18th Century

Wednesday, 16 May 2018

Printed Cotton Ensemble ca 1790




I have done it! My first 18th-century frock is finally done, and so is my thesis! April was a month of finishing projects, and May will be a month of catch up and hopefully getting back to creative endeavors.

This project is a very long time coming, and I feel like I spent more time planning than sewing, but overall I am pleased with how it turned out. 

I started this project in February 2018, and according to my Instagram stories, it took 11 weeks to complete.  I could have done this much quicker, and it probably won't take me so long in the future, but there was a steep learning curve for the hand sewing and fitting. Now that I have some experience, I feel much more confident for my next project which I am already planning 
Fabric detail and the very helpful American Duchess 

Fabrics
This project was made from the ubiquitous IKEA bedding which I got for a very good price on boxing day (LJUSOGA - 39.99 CAD for a King size, the equivalent to 11 meters of fabric!!!?!). This pattern has since been discontinued, but IKEA still offers a lot of good 18th-century options. Overall, I would say this was very nice material to work with and is most certainly the most economical way for getting accurate(ish) printed cotton in Canada. I still have enough left to make a Bedgown (which I have in the works), and probably another jacket, or small piece. 

I used some very pretty ivory lace at the collar and cuffs for some extra detail and texture, as well as made a burgundy organza bow to pin to my centre front. 


Pattern and Design
I based the design on this ensemble on my favourite piece from the Colonial Williamsburg collection (1990.10.2). I wanted something that had an air of effortlessness while still being fashionable. I think the separate jacket and matching petticoat achieve this very nicely and have the added benefit of being more versatile than a gown. I did my best to draft this exactly as it appears in the Colonial Williamsburg, but in the end, made some small adjustments, and fixes to my own errors.

To make a pattern, I drafted my own and used the American Duchess Guide (specifically the chapter on the Italian gown) to give me basic shapes. The instructions were very helpful and I am very proud that the entire thing is hand stitched. I would not have been able to do that without the help from the ladies at American Duchess.

The skirt on the jacket is made of 8 panels of fabric that I stitched together using a mantua-makers seam. This helped save on fabric while getting the proportions I wanted. I probably could have just used the single piece that was left after all the cutting but doing it the "hard way" meant that I had more volume and length to work with. I love that the jacket skirt sits at the fullest part of my hips. It is very flattering and accentuates that late 18th-century silhouette. 

What went wrong…
Overall, I am pleased with how this turned out, but there were some hiccups and more to learn than I initially thought. The good news is I still have a gorgeous garment and know what to watch out for in the future.  

I ended up having the piece the lower sleeves below the elbow - because I did not listen to Lauren and Abby and made them too tight - but they turned out just fine in the end. Piecing was very easy, and it gives my jacket a bit of individual flair. It almost looks like a cuff and bothers me far less than I thought it would.

Stitching together the front panel and back bodice.
The other mistake I made was not cutting the front panel lining on the bias. I did for the fashion fabric but forgot when cutting the lining. This results in the fashion fabric puckering in some places, but it is not horrible.

Lastly, though this is not a mistake so much as an observation, in my next jacket I will make sure the side seams are closer to the front (these ones were quite far back) so that I fit the bodice on my body more easily. I don’t have a helper, and my dress form is woefully misshaped for this kind of work. I could have easily made what is the front into two pieces so that I could reach the side seam, so that is what we shall do next time. 


 I am not sure when next time will be, the search for fabric continues, but I have the design all planned out. In the meantime, I am going to work on accessories such as a cap and neckerchief. Time to practice my fine stiching! Wish me luck.

 -Happy Sewing!
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Printed Cotton Ensemble ca 1790
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Wednesday, 21 February 2018

Printed Cotton Ensemble | Planning and Research

I have been agonising over my first 18th-century ensemble for what feels like a year now. And I have finally decided on what to make. I am going to make a jacket and matching petticoat in printed cotton.

The runner-up was an Italian Gown, but I wanted something with some versatility, and I think that once I grow my 18th-closet, I can use the pieces of the matching ensemble with other garments. The Italian gown will have to wait, but I suspect not for long.

Research

Colonial Williamsburg, 1990-10,1 and 1990-10,2 | Women's Jacket and Petticoat, India Chintz. 

