The British are Coming!

I'm still alive, I promise! Things have been constantly hectic for last few months, but I'm really hoping to do a real post next week. This weekend is Under the Red Coat at Colonial Williamsburg (British troops "invade" CW to re-enact the occupation of 1781). So, I've been frantically sewing for that and to keep up with the hot weather since I work outside in the evenings now. While I've been gone I've built a linen quarter-back gown, a silk ruffled fichu, a silk sash, a semi-fitted linen jacket, an apron, and trimmed a hat. I've still got a bit of hemming and one more hat to do before this weekend. I'm sure I'll get lots of pictures of it all this weekend. I'll try to do a few posts on construction soon after. If you're in town this weekend, I'll be the one in a light blue gown trying to pretend I don't know the loud revolutionist red-head (you know we love you Nicki). Oh, and I'm going to start posting pictures of the wedding construction on my other blog soon. I'll make sure to put up a notification on here when I do. First up will be trousers and draping my ceremony gown!

Hello again!  I apologize for being out so long.  I've been training for an evening job as a tour leader and spending the last bit of time on wedding plans.  I'm going to try to get back to posting on here again, as well as starting to post the construction of the wedding on my other blog (screams silently about patterning a morning coat).  So, for now, here is an explanation of the construction techniques used in a riding habit shirt (also applicable to a shift or men's shirt):

The front is split all the way down and only fastens at the collar.

The back ends just above the waist and gathers into a tape which ties around the front.

Right side of collar.  The first step is to split open the neck "T" and insert the triangle gussets you see.  These can be whipped onto the shirt or back-stitched.  I noticed extants had a line of back-stitches just off of the edge on most of the shirt.  The gussets have a top and bottom piece, so the raw edges of the shirt are hidden.  On top of this is the shoulder reinforcement strip, back-stitched on.  Finish the front edge or slit with a small roll (and a bride if slit).

Left-side of collar.  At this point you gather the neckline up.  I attached it to the collar by whipping on each individual gather (inside and outside grab different parts, think corregated cardboard).  I did the back-stitch line about 1/4" above seam.  The collar is a folded piece with back-stitched, then flipped right side out, ends.  You can see the inside of the ruffle which is detachable.

Exterior view of sleeve and gusset.  The gathering is attached just like the collar.

Interior of gusset; left side is body, right is sleeve.  The side seam is felted (back stitched, one side graded, and folded over twice then stitched down).  It transitions into the gusset by use of a fabric strip reinforcement that goes all the way around the armscye and hides the unfolding of the felting.  It's whipped down.  The sleeve portion of the felted seam transitions differently.  Back-stitch the seams first.  Then the side that the seam folds too (up in this case) is actually clipped right at the gusset point.  The sleeve and gusset piece on the other side fold over the raw edges left.  So, one side felts to the sleeve piece and the other felts to the gusset.

You can see the stitching for the fabric strip on the inside.
Moving into the cuff is weird as well.  The interior folded piece just stays folded after the split, but the other side (bottom of pic) is technically rolled to the outside of the shirt.  The cuff is attached just like the collar.

I used thread dorset buttons (no metal ring) and my button holes were about 1/2".  The lace was gathered onto a bleached linen tape (just like the collar).  That way I can just whip the tape to the shirt and easily remove it if I need to wash the shirt.

I know there are a lot of areas of the shirt I didn't mention, but it's generally all rolled shirt-tail hems or felted seams.  I just wanted to talk about the problem areas I had to do some research into.  If you have any questions or want me to post about an area I forgot please ask!

Wintertime Blues

Alright.  I made it through the workshop, have bound my stays, and am almost over a nasty cold.  So I can finally update!  Between starting up my wedding planning and beginning an evening job this week (I finally get to wear the costumes!), the rest of the year will be me posting instructions on things I've finished more than building new.  I've just got the riding habit in construction as of now.  For the wedding there will be a Morning suit, both a 1930s and 40s evening gown, a 40s hawaiian wiggle dress, and possibly some top hats.  All of that won't be posted until after it's debut of course.  Now, on to the stays;

Through my local source I managed to get a pile of white oak scraps to use as boning.  I broke up the strips to approximated lengths and whittled them down to the right width.  I managed to not take off any fingers, but it did take me over two weeks.  The bottom binding was done just in time for the workshop, so my habit is fit over them.  Mark used me as the guinea pig wearing my older stays so we got the fun of comparing "patterns" later.  I haven't officially measured, but they were almost the same except for an almost 2" difference circumference in bust and waist.  Don't ask me where all of it went!  I got the top binding done today and just have to line.  Excuse the cheesy pics as always:

I eventually cut the straps further toward the front than the basting line.  After a weekend of wear they were bruising me (despite wonderful forced posture).

