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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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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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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Wednesday, 3 January 2018

18th Century Fabric Dying | Georgian January Challenge


Over of Instagram, the lovely Dames a La Mode is hosting her third annual Georgian January Instagram challenge, and I thought that I would also use the challenge to learn a bit more about the 18th century. So I am going to try to write a blog post every week(ish) inspired by her prompts. To kick things off she gave us 9 whole days of colour, so I decided to look into how fabrics were dyed! Lovely soft confectionery colours are a staple of the eighteenth century so it seemed appropriate.

There is a lot of information on this topic, and I am not expert. This is just some neat information I have found and I encourage you to do your own research if you want to really learn how to dye fabric. This is more an exercise in understanding for me, but I am glad to take you along with me.

Dyes were most commonly plant-based dyes (very rarely animal) and these plant-based dyes did a much better job dyeing animal fibres such as wool and silk than linen or cotton. In wool and silk, almost any naturally achievable dye (i.e. not a synthetic dye) was possible. Green was a particularly tricky colour, needing at least two dye baths (twice the work), but extant examples do exist alongside vivid reds, blues, yellows and rich browns. Of course, paler pastel version of all these colours exist as well, and I suspect it was because they were not only fashionable but also easier and cheaper to make. However, some plant-based colours were easier to achieve (not to mention lasted longer) than other. This is why we see a lot of red and blue throughout the century. They were relatively easy and reliable colours to achieve on a variety of fibre types.  To my surpise black is a harder colour to dye taking up to 4 baths to acheive even and rich colour. It seem the richer and darker the colour, the more expensive too!

From Left to Right: Green Silk Round Gown c. 1775 from The Met; Blue Silk Round Gown c.1725-89 from the Met; Red Chints Cotton and Linen Gown c. 1780s from the Rotterdam Museum
Cotton and Linen fabric were much more limited in their colour retention (linen really only holding red and browns) but of the two, cotton was much easier and the fabric of choice for the typical chintzes/block prints of the century. In my research, I stumbled on a wonderful video by The Met of The Art of Making Chintz which I highly recommend for those interested in the process, but suffice it to say,  it was a long and detailed process. Printed cottons are, for me, one of the hardest fabrics to find in our modern stores and there are a lot of "don'ts" that float around the costuming community. For instance, I have heard that it was impossible to have green in prints, but I have found that is not true. Green can be seen in chintz and prints throughout the 18th century but was a blue-based (not vivid yellow-based green) which muted and darkened the colour.  Yellows could be painted on after blue dye baths to achieve different greens and oranges but this would have likely increased the cost of the fabric due to the extra labour and care taken. If you are looking to train you "eye for fabric" check out the Marquise Blog and Demode. They have some great examples of printed and patterned fabrics which will help you know what to look for on your next trip to the fabric store.



There is so much more information out there but since doing a bit of reading I am feeling so much more confident about my ability to spot period appropriate fabric (looking at you bedspread from IKEA).

Resources

18th Century Note Book - Eighteenth-century dying recipes 
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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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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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