I am basing my ensemble off one of my favourite pieces in the Colonial Williamsburg Collection, but with some of my own modifications. I think I will make the petticoat precisely as it appear in the extant garment (but maybe with a longer flounce) but will make some small additions and changes to the jacket.

I will be making the jacket in the "baby Italian gown" style with the point low back waist seam and pleats, but I think 3/4" length sleeves will be more flattering on me (and that is my preferred sleeve length).  I will also add some small ruffles at the neckline and sleeves to add some extra texture and interest. I will have lots and lots of fabric for this project so I might as well use it.

In the extant garment, there are 4 back sections (2 each side) with the side seam coming round under the arm. I have draped this out on my form, and the fit is good, but I am considering moving the side seams closer to the back to create narrower back sections for some visual interest in the back, but I am unsure of how this will alter the fit of the garment.

I am going to tackle the petticoat first and think about the problem of the back panels for a while. Any advice would be much appreciated.

-Happy Sewing
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Printed Cotton Ensemble | Planning and Research
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Monday, 19 February 2018

Diagnosing Problems on my Stays

For those of you that have been following me on Instagram, you may have noticed that I am working on a new pair of stays already.

I had thought that my first pair was "good enough" - and in many ways they are - but as I wore them around the house and worked them in, I started to notice more and more problems which would result in frustration when it came to fitting and wearing a gown. In addition to the fit problems, I have happily learned so much in the last 8 months that I now see some of my issues are due to incorrect period/style for the silhouette I was going for.

So buckle up for an episode of "Morg critiques her own work and learns from mistakes hopefully!"



The Fabric Choice  |  The fabric I used was not bad. In fact, there are a lot of things I like about the cotton canvas, but in the end, two layers of canvas were not enough to create the structure I was hoping for. The panels are quite soft and are very very comfortable, and provide a surprising amount of support for the bust, but let me move around and bend at the waist quite significantly.

The Pattern | I used Butternick B4254. Yep, a commercial pattern. And you know what? It isn't bad. The shape of each panel is actually quite good, and it has a lot of customisation built right in. HOWEVER, the back panel goes up very high, and the front is very low. This style is much better the later decades, say 1784-1790ish, and so do not give me the elegant flat front I was looking for.  Without making a stomacher, these stays give me a very pronounced prow front and much softer bust line.

The Fit |  This is where I have the most room for improvement. I did make some modification to the commercial pattern in order to have them fit better but didn't make a mockup after my adjustments so it still did not fit as I would like.

Overall they are about 2-3 inches too wide all the way around. I can close these right up, back and front. Ideally, I should have more space to adjust the tightness.

They are also too wide across the front of the chest which pushes the armholes too far back pinching my armpits and gaping in the front.

The New Pair

Work in Progress | Already some big improvements

The Fabric | My new pair will be made from 2 layers of linen horsehair stabiliser (a good approximation of buckram) a light blue linen outer layer and then lined with cotton.  Already the pieces are much stiffer than my original and I think will be a huge improvement.

The Pattern | I still used the Butternick pattern as a base, but I made many alterations. I lengthened the front by about 3.5 cm and reduced the overall width by 5cm. I was a bit too aggressive in reducing the waist but I am still much happier with the fit. I also lowered the back, made them strapless and changed the shape of the neckline. *phew*

I will do I fuller write up when they are complete.

I am pretty happy with the changes I have made to these, but I am regretting the choice to make the back lacing... I am starting to wonder if  I will ever be satisfied... 
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Diagnosing Problems on my Stays
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Monday, 15 January 2018

The American Duchess Guide to 18th Century Dressmaking | A review


I took quite a lot of time to think about how I felt about this book. Not because it isn't great, but because the authors, Lauren Stowell and Abby Cox, had a very clear role for this book to play in costumers libraries, and I was unsure of how this book would be received to those people who may not have the library the authors have. Until very recently, my only access to the works referred to in the Guide were from my university's library and snippets online, so I feared that these resources may be out of reach for many beginner costumes.

But at the heart of every review is the question "would I recommend this book?" and I have to say a very strong and enthusiastic YES  despite my aforementioned hesitation; however, my recommendation comes with a heavy caveat. To make the most out of this book I recommend having at least one other 18th-century book with grid patterns (either Janet Arnold or Norah Waugh) or be working from/ have access to existing patterns. The authors have said in many places that this is not a stand-alone book and it fits into existing literature, and as such one would not be able to make a gown with only this book.  Though I do think that this makes the book less accessible to beginners,  I think the authors accomplish what they set out to do with aplomb.