I haven't finished the ends on top because I'm inserting double bones into the last channels and haven't cut them to size yet.

The binding technique applies to all but very thick leather.  You put right side to right side and stitch 1/4" or so in from the edges.  Fold it to the back and stitch through all layers.  Since I used some metal bones I couldn't sew through those.  Traditionally you would go through the bone ends if possible to keep them from shifting (pre-flossing technique).  I used a back stitch on the front side and a prick stitch from the back.

I'm using ribbon to tie the shoulder straps, but still haven't found a cord that I like.  For now I'm just using linen tape or twill tape.  Optimally I would find a silk woven cord, seven strand without a hollow core, but so far as I can find it doesn't really exist anymore.  So, I might settle for cotton.

When it comes to lining I'm going use a regular linen.  The tabs are done individually and the bodice is made from as few pieces as possible (usually 3 or 4).  It's all loose and meant to be easily replaced.  The seams are butted and whipped.  Lining edges lay over the binding edge be it ribbon, fabric, or leather.  While you fold back before you get to the back (or front) eyelet line, you do have to work the lining around the strap eyelets.  Do it the same way you do regular ones, just use fewer threads to hold it back.  I'll get pictures up as soon as I finish that part.

Quick Update

Sorry I seem to have disappeared!  Everything is half-way done it seems (and I'm trying to plan a wedding amidst it all).  I've managed to assemble my stays, and they fit beautifully, but I'm having difficulty finding decent ash splints.  Both places I ordered from sent me something akin to balsam wood.  I'm headed to a local source tomorrow to beg, so we'll see how that goes.  I'm also preparing for the riding habit workshop at the end of the month by building a shirt and a petticoat.  The shirt will be made into it's own post of construction techniques, since I learned soooo much while building it.  This project has already been a wonderful test of finding decent (and correct) materials.  I'm going with a light worsted wool in a dull green basing it on a 1774 fashion article mentioning "pearl green" as one of the popular riding habit colors for the year.  That's coming from WM Booth.  I also was recommended the "silk" velvet from Design Diva Fabrics for the cuffs and collar, which I'm getting in a coffee tone.  Linen lining and shirt are all left-overs from the usual places.  Silk for lining the visible parts will come from Burnley and Trowbridge (they have just the perfect color!!).  Lace for the shirt I ordered from Garden Fairies Trading Company.  I feel a bit like I'm getting off the usual topic, but it seems to take almost as much time finding the materials as it does building!

So, back to the usual.  Here are some poorly taken images of the last time I tried on my stays:

Hopefully I'll get some boning soon and can finish those up for the workshop as well!

Stays Original

Just a quick add-on to my stays postings.  I took a tour around the Dewitt Wallace Museum today, and lo and behold they had the stays I'm building up in the Quilted Fashions exhibit.  There's not much light, but you can get an idea:

It's a bit hard to see, but you might notice the lack of boning casings showing.  This pair was originally made of silk, but must have worn too much because it's been covered over in cotton.  So, I will still be making mine visible.  The binding is green silk ribbon.  I'll probably use cream so it doesn't show under any of my clothes, but maybe I'll use a color to lace the front for fun, since I can always change it out.  The difficulty will be finding a good cording to lace the back.  Now that I got a glimpse of those and was able to examine a few others stored in back, I'm going to pick back up on my pair and start stitching channels.  I had been concerned with size since the original channels are all 1/8", but they were baleen.  Oak won't hold up to that, and even though I've managed to find spring steel that size, I'm afraid it won't have the resistance to permanent bending I need.  So, seeing a late pair of stays with mixing of 1/4" and 1/8" channels today I feel confident that I can mix in 1/4" steel correctly.

Cut-away Gown History

Here is the infamous portrait by Ducreux that shows a beautiful example of the style.  While this gown was most popular in the 1780s, it did actually show up in the colonies in the late 1770s and continued to be worn throughout the '90s as well.

Obviously, most of the gowns seen in portraits are made from silk taffeta, but a cotton print would be lovely as well.  For some reason, I seem adverse to linen, but I can't give a particular reason why.  Both solid colors and smaller stripes are acceptable.  The large 2 or 3" stripes seen earlier in the century would have been out of style by this point.  You can also choose a contrasting fabric for the leftover zone in front and even the petticoat.

In terms of the actual cut, there are a number of different looks to the front and to the sleeves.  At this point the back would have usually been quartered rather than an English style.  You could cut the CB pieces flat on bottom and connect them to the skirt to give that illusion of continuance without actually pleating the bodice if wanted.

Above you can see three examples of both front cut and sleeves.  Simplifying it, you can choose a straight angle or to curve it away.  From there, whether it will be a split zone piece or not.  And if it will be whether you fasten by pins, hooks, or buttons.  You can also add a tab, as I did, across the top of the front.  The sleeves can be the regular elbow length style, full length (you may choose to have the wrist area button since they're tightly fitted), or even cap sleeves over a contrasting long sleeve.  It gets more complicated when building, but that will come later.

