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For this skirt I used a McCalls pattern. The pattern came with a few different variations for the skirt, and a petticoat pattern. I added 5 inches to the pattern to give it more of a vintage feel, and used a cotton sateen. The pattern was very easy to cut out, since it was entirely made out of rectangles, and quick to put together. I will definitely be using this pattern again. As you can see, this pattern features a side zipper. I love side zippers, and I think they add a special touch to a piece of clothing. The next time that I make something with this pattern, I would like to play around with pleating or gathering. For my first time using it, I went with the markings that are given on the pattern pieces for the box pleats, but one thing that I really enjoy with this skirt is how easy it would be to make some slight adjustments to how the skirt is gathered onto the waistband. It would be an easy change, and it would make the next skirt look quite different. ~K
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In September I posted about a linen skirt that I made with a Simplicity archive pattern from 1933. That was actually the second time that I made something with that pattern. The first time I made a winter/autumn version out of this grey wool suiting fabric. This was actually the first clothing item that I have ever sewn for myself. It is fully lined. I love the way that the fabric moves, and the colour works with everything in my closet. My only complaint is that it is a bit too big. I chose a bigger size to be cautious, but the second time that I made this pattern I went a size down, and it fits perfectly. I have always been very fond of 1930s fashion. I think the cut is very elegant, and I love that the skirts were normally quite long compared to the 1940s. I am very impressed with this pattern, as it is easy to follow, and the pieces are very simple. I also love the outcome. It looks vintage styled, but it doesn't look like a costume. Simplicity has a lovely collection of archive patterns that you can look at here, plus they are making more. The next time that I use this pattern, I would love to make the other skirt that comes with this one. It has more detail, but now that I have had more practice, I would like to try it out. ~K
After a ton of work, and many learning curves, I have finally finished the whole project, including a chemise, a pair of stays, a bumpad, two petticoats, a gown, and a stomacher. Although there are things that I could adjust, or would do differently if I did it again, I am still proud of how it came out. The patterns that I used for this, the American Duchess patterns, were very good, but there were a few things that I wasn't thrilled with. I ended up drafting my own chemise pattern, since theirs was not very historically accurate. The patterns were easy to follow and understand, which was very important for such a large project. The instructions were simple and to the point, and I was never thrown for a loop about what to do. I loved the bodice pattern, and it looks very historically accurate to me according to dresses from the 1740s. If I made this pattern again, I would probably adjust the sleeves a bit. They were slightly more loose than I would have liked, and the darts were up quite high. The dart at the bottom of the sleeve is to fit the sleeve to your elbow, however they don't go down to my elbow, as you can see in some of the pictures. I also adjusted the stays quite a bit, but I was expecting to do that, since stays can be very tricky to get the fit right, and I was using cording and not boning, so I was not surprised when there were a few slight fit issues. Other than these unimportant little complaints, I loved the patterns and I would definitely use them again, just with a few 'improvements'. This ensemble took me about four months, starting in late September, and finishing just a few days ago. I used Ikea fabric for the undergarments and gown (a muslin and a thick cotton), and a cotton sateen sheet for the over petticoat and stomacher. The lace on the stomacher is a gorgeous vintage lace that was given to me as a gift. The stomacher was finished off with a ribbon 'flower' that I made, and some hand crocheted lace at the top that I have had for a long time. I had an incredible time creating this, and I feel like my sewing skills have improved from before the project to now. ~K
After a long slog, I have finally completed the the base of the project. This was the toughest part of the project, since it included many difficult pieces. The hardest part of the whole costume so far has been the stays. I am already pretty far in the process of creating the actual gown, and it has been much easier and quicker to put together than the parts that I have finished, mainly because I don't have to do any boning or boning channels. The cording on the stays was very difficult, since I have never done that much cording on something before, but I am pretty pleased with the final result. I didn't finish the chemise until after the stays, since I wanted to use them as a way to measure where to cut the neckline of the chemise. I wanted to make sure that the chemise was low enough that it wouldn't be visible from underneath the dress, but I also didn't want it to be too low and wide that it would slip off my shoulders. The neckline is a bit wider than I would have liked, but it works perfectly with the stays. As I have mentioned before, I did not make the stays exactly as they would have been made in the 18th century. I made some adjustments to make it a bit easier for myself, since I have never made anything like this before. First of all, I used cording instead of boning. This made the garment less stiff, so it is much easier for me to get used to it. Wearing fully boned stays take a long time to get accustomed to, and I wanted to not only make it a bit easier for me to sew, but also easier for me to actually wear. The petticoat is 8 pieces, overall. The front and back are just pleated on to the waistband. The top petticoat will be made the same way, just in a blue cotton. The skirt is made so that there are two slits in the side so that if I make pockets for myself, I can reach them. The gown and top petticoat will also have these slits, to make sure that I could easily reach anything in my pockets. I will not be making pockets for this project, but I may later on, and I would like to keep that option open. Next post I will show the details of the mock-up, and the finished bodice.
