Wednesday, 15 May 2013

1630's gown

After finishing three 18th century projects this year, I feel a bit tired of that century. I want to focus on my forties wardrobe and I want to finally get a 17th century outfit. Two, actually, J need one too. I have a dark purple taffeta that I plan to make into a bodice and skirt, based on the one at V&A I posted about here. I’m going to simplify it a bit and forego the slashing and pinked edges, making it look more like this one.
 
Anne Sophia, née Herbert Countess of Carnarvon by Sir Anthony van Dyck, 1633-35

I like the plain collar and there is a pattern for a similar one in Janet Arnold’s Patterns of Fashion 4. The gown is terribly low-cut, though. Judging by the curve of her breast the nipples must be over the edge of the dress, though they are hidden by the linen band. For my 21st century sensibility that feels a bit risky, not to mention that my bosom needs a bit more support. So I will raise the neckline accordingly.
 
Pearls stringed like this can be seen on several portraits, which are pretty but seems a bit fragile. Here you can see that the pearls are just decorative; there is a pink ribbon that does the real job of holding the bodice together. I think it is worn over a white stomacher, though I guess it could be just the chemise. A stomacher seems much more likely, if one look at the fashion for the time, though. In either case, I will make a stomacher, either white or in the same fabric as the gown. I’m keeping the bows, but haven’t decided on the colour yet, even if white is pretty.
 
The cuffs are ruffled, but plain. One of the reason this painting appeals to me is just the absence of lace. Finding the right lace would add to the cost of the gown, but that’s not really the reason- I just like the plainer elegance of the collar and cuffs on this gown.
 
The first step, though, is to create a pattern. I could enlarge the pattern in HH, but that would demand heave alterations. Instead I will use my 18th century stays patterns as a base and then re-draft it with the 17th century pattern as a guide.
 
The first step in J’s costume is the skirt. In Patterns of Fashion 4 there is a pattern for a skirt worn by Admiral Claes Hansson Bielkenstierna when he was wounded in 1659. It appeals to me for several reasons. It’s Swedish and of the right time period, but it is also a plain and practical skirt, even if it was worn by a nobleman. The picture Livrustkammaren provide is very bad, as you can see, but if you check Arnold you can see that even if it is plain, it has a funny little spider web detail at the bottom of the front slit.
 
 



Livrustkammaren 21454 (5793:1)

Friday, 10 May 2013

The finished stays with tie-on sleeves

I did manage to finish two outfits for the party yesterday, but when it came to the pink jacket/petticoat with green trim, another stumble block emerged. The petticoat, which have been finished for five years, or so, and which has been in my sewing room forever, was not to be found. Anywhere. No doubt I will find it tomorrow. A bit annoying, but this means that I have a brand new, never worn outfit, waiting in the wings. As I have promised myself no more costume deadlines this year, that is a good thing.

I also did, as you can see, finish the stays with tie-on sleeves. Previous posts on the subject can be found here and here. I'm really pleased and I don't think I have ever made such a romantic gown. I felt very pretty. The stays were quite hard to cover. There is a inner layer of flannel to prevent the boning from showing and each tab are covered separately. There is also a strip of brocade et the edges front and back. Each side of the stays have three brocade panels each, plus the shoulder strap. Though the stays are machine stitched and, horror upon horror, metal grommets (I know, but these stays were originally made to be just a mock up, only it worked too well for being just that) the brocade are completely hand stitched and took an insane amount of time to finish.

The sleeves are made after my usual 18th century sleeve patters, though I cut of a few centimetres at the top. They are tied on with three ribbons on each side, but after wearing it I have decided to add at least one more toward the front. I also want to change the plain white cotton ribbons to silk, preferably in gold or cherry red, as those colours are in the brocade as well.

The petticoat was somewhat improvised. As this gown is quite early, 1730-50-ish, it really ought to have a panier and not my smaller pocket hoops, so they are not pleated to the waistband but shaped more like a square. The plan is to put in a drawstring to make it adaptable, but I didn't have time for that. So for the evening it was more or less artistically pleated and pinned. You can sometimes see petticoats that look like that on early paintings, so I think it might have been done when the petticoat and panier didn't have the same size.

My friend Lithia stitching her last at her La Mode Illustree gown. Untold yards of silk organza decorating pink-striped silk.
 



Being very giggly at this point and making BFF-photos.


And destroying each others hair in the process.

There were, of course, many other beautiful ladies there.

Madame Berg had made this awesome belt herself.

Sunday, 5 May 2013

More on stays with sleeves



Child's stays with detachable sleeves

My sleeved stays are progressing nicely, which they have to as I need them finished on Thursday. It is a bit difficult to get an overview as I’m working on several parts at once. Sewing the brocade on the stays is fiddly and best made at home and when I’m not tired. The petticoat, on the other hand are perfect to work on when I do feel tired and the shoulder straps and sleeves are small enough to take with me. So today my tally looks like this: The stays have 2 ½ pieces of brocade left to finish and then the shoulder straps need to be sewn in. The shoulder straps are halfway done. The sleeves are finished apart from the lacing holes. The petticoat is hemmed, but need to be pleated and attached to the waistband.

