Monday, 25 July 2016

HSF 2016 Travels: Wool gown, 1680-1712



I have finished a gown! And for once it also fitted into The Historical Sew Monthly!



The Challenge: Travels.

The pattern for this gown came to my attention thanks to a friend in Czechia. It was part of a small collection of pattern diagrams published there in 1712 and called “Swedish court clothes”. They are not, however, particularly fancy clothes, and the fabric notes indicates wool for all the garments except for a pair of stays. In the early 18th century, king Karl XII of Sweden and his army were, if not actually in present Czechia, not all that far north from it. Even if a king at war didn’t have a sumptuous court, there were still a number of aristocratic ladies travelling their officer husbands, so there was some kind of travelling court. My guess is that these clothes, which seems quite useful for travelling, came from that court. And the pattern themselves have done a bit of travelling.










Fabric: Double sided wool, striped in grey/blue/brown on one side, black on the other. Brown linen for lining.






Pattern: I adapted my basic 18th century bodice and sleeve pattern while trying to keep to the proportions of the original pattern diagram. The skirt is made of four half trapezoid pattern pieces. The skirt was drafted directly onto the fabric, using the same angles as the pattern diagram.



Year: 1690-1712







Notions: Gold braid. Sewing silk in black, brown, blue and pale gold. Grosgrain ribbon in pale blue rayon. Antique paste belt buckle.
How historically accurate is it? I would say 75 %. The pattern is based on original sources, but due to fabric shortage I had to do a few changes on the skirt. The original skirt length was the back bodice length multiplied with three, which would have given the skirt a longer trail. The measurements of the skirt was double the waist measurement, but the front has much less fabric, I’m sorry to say. I sew it all together on machine, but all other seams were made by hand.

The gown turned out too big, partly because I’ve lost weight, but probably also because wool is stretchy. Even if I’m quite pleased with it, I’ll need to do some changes for a better fit. I also need to drape up the skirt more toward the back when I wear it. The fontange cap was made after a self drafted pattern, using these instructions. I thought it was too narrow on top, but it looked fine when I actually wore it. I used fine linen and remnants of lace my grandmother made. I need to purchase lace for the lapels and add a bow on the back. I also made a first try for the proper hairstyle and I Think it turned out ok. Not as high as I wanted it, but I merely worked with curled hair. Next time I'll see what pomade and powder can do.












Hours to complete: Cant’s say. The cutting, fitting and sewing it all together took about five hours. Then came all that hand sewing.
First worn: Yesterday at an 18th century picknick.
Total cost:  4 meter of wool fabric; 77 Euro. Belt buckle; 7 Euro. 4 meter of gold braid; 23 Euro. The brown linen was the gift from an aunt and originally purchased in the 1980’s. The grosgrain ribbon and the silk thread was inherited from my grandmother. So I guess the total cost would be 110-115 Euro.


This kind of gown can be seen on paintings and fashion plates in the late 17th/early 18th century. Though the skirt is slit and draped the same way as a mantua, the bodice is smooth and not fitted with the help of pleats.












Anne Marie d'Orléans while Duchess of Savoy by L. Mariette, 1684

Anne de Souvré, marquise de Louvois (1646-1715) by Simon Dequoy, 1695



Anonymous portrait, 1680-1700, Nordiska museet

Recueil des modes de la cour de France, 'Fille de qualité', 1680

The Cryes of the City of London Drawne after the Life: Fair Lemons & Oranges, 1688

The Cryes of the City of London Drawne after the Life: Crab crab any crab, 1688









Friday, 22 April 2016

The HSM 2016: Challenge # 5: Holes


The fifth Historical Sew Monthly challenge is due May 31. The theme is holes and, of course technically, all clothes have holes, at least as soon as you go from a piece of material wrapped or draped around the body to a sewn garment. You simply cannot get into a garment if there isn’t openings in it. But holes can also serve a dual purpose combining utility with decoration. Or they can be there simply as an ornament. They can be punched and cut, the can form a circle or a slit or any other shape. There can even be more open space than material in a garment. I hope this post with a small sample of all kinds of holes will provide some inspiration.

Functional holes for lacing a bodice in blue glazed cotton, 1775-1800.


Digitalt museum


Holes necessary for adjusting the size of a corset.

Corset 1875-99, V&A

The buttonholes on this coat, dated to 1725-50, are both functional and decorative.