~K I have finished the under garments of my project, and am well on my way to being finished the bodice of the dress. Before I show you the final products that will be worn underneath the gown, here's the petticoat in progress. And here is a sneak peak of all the undergarments on. This was taken before the skirt was hemmed. I am also wearing the mock-up of the bodice in this photo.
As I mentioned in my last post, not all fabrics are suited for historical gowns. For example, polyester was not around in the 18th century, so if you are trying to be as historically correct as possible, a lot of thought has to be put into the fabric used. I am going to be using cotton for my entire project. This isn't the most historically accurate thing to use for the gown, however the cotton is kinder on my budget than wool or linen would be. The reason that cotton isn't always the most historically accurate is because of the fact that it was actually illegal through much of the 18th century in Prussia, France, and England. This seems like a weird thing to be illegal, but the governments did have a reason. Before cotton got so popular, it was very expensive and not super common, but in the 1600s, it's popularity started to grow. Linen was originally the fabric used for undergarments, etc, because it breathed easily, was tough enough to be washed often, and could be bleached to be quite white, which was a symbol of wealth. However, linen could get clammy during winter as it holds moisture very well, plus it could not hold colours very easily. To dye it something other than white took a long time, which meant that it was pretty expensive to do. This is where cotton came in- cotton holds colour much more easily, and the colour stays through washing better. Chintz became very popular. Chintz was from India, and it was a flower pattern in blues, reds, yellows, and sometimes green. England, Prussia, and France did not like the popularity of cotton, because the money from the cotton did not go to them, but to India and America. At first, the governments just added taxes to the fabrics, but by 1701, the parliament of England banned the import of imported calicoes and Chintzes. In 1721 in England, they made it illegal to wear printed cottons from India, America, and basically any place that was not Britain. People took this law very seriously, and there are accounts of people wearing cotton being molested on the street and having the clothing torn off of their body's, or in an extreme case, having acid thrown on their clothing. In America, it was a different story. Cotton was very popular for it's ability to breath well, how easily it is dyed and also the fact that it grew so well there. Near the end of the 18th century, England finally decided to get rid of the law making it illegal to buy and wear cotton. By the early 19th century, cotton was widely popular everywhere. Muslin is very commonly seen in gowns from the early 1800s. Because of its hardy nature and easily dyeable fibers, cotton was a popular choice, and still is. I recently picked up my fabric from Ikea, of all places. Out of all of the fabric stores that I had access to, Ikea had the nicest prints that looked like they could have been block printed. In the 18th century, the colours that were normally used on Chintzes were red, blue, and yellow. The yellow was not often seen, but it would be added to the blue to create a green colour. This green would not be the same as the greens that we see today, since artificial dyes did not come into the fashion industry until the mid 1800s. Chintzes were expensive to make, since it was a lengthy process, involving many steps to create the final look. If you are interested in the process of woodblock printing and learning more about Chintz, the Met has some great videos and essays about it here and here. The second link is a great video that describes the dyeing process through the 17th and 18th centuries. Next week I will talk about events that occurred in the mid 18th century, and talk about creating the correct silhouette for the time period through proper undergarments.