 

But right now I’m taking a sewing break and show you a few more sources for stays with sleeves. The picture sources I have found are still Italian or French, but I have found a few written sources that are British. In “The Gentleman’s Magazine” from 1791 there is a letter that mentions “stays or boddices with sleeves”.The 1790’s seems a little late for this fashion which seems to belong to the first half of the decade, but the letter writer says this happened several years previously, so we can’t be sure of the exact year. Thanks to justawench on LJ I found Old Bailey Online and when searching for sleeves found several cases of theft where separate sleeves have been stolen. I don’t know what they are supposed to be attached to, if it is stays or not, but up until the 1750’s they emerge quite often. They are usually not described, but sometimes they are mentioned to be of linen or Holland or once or twice cotton. One pair is described as lac’d, but if that means that they are meant to be laced on or have lace on them, is unclear. It is also uncertain if they are worn by both sexes. Some are stolen from men and some from women, which may not mean much, but in one case they are said to be women’s sleeves. Not exactly on the topic of stays, but the further in into the century you come, sleeves that belong to shift turn up again and again. What does that mean? That you habitually changed sleeves of a shift when they got too worn but the body of the shift was sound? I have no idea.



Corset blanc (white corset), from M. Garsault's Description des Arts et Métiers, 1769

Magdaleine Pinceloup de la Grange by Jean Baptise Perronneau, 1747
These and the ones below has more laced on sleeves than tied on. These don't look like they are boned either.



Girl In A Blue Dress by Pietro Rotari
 
Giovane donna con rosa by Giacomo Ceruti

Giacomo Ceruti

Friday, 19 April 2013

Sewing plans



The Embroidered by Jean-Baptiste-Simeon Chardin, 1736
April is more than halfway through and I feel the need to reevaluate my sewing for this year. I started out aiming to not start any new projects, but only finish off all my already started ones. That hasn’t been an absolute success. I have finished two of my old ones, the Edwardian blouse and the late 18th century hat, but I have also started two new ones, the covered stays with sleeves and a 1930’s evening gown. As I managed to get the flu, the evening gown didn’t get done for the party I had planned it for, and is right now on hold. The stays with matching petticoat have to be finished in May. I have also started two projects that were planned, J’s wild man’s dress and the piemontaise.

The To do-app has been a very good help. It’s easy to see what I have planned and it’s easy to change priority of projects. As of now my A listed projects are these:

18th century: The covered stays and petticoat in pink brocade. I’m currently covering the stays, which is the most finicky part. The sleeves are probably quite straightforward and I can sew petticoats in my sleep. Only they take forever to hem.

The pink A-line jacket I started years ago. It still only needs a stomacher and as I plan to wear it in May, it has a deadline as well.

The 40’s wardrobe: Raincoat with two sides, the two fabrics needs to be attached to each other.

Brown jacket. I’m making adjustments for a second fitting

Other historical costumes: A dark purple 1640’s gown

Other sewing projects: Checkered skirt. Needs buttons and hemming.

The idea now is to really, really not start anything new the rest of the year. So many of my projects are in the almost done-state and if I set my mind to them and finish them, I will feel terribly accomplished. For example, the blues stays only have a couple of hours work left on them, and the embroidered polonaise is more than halfway done as well. But as it has been a lot of 18th century for the past months, I plan to concentrate more on my 40’s wardrobe now. I have one white and one dotted dress that are almost done, for example.


Late 18thc. sewing box with straw work and parquetry
I don’t want to get myself any more hard deadlines either; there have already been too many of them this year, and after May I will try to work without stressing out. I’m still going to try to fit in as many projects as I can into Historically Sew Forthnightly, but f I won’t make it, I’m going to let it go.

One damper on my sewing this year has been sore neck and shoulder, at times it has been so painfully that I haven’t been able to sew. This is only my own fault for not taking breaks and moving. The last month I have re-started my Pilates and try to do 30 minutes of it every third day. I have also started to time my sewing and take a small break after one hour of sewing to move a little, My shoulders and neck has got so much better in just a few weeks, so evidently I do something right.

Thursday, 11 April 2013

Late 18th century hat


I have actually finished something! I had planned to finish it on Monday so it could fit in into Historically Sew Forthly, but I didn’t quite made it and then it took a few days before I had time to take pictures. It is a hat, as you can see. The base is a cheap masquerade felt top hat. I removed the plastic bands and steamed the brim to get it a bit flatter. It is covered with green dupion with a pleated brim. The sides of the crown are cut on the bias for the stretch factor. The crown is wider at the base and the band is stretched there and eased on the top. For visual effect I made the seam on the crown diagonal and put it on one side instead of mid-back. The decoration is an irregularly gathered strip of pink taffeta.




The hat is made to match a pink jacket and petticoat with green trim. It has been on the “almost” finished stage for way too many years, but I have decided to get it ready for the big party in May. It only needs a stomacher… The piemontaise will be put on hold, though. I realize that I won’t have time to make it as I want it, so it will be the pink ensemble for the day and the stays with sleeves for the evening.
 