The back, as talked about, is shown with two different styles of quartered backs.

Of course, in this period especially, accessorizing can make all of the difference.  Be it through a sash or ribbon around the waist, a crossed over kerchief, lace, or the ever popular hedgehog hair with ribbons, feathers, or over-the-top hat.  It's easy to see, from some of the portraits below how this style of gown evolved into the separate over-gown near the end of the century.

Collection of French Miniatures

Coming Soon.....

Hello again!  I am finally managing to get out from under the process of moving and back to the clothing.  Unfortunately I don't have much to post today, but things will be coming soon.  I'm finishing the trim on my Caraco, still working on a Robe a l'Anglaise, looking for buttons for my 1790s jacket, and should get to a pet-en-l'air by Christmas.  I'm also attending two workshops this month:  1780s gowns in two weeks and stays the week after.  I'll make sure to take lots of notes and pictures and try to get up some comprehensive information and instructions soon after.  

On a side note, I did get to attend a lecture by Caroline Weber on her book "Queen of Fashion".  Slap me on the wrist, but I haven't read it yet.  I promise I will soon!  I was impressed to find that she has origins in French history and self-taught the fashion history just for this book.  Listening to her rattle off French terms made me very glad to have minored in it!  Some of the most interesting information she discussed were the Poufs.  That oddly wonderful three foot tall hairstyle which acted as a 18th century billboard.  Now, I've seen images of women with ships on their poufs, but that was only the beginning!  Those were termed "Poufs de Circumstance" having to do with current events or politics.  On the other side are your "Poufs de Sentimente".  This could be A la Trouche, with ostrich feathers, or even A la jardinier, with vegetables!  She mentioned one headdress made of a cabbage surrounded by root vegetables.  I can't imagine the weight of that!

There was much more discussed on Marie Antoinette's phase with wearing men's riding wear, the infamous portrait in the gauze gown, the colors of the revolution, her fashion designer Rose Bertin, and her final days in jail.  I was told, if you speak French, to check out the book "La Modiste de la Reine".  Now, if I can just find it.

Bodice Assembly

When putting together a woman's jacket or a bodice for a gown, the assembly techniques are generally the same.  I've already shown in a previous post how to lay out the front pieces and stitch them together.  Leave the seam allowances at the ends un-sewen (shoulder seams, side seams) so you can fold it over later.

When stitching the back seam I generally use a back-stitch on the fashion fabric.  The lining can be done the same or with a butted edge.  For that you fold over the seam allowance on both sides, put wrong to wrong side and do a very tiny whip stitch.  Grab just a few rows of the weave each time.  Don't stitch too tightly, but do keep it snug.  When finished you pull the two sides apart a bit and the seam should be able to lay out flat (hence why not too tight of stitching).  This same technique can also be used on selvages and I've seen it on shirt seams like that.  If you're doing a jacket, you can put the fashion and lining backs together and stitch around the neck and bottom hem up to seam allowances.

The sides can also be done a few different ways.  I like the method I found in Costume Close-Up.  Fold over the front fashion fabric and line it up on the back pieces.  You will stitch a spaced back stitch very close to the edge through all three layers.  The front lining will then be folded towards the seam and stitched down, enclosing the raw edges.  You can also use the same technique explained for the back seam, but use the back stitch on the fashion fabric seam instead.

Sleeves use the same techniques as the side or back seams (underhand whip the hem) and I've seen the armscye left raw and whipped, with all allowances sandwiched in the sleeve, and where it's inside the bodice.  It's all up to you and whether your fabric frays and if you want to see stitches externally (and where).

Exterior of a side seam for a 1790s jacket I'm building.  Shows the spaced back stitch on the side seam (horizontal in picture) and the underhand on the bottom hem.

Repeat imagery of the ever so useful backstitch I keep mentioning.
The overhand stitch.  Same usage as underhand, but shows up as a small dot on both sides.  Just up and down with the needle very close together.
Similar to over hand, but as a seam.  Resembles the spaced back stitch in form and function (just doesn't back up on the small visible stitch).  Use for side seams or armscyes.

The butted and whipped seam.  Not the prettiest of examples, but it would be the lining anyway. (Also used to piece together stays, but I'll be doing a workshop on those in November).

Just like modern stitching you need to find a technique that works for you.  Every extant garment is different and there are probably many stitches we haven't ever seen!

My caraco is nearly completed (one more cuff, then some details).  I'm hoping to do a pair of mitts soon, a 1780s gown workshop, a stays workshop, and eventually a riding habit workshop in January.  I move in two weeks, so if I disappear for a while I promise I'll be back!