric is attatched to the skirt by a strip of material or band cut to size and turened in top and bottom by half an inch after the bodice is attached to the skirt.
SKIRT Cut out this in cotton to match tne skirt. The top of the skirt is curves downwards because of the pointed front on the bodice.The hem-line is resting on the ankle. Sew the lining and the top section together. Attach the skirt by dividing into 4 and gathering each section separately. Unlendss you decide to pleat. Tack and sew onto the bodice through the 3 layers of fabric n.b trying to do this separately ends up with a too bulky waistline. On the right side sew braid to the seam to further strenghthen it. Try on the garment to measure the hem-line and sew it up.
BACK CLOSING Attach hooks and eyes to centre-back. It is difficult to get these strong enough or evenly spaced so it is best to make some hook and eye tape marking the distance equally between. Make the top ones half and inch down and the bottom the same distance. The hooks need to be a reasonably size or its fiddly to close.
The finished garment is quite heavy if the top fabric is not quite light-weight. The skirt/bodice pieces have to be attached very firmly or it will not stand up to much punishment. I still havn't got the bodice right because of the darts
Wednesday, 29 December 2010
1690s riding habit
Brocade Riding Jacket 1600s
Inspired by a painting
MATERIALS: pair of lined, brocade curtains. 10 buttons, iron on hemming tape. Hooks and eyes for skirt. Cushion cover, braid for collar. Cost £3.
THE JACKET
The jacket has a Narrow back which flares out at the bottom for pocket hoops. The fabric is brocade. There are two pocket flaps which can be accessed by a slit in the
coat. The jacket is lined. It has a stand-up collar which is decorated with braid.
The entire garment was hand-sewn. The matching skirt fastens at the back with
hooks and eyes and is otherwise left open for about 5 inches
Inspired by a painting
MATERIALS: pair of lined, brocade curtains. 10 buttons, iron on hemming tape. Hooks and eyes for skirt. Cushion cover, braid for collar. Cost £3.
THE JACKET
The jacket has a Narrow back which flares out at the bottom for pocket hoops. The fabric is brocade. There are two pocket flaps which can be accessed by a slit in the
coat. The jacket is lined. It has a stand-up collar which is decorated with braid.
The entire garment was hand-sewn. The matching skirt fastens at the back with
hooks and eyes and is otherwise left open for about 5 inches
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