 
 
The original hat

The inspiration for the hat comes, in general, for the kind of top hats that can be seen from the late 1780’s onward:
 
Source

Detail from The Squire's Door after an engaving by Benjamin Duterreau after George Morland, 1790.

Journal de la Mode et du Gout, September 1790.

Journal des Luxus, 1791
 

Wednesday, 10 April 2013

What a child should wear in 1712



The Enraged Musician by William Hogarth, 1741
A comment from Kendra on my post on leather stays made me do a search for them on Google books and actually found a few, very few mentions of them in British texts. In 1758 there is a note on poor girl being issued leather stays when they are admitted to an Asylum. I did a search for leather bodice and found a description af a country wench in her leather bodice from 1771 and then, a rather facinating list on the cost of clothes for children in a British charity school in 1712. Girls are then supposed to be provided with a leather bodice with a stomacher. But the whole list is worth a post, I think. Being charity this is what is considered the minimum of clothes a child, aged 7-12 should wear. A quite useful guide for 18th century re-enactors with children, I think, the quality would be better for a richer child and he or she would have more underwear, but the basics are here. I kept the spelling.
 

An ACCOUNT of the RATES of Cloathing
Poor Children belonging to C H A R I T Y-s C H O O L S

The Charge of Cloathing a BOY
A Yard and half-quarter of Grey Yorkshire Broad Cloth 6 quarters wide, makes a Coat: 3 s.
Making the Coat, with Pewter Buttons and all other Materials: 1 s.
A Wasitcoat of the same Cloth lined: 3 s. 6 d.
A pair of Breeches of Cloth or Leather lined: 2 s. 6 d.
1   Knit Cap, with Tuft and String, of any Colour: 10 d.
1 Band: 2 d.
1 Shirt: 1 s. 6 d.
1 Pair of Woollen Stockings: 8 d.
1 Pair of Shoes: 1 s. and 10 d.
1 Pair of Buckles: 1 d.
1 Pair of Knit or Wash-Leather Gloves: 7 d.
Total: 15 s. and 8 d.

The Charge of Cloathing a GIRL.
3 Yards and half of blue long Ells, about yard wide, at  6d. p. Yard, makes a Gown and Petticoat: 4 s. 8 d.
Making thereof, Strings, Body-lining, and other Materials : 1 s.J
A Coif and Band of Scotch-Cloth with a Border: 9 d.
Ditto of fine Ghenting: 1 s.
A Shift: 1 s. 6 d.
A White, Blue, or Checquer'd Apron: 1 s.
A pair of Leather Bodice and Stomacher: 2 s. 6 d.
1 Pair of Woollen Stockings: 8 d.
1 Pair of Shoes: 1 s. 8 d.
A Pair of Pattens: 8 d..
1 Pair of Buckles: 1 d.
1 Pair of Knit or Wash-Leather Gloves: 7 d.
Total: 16 s. 1 d.
The Graham children by William Hogarth, 1742

I think it is interesting that girl’s costs more and that there are no warm outwear for either sex. The mention of a  leather bodice is interesting as well. I think they are more like stays, even if unboned they would probably add some stiffness and as a gown is listed, the bodice is probably meant more as underwear. I didn’t know what pattens was, but have now learned now that it protective overshoes. I am stumped on the fabrics for the girl’s clothes, though. Anyone who knows what Ells, Scotch-Cloth and Ghenting are? My guess is that Ells is a wool of some sort and the other two are different qualities of linen, but I’m not at all sure.

EDIT: Rae Arnold kindly provided me with answers: "
Scotch-cloth is another term for nettlecloth, which is linen-like, but from nettle, not flax.

Ghenting is a flax linen woven in Ghent.

The only time I’ve heard Ells used is as a measurement (27–45", depending on the country), never as a fabric description, but Googling "long ells fabric" returns results describing it as a light woolen (possibly "peculiar to Devonshire")"

Tuesday, 9 April 2013

Come to an 18th century party in Sweden



Svartsjö Palace. The main building was started in 1734.
On May 9 Gustafs Skål is holding their grand party to celebrate that the society is turning 20 this year. The party will take place at Svartsjö Palace in Stockholm and will start at noon and end one hour after midnight. Much amusements and good food have been promised!

The cost is 675 SKr for members of Gustafs Skål, Wästgiöta Gustavianer, Carlscrona Rediviva, Forum för historisk dans & music and Helsingfors goda borgare. For everyone else, the price is 775 SKr.

 

The amusements will include a walk in the park with music and something for the body as well as for the mind. Dowager-queen Lovisa Ulrika will invite you for something that has to do with beauty (yes that might include my participation…). Dancing, of course as well as perhaps a bit more naughty amusements as well. A dinner, a play and a number of surprises are also included.

 

If you are interested, mail: elisabeth.goldstein (at ) telia.com

 
A feast to mark that the hay is cut outside Svartsjö Palace by Pehr Hilleström, ca 1780


Personally I think it will be an absolutely fantastic party!


More info (in Swedish) can be found here.
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