It is the subtitle of this book really captures what I think the authors succeeded most at and where the reader will learn the most: How to Hand Sew Georgian Gowns and Wear Them with Style. The detailed hand sewing instructions are wonderful and clear, as are the instructions on different stitches, and the patterns and styling notes for accessories make this book well worth the price of purchase. The accessories and styling notes alone make this book worth every penny.  I also really enjoyed that the authors encouraged the reader to get into the mindset of a mantuamaker, saving fabric where possible and not being to hung up on things that cannot be seen in the finished garment. They encourage the reader to "sew fearlessly," which I think is a wonderful mantra.

The book itself is gorgeous and seemingly well made. The typography and layout throughout are nice a clean. The pages are a good weight with a handsome semi-gloss, and I love that the book is bound free from the spine so that it can be opened flat without breaking the paper spine, or having the pages trying to close on you.
Left: 'Portrait of a Lady' by Francis Cotes, 1768.  Photo © Tate. CC-BY-NC-ND 3.0 Right: Abbey of American Dutchess, one of the authors, in her dress inspired by the portait on the left. Photo by American Duchess and taken from the blog. 
This is not to say that the book is flawless, there are some minor editing errors, and misnumbered instructions and pictures, but it does not hugely detract from the usefulness or enjoyment of the book. There are a few places where I longed for more information (a section on laces for example) but I think that I wanted more from the authors is a sign of how accessible and useful I found their writing rather than a flaw in and of itself. The authors did not leave me feeling as though I was missing a large amount of information, but only craving more detail and more of their down to earth approach to dressmaking.

Throughout the book I felt as though Lauren and Abby were the reader's cheerleaders, reassuring us that mistakes can be fixed and sewing is always a process. This encouragement and permission to make mistakes was a welcome tone for a book which simultaneously calls for rigorous research and strives for historical accuracy down to every stitch. A very careful balance which I think the authors achieved marvellously.

One of the book's less obvious strengths is not in the book at all, but the authors' engagement with the community online. Already we have received 2 official addendums to the book and Lauren and Abby have been easily accessible for questions and advice on their facebook page and blog. For correction on the cap pattern visit this blog post. For a full grided pattern of the Italian gown visit this blog post. And finally, for a blog post all about stays, check this out!

Overall this book would be an excellent addition to a budding or established library but does not stand alone.

Resources




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The American Duchess Guide to 18th Century Dressmaking | A review
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Monday, 4 December 2017

18th Century Black Gowns | Some research and thoughts


So my story beings with a promise to myself: "Natasha, you will not buy more fabric until you have used what you have in your stash." As it turns out this was a great idea for getting rid of lots of notions, and scraps, as well as basics that I had been lugging with me quite literally across the country. I made my shift, stays, pockets and false rumps all out of fabric I had on hand.

Now when it comes to the dress fabric, well that is a different story. On hand, I have 8 meters of beautiful black brocade and was set on using it to make my first 18th-century gown. However, as it turns out black and brocade together are not particularly fashionable in this period. Anyone who has done even a small amount of research into 18th-century fashions will know that supple silk taffetas and printed cottons in bright colours were all the rage. So, what is one to do when stuck with heavy black brocade?

Well in my case, I researched, and researched and researched. I knew that black brocade would have existed in the 18th c. and there would have been garments made out of it (because if it exists then people do wear it), so I just had to find the right examples. In my research, I found scholars mention black petticoats and occasionally gowns, but never the type of fabric. And when scouring art and museum collections, I would find either a black dress or a brocade dress. Though I could find ample art records of black dresses, they were almost always of satin or taffeta, not brocade. I oscillated between feeling sad I wouldn't look like the gorgeous confections we are accustomed to seeing, and being determined to find an example of black brocade.

So I decided to focus on just black gowns for a while, and ignore the brocade. In the 18th century, it was fashionable to have a portrait in the Vandyke style, this was a black gown with big puffy white sleeve that created a striking look against the alabaster skin of these fair ladies. In many of the portraits, the women appeared to be wearing the exact same outfit right down to the accessories. And while looking at these Vandyke inspired portraits, it occurred to me that what made these firmly 18th-century gowns, rather than the 17th-century gowns they were mimicking, was the millinery and accessories. The hat and feathers, paired with the jewelry as well as the smaller ruffles and trims on the gown sleeve and neckline. It was the extra's that all kept these ladies decidedly contemporary in their fashion, not the colour or fabric of their dress.