~K My new American Duchess patterns just recently arrived in the mail, and I am thrilled to finally be able to start my project officially. The day that I got the patterns, I started working on the chemise. I did adjust some of the pattern to make it a bit more historically accurate. Instead of using the main body pieces that were given in the pattern, I decided to just make a rectangle for the body with 2 triangular side gores, a method that was used for over a hundred years for chemises. Not including the main body for the chemise, the majority of the pattern pieces look very well done and pretty close to historically accurate. I understand the parts that are not, since the patterns were made for beginner sewers and for making costumes, not replicating the past. Another great thing about these patterns are how easy they are to follow, and it has been incredibly simple to adjust the pattern in any way that I need to for it to fit better and to look more like the examples I have seen from the 1740s. I can tell that a ton of research has been put into these patterns, and I am impressed by how well Lauren from American Duchess managed to balance simplicity and accuracy to the period. I would absolutely recommend these patterns, especially for anyone that is just beginning to create historical costumes. One thing that I would like to note, which seemed to be an issue for many people when I looked at the comments and feedback on the patterns, was the sizing. Sizes in sewing patterns versus sizing in ready made clothing are very different, and the only way to make sure that you are cutting out the correct size is by measuring constantly. I have noticed that I am much larger sizes in sewing patterns than I am in ready made clothing. I just wanted to touch on that since a few people complained that the sizes on the American Duchess patterns were too small. I would recommend you to be cautious when cutting out any sewing pattern and to measure yourself and the pattern before cutting your fabric. Overall, it has been a pleasure working with this pattern, and I cannot wait to keep working on this project!
~K Linen is a fabric that I have always been interested in using. It has been around for hundreds of years and been used for undergarments, skirts, kirtles, cotehardies, and many other types of clothing since the middle ages, and it has stayed popular all the way until now. Linen does not take dye as easily, so you cannot get quite as bright colours as you would with cotton, and it wrinkles easily, but it has many redeeming qualities. For example, it is very easy to work with when it comes to sewing, plus it breathes very nicely, so it is perfect to wear on hot days. Linen also soaks up water very well which makes it a great choice for kitchen towels and such. I was thrilled to find this light blue linen on sale at Fabricland, so I had to get it for a 1930's styled skirt pattern that I have had for a while. I used a pattern from the McCalls Archive Collection. This pattern is very simple and easy to follow, and I was able to whip up this skirt in a few days. This is actually the second skirt that I have made from that pattern. The first I made will a light wool and lined it. The second time went much quicker, and the linen was so lovely to work with, it made the whole process go by much faster. Even though I will not be using linen for my Special Project, I am very glad that I got to try out the linen, and I can see myself making much more out of it in the future. ~K
Hello all! The start to anything is always a bit daunting, isn't it? After a lot of thought, I have decided to start with a plan, and some research. The late 18th century has always interested me, so I have been researching it for years. However, it wasn't until a few years ago that costuming and historical clothing started to appeal to me. An average woman in the late 1700s would wear many layers, starting with a chemise. A chemise is the main undergarment for any clothing from the 1500s until the early 1800s, and were a basic shift that went underneath the stays (corset). Mainly made from linen because of how white it could be bleached and how easily it breathed, chemises could also be made out of cotton. Cotton is not something that would be seen in clothing from Prussia, France, and England from the mid 18th century because it was illegal (more about that in later posts...). Over the chemise, a woman would wear stays, a stiff garment with boning in it to shape the body as well as support it. Stays often get a bit of a bad rap now because of the false information that is commonly believed. The amount of layers and weight of each made it so that it was more painful to not wear the stays than to wear them. After the stays come the petticoats. You can wear however many you want underneath an 18th century dress, but the more that were worn, the nicer shape one would get. On an everyday basis, a woman would wear at least two. Petticoats were just a simple linen or cotton skirt that was tied around the waist. They can be corded or quilted as well to add more fluff to the whole outfit. Next comes the main dress or skirt and jacket. The skirt would be made in the same way as a petticoat, just in the fabric chosen for the ensemble. A dress or jacket would normally be worn with a stomacher, a triangularly shaped piece of decorated fabric that was pinned to the front. All of the clothing worn during this time was made so that it could be worn for a very long time, meaning that it could change with your body. Stomachers allowed one to change the size of the bodice with a small amount of fabric. Skirts were tied around the waist so that they could change size easily. The outfit doesn't stop at these pieces- you need all of the accessories! This includes stockings, shoes, a carefully styled wig, a hat, gloves, fichu (a piece of fabric/lace to go around the neck), jewelry, etc. When it comes to the 18th century, the more the better. After all of that information, here are my plans for this project- I will need to make: One (1) chemise One (1) pair of half-boned stays Two (2) petticoats One (1) overskirt to go with a bodice One (1) bodice with stomacher I have decided to use the American Duchess patterns from simplicity. I am thrilled to be working with these patterns, being a long time follower of the American Duchess blog. I can't wait to get started! ~K |
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