In other black gowns too, I found it was the accessories that stood out and made the gowns less somber. Intricate trims, luscious feathers, and colourful ribbon all helped to create a firmly 18th-century look and one which is very bold compared to the usual confections of the day. Gold, pink, red and peach all seem to be popular choices to contrast against darker fabrics.

So for my own gown, I think I will take inspiration from these ladies and start with a simple gown and then go to town on the trimmings and accessories! It might mean making a new shift, and learning how to make a fabulous hat, but that is alright with me, just more skills to hone and learn. Have I mentioned how much better my hand stitching has gotten since starting historical costuming? 

So the lesson is: there are many routes to an authentic look. Though perfectly accurate fabric is a bonus, less fashionable fabrics can be decked out to create an equally fashionable look. And you can bet your bottom that beautiful black brocade would not have been wasted in the 18th century, so I sure as heck am not going to either.


Resources


  • My Pinterest Board full of 18th C. Images
  • Berg, Maxine. "Women's Consumption and the Industrial Classes of Eighteenth-Century England." Journal of Social History 30, no. 2 (1996): 415-34.
  • Ribeiro, Aileen. "Some Evidence of the Influence of the Dress of the Seventeenth Century on Costume in Eighteenth-Century Female Portraiture." The Burlington Magazine 119, no. 897 (1977): 834-32.


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18th Century Black Gowns | Some research and thoughts
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Monday, 27 November 2017

Tutorial | 18th Century Petticoat


Making this darn thing was a serious act of hubris. I figured since I had made the stays with no problem and had sewed more complicated garments in the past, how hard could it be to make a pleated tube skirt? So with all the confidence in the world, I took a look at some extant pieces and just started hacking and smashing my way through only to redo this petticoat 3-4 times depending on how you count. Even after looking at some great resources such as American Duchess's Tutorial and the excellent how-to from Koshka the Cat, I still managed to muck it up. 

So I thought I would write a blog post, in the hopes you can learn from my mistakes, even though such blog posts did not stop my brazen ego.

In essence, an 18th C. petticoat is just two 50-60" (or 127-153 cm) wide rectangles of fabric (you can always use more but that is bare minimum) pleated and sewn together at the side. Easy! Right?

Measure twice, cut once

First, you will need a few measurements, and all of them should be taken with your undergarments on. This means shift, stays and false rump or pocket hoops.  
Measurements you will need:

  • Waist Circumference
  • Waist Center Front to Floor
  • Waist Side to Floor
  • Waist Center Back to Floor

I will use my measurements as an example. I was wearing my shift, stay, and bumroll.

  • Waist: 25"
  • CF to Floor: 41"
  • Side to Floor: 44"
  • Back to Floor: 43"

Now you need to decide how long you want your petticoat to be at the center front. I decided I wanted mine to be 4" from the ground so I could walk and move with ease. If you are going for a walking length gown you may want to make this even shorter. Once you have decided how far off the ground you want your hem to be, subtract that number from all your previous waist to floor measurements.

So for me, subtract 4" from my measurements =

  • CF to floor: 37"
  • Side to Floor: 40"
  • Back to Floor: 39"

These will be the measurements of the final skirt length.  

Now we can begin cutting. You will be cutting two rectangles which are 50-60" (127-153 cm) wide and the length of your longest measurement +3", to accommodate the hem and adjustments for length. I used an old bed sheet for my petticoat, and so just used the existing hem. If you are doing something similar only add 1" to your longest measurement. 

 One piece will be for the front and one for the back. Now at this point, you will want to hem the bottom edge of each piece. We will be adjusting the length at the waist so you can do a straight 1" hem along both pieces, turning them in by 1/2" to cover the raw edge.

Next, we will mark along the waist - this will be the raw edge - to adjust the length of the skirt. We are adjusting the length of the skirt from the waist, so you are going to make the adjustment at the top of your skirt panel.

Starting at the CF you will measure from the bottom up your CF measurement, in my case 37". Then do the sides with your side measurement, for me 40". To make everything even, I also marked the quarter point. Then draw a line out from the center to edges. Do the same for the back using your back measurements. You should have gentle "v" marked out on your fabric.

Pressing Pressing Pressing...

Next, starting from the center, fold the top of your fabric to the marked line, tuck in the raw edge so that they are encased and work your way to the edge. If you have a large difference between your CF and Side measurement - say for panniers - you may need to make a small slit at the center to ease the fabric. Press to keep the fold in place. You should now have a gentle "v"  or scoop shape along the top edge of both pieces of fabric. Leaving the length pressed in the center means you can make adjustments in the future.
You can see there that the roll get narrower at the end and wider towards the middle. 

Now you can begin pleating. If you like you can measure this out properly, The Mantua Diary has a great formula, but I went by feel rather than hard numbers. In the front, the knife pleat should go out from the waist with a box pleat at the center front, and in the back, the pleats should go in toward the center, with an inverted box pleat at the center. When doing my pleats, I pressed the top 3" or so just to keep them in place.


Once you have finished the pleats, quickly whip or blanket stitch the top edge to keep them secure. I use a blanket stitch and some button thread just to be extra sure. Your stitches do not have to be neat, it will be covered by your waistband.

If you have extra fabric you can make yourself a waistband or use folded ribbon or bias tape, your choice. I made a quick waistband and tacked some twill tape into the center for ties, then attached it to the skirt. Once you have completed both the front and the back pieces go ahead and sew them together at the side, leaving 8-10" at the top open so you can access your pockets if you like. 

And you're DONE! Phew.



Now you can twirl around in your living room to your heart's content.  You can see here that the petticoat has a nice even hem! Happily, these measurements work over both of my false rumps, but the trick is to make sure you take the measurement OVER your skirt supports so that when you are done that sides and back are not comically short.

Putting on your Petticoat



  1. With all your appropriate undergarments on, step into your skirt with the back ties in your hand - remember the back side will be marked by the pleats going inward. Tie the ties at your front. 
  2. Give the back a good fluff - most important step tbh - to make sure it is not caught on your bum.
  3. Take the front ties and tie them behind you. If you like you can tuck in your ties under the waistband of the back section. 
  4. Now that you are all suited up, make sure you can get into your pockets and you are good to go.

Resources

The Mantua Diary - Great Pleating formula
The Fashionable Frolick - Super Detailed Tutorial
Arnold, Janet. Patterns of Fashion: Englishwomen's Dresses & Their Construction. New Ed.] ed. London: New York: Macmillan; Drama Book Publishers, 1977, 6.
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Tutorial | 18th Century Petticoat
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Sunday, 19 November 2017

Work Log | 18th C. False Rumps


I like big voluminous skirts (and I cannot lie). *cough*
          Sorry...

To be quite sincere, however, one of the things I love most about historical fashion is the variety of silhouettes and shapes which came in and out of style. Skirts, sleeves, bodices, and especially bums were are all molded, shaped and padded to achieve the day's most fashionable look.  But in the 18th century when it came to butts and hips, the general rule was bigger is always better.

A selection of great contemporary cartoons.

Ladies layered up pocket hoops, false rumps, and petticoats in different combinations to create the desired shapes, which, lucky for us, created excellent material for contemporary satirical artists, and provides us with great information. The ladies over at Demode Couture tried out many of the shapes you can see in these sources and shared the results! Such a wonderful piece of work by these ladies, so I followed their lead when choosing the 2 shapes I ultimately went for.

I wanted false rumps which would be able to be worn with several different gowns, over a large amount of time. Rump shapes changed quite a lot over the century, but I thought the two I chose gave me quite a lot of options.

The Continental Shelf

I affectionately call this rump "the continental shelf," because it really emphasizes the hips (especially on my body), with quite a sharp drop off. It is more properly called a bum roll, or sometimes and Elizabethan bum roll. I really like the shapes this gives. It is almost like mini-panniers, and I could see amping up the shapes to emphasizes this even more, which you can see in some of the sources above. This silhouette works well for middle-ish decades (1730-1770) and for middling and working classes - a la Outlander. It is not a luxurious shape, or too extreme (comparative to some of the fashionable door busting shapes of time). 

To make this false rump, I used some scrap linen I had in my stash and stuffed it with fabric scraps (a good cheap and historically accurate solution). I like that the weight of the fabric scraps helped the roll to sink into my natural shape - you can see it dip down at my center back. I think this gives it a much more natural look and maintains a bit of my bodies proportions. You can see in the bottom left photo how well this roll emphasizes my hips and gives the illusion of a much narrower waist.

The "Continental Shelf" in action

The Big Booty Bump 


This false rump simultaneously gives a bigger and softer silhouette, that is all about the booty. I thought the hip parts would be too extreme but they really help with the proportions and softness of the silhouette. I was really worried when I made this that is was just going to be comically large, but it turns out that size is perfect! This shape is softer, and better suited to the later decades (maybe 1770-1790ish). Again it is not so extreme that it cannot be worn by middling classes, but there is something a bit more sumptuous and provocative about this silhouette. 

I made this rump out of scrap cotton I had in my stash, and used some pillow batting to stuff it (not HA but it did the trick), and used the American Duchess Simplicity Pattern. I didn't use scrap fabric to stuff this one because the amount needed would have made it very heavy. Large rumps like this could have been stuffed with cork shavings, sawdust, wool, or possibly a combination. 

The Booty Bumper in action

Overall I am really pleased with this project, -it has been great for stash busting, that is for sure- but I am looking forward to trying out even more shapes. One day I will get to the actual gown.

Resources

Demode Couture - These ladies tried so many shapes!
The Importance of Skirt Supports with American Duchess
Tutorial on "Continental Shelf" Style Bumroll - Elizabethan Costumes

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Work Log | 18th C. False Rumps
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Tuesday, 14 November 2017

Work Log | 18th C. Shift, Stays and Pocket


You know what they say about historical costuming? "Foundations, Foundations, Foundations!"
er... or something like that.

But in all seriousness, when I began my research into historical dress the piece of advice I found over and over and over again was to have the correct undergarment, no exceptions. In the 18th century, this means: a shift, stays, false rump, pockets, and petticoat(s) - the more the merrier for the later.

Shift

I started with the simplest and most important garment first, the shift. This is later called a chemise and it the closest garment worn to the body under everything else. I learned a whole lot about this garment from Sharon Burnstons incredible website and from the gold standard in historical costuming "Before the Automobile".

For my own shift, I decided to go with something very simple, which could be used under multiple gowns. I used the American Dutchess simplicity pattern but omitted the ruffles. I figured I could add flounces and tuckers if needed. I liked the drawstring, square neckline and narrower sleeves in this pattern, and ultimately it was easier than drafting a pattern myself. It is not the most historically accurate, but it does the trick.

I made it from a light cotton voile I had in my stash, with a narrow silk ribbon for the drawstring. Where I could, I finished everything by hand and flat felled every seam. I am very pleased with the finished product and have to resist wearing this as a nightgown.

My completed shift

 Shift resources:

Stays

Making the stays was both easier and harder than I expected. Easier insofar as the channels and eyelets went by easily, harder in that getting the fit where I wanted was tricky. Many of the patterns I looked at were very short in the waist and didn't give me enough support or coverage. 

I ended up using and modifying Butternick B4254, in part because I had it in my stash, and because it had the option to open at the front and back. Because I knew I would be getting into these myself, I didn't want to have to worry about how I was going to lace them up. Happily, both front and back lacing stays are historically accurate. I did end up lengthening the waist and redrawing the boning channels, but otherwise, the pattern seemed pretty good. In the future, I would move the armhole a bit closer to the front, as you can see there is a bit of gapping near my armpit. 

I made my stays out of 2 layers of heavyweight cotton canvas (which I used because it was in my stash) and it is plenty strong. For boning, I used cable ties, a great trick I learned from American Dutchess. It nicely micks the look of reed or whalebone. 

I think I will definitely make another pair of stays in the future. As much as I like this first pair, I want ones which are lower in the back and offer a bit more compression in the front to get that nice conical shape. these stays are much better suited to the later decades of the 18th century than I had intended. 

Stays Resources

This was more a small fun project than a necessity. I love embroidering so this was just a chance to do something new. I started off by using the pattern from American Dutchess' Blog, and then just went to town with the floss I had on hand. 

I definitely want to make a bigger pocket, and I think I will base it off of this gorgeous example from the V&A


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Work Log | 18th C. Shift, Stays and Pocket
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