Metropolitan Museum of Art


A sideless gown where the necessity of arm holes also becomes a way to show off the garment underneath.


From Grandes Heures of Anne of Brittany, 1603-08. Wikimedia Commons
Gown by Lanvin from 1938 where the neckline that also provides a design element.


Metropolitan Museum of Art
The more holes in a bathing suit, the more places to get a lovely tan.


1920s bathing suit, back view. Metropolitan Museum of Art



Red doublet with decorative slits and a row of lacing holes to keep the breeches attached.


Wool doublet worn by Gustaf II Adolf of Sweden, 1620s. Livrustkammaren
A child’s bodice from the early 17th century where the open sleeves are tied with ribbons to form decorative slits.


Digitalt museum

Yellow silk dress from 1819 with decorative slits on the sleeveheads.


Back view. V&A



Red evening gown, c 1934 with the traditional lacing converted into a design element.


Metropolitan Museum of Art

Full length sleeveless negligée in pink silk satin from the 1930’s.


V&A

We wouldn’t have lace if there wasn’t any holes...


A woman’s waistcoat in drawn and pulled threadwork, 1630-39.


V&A

17th century collar in drawn lacework.


Livrustkammaren

Cotton lace cap from 1829


Metropolitan Museum of Art



Linen petticoat with eyelet embroidery, 1860-65


Metropolitan Museum of Art



Bobbin lace bodice front, 1865-75.


V&A

And let's not forget shoes, that can provide many variations of both functional and decorative holes.


Chopines, 17th century. Livrustkammaren

A woman's silk shoe, 17th century. Livrustkammaren

Boots, 1920s. V&A

1930s shoes


Saturday, 9 April 2016

Scandinavian gowns in the late 17th and early 18th century.


The more I dig into fashion history, the more interested I get in what was actually worn here, in Sweden, where I live. It’s not altogether easy to find information about that. So I have been very happy in diffing into a Danish website: Dragter på epitafier og gravsten i Danmark (Costumes on epitaphs and tombs in Denmark). There are even a few from germany and more than a few from Swedish churches, dated from the 16th century to the 18th. So far I have only dug into the paintings and they are a wonderful source to what well to do, but not necessarily aristocratic, women wore in Denmark and Sweden. Here are a few from the late 17th-early 18th century, showing some really nice mantuas, caps and hairstyles.


Click on the links for more pictures.


Two great fontange caps.



Anonymous lady by Lucas Ambders, 1685

Anonymous lady by Necolaus Tych, 1695
I love, love, love these mantuas. The different patterns on mantua, petticoat and stomacher on the mother, the play with the stripes on the daughter's gowns.


Peder Jensen Lucoppidan and Anna Christine Jørgensdatter with their children. Svendborg Sct Nicolai kirke, Denmark. Painted in 1696




More somber mantuas, but the caps are spectacular!










This mantua in black is even more sober.



Frands König and Anne Lauritzdatter. Kirke Helsige kirke, Denmark. Painted in 1694.

Also very pretty with the borders.


Mathias Rubenius and his wives; Anna and Gertrud Katrina Liljengranat. Färlövs kyrka, Sweden. Painted 1700-09

And this mantua is stunning and the cap is too! I want it!


Anne Christensdatter Søe 1644-1736. Thisted kirke, Denmark. Painted 1684.


Catharina, married to Johannes Georg Alsing. Västra Tommarps kyrka, Sweden


I'm not sure if the following gowns are closed front Mantuas or some other kind of gown. And more spectacular caps!



























Mads Christensen and Martha Bertelsdatter with their children. Bjerned kirke, Denmark Painted 1691.
Laurits Jensen Beder and Anna Cathrine Pedersdatter Dorscheus with their children. Beder kirke, Denmark. painted around 1690.


Maren Stefansdatter and her daughters. Varde Sct Jacobi Kirke, Denmark. Painted in 1677


Christen Lauridsen Rhuus and Johanne Samuelsdatter Gesmel. Saeby kirke, Denmark. Painted around 1700 by Christen Lauridsen Rhuus .

The red fabric is so gorgeous! And a nice view on the stays too.


Christiane Marie Foss 1684-1750, married to Carsten Worm 1707, Århus stift


 And here it looks like the stays are laced over a different coloured stomacher.

Knud Hauch and Sophie Brun. Ribe Sct Catharina kirke, Denmark. Painted by Knud Hauch 1703


And a few hairstyles. Big hair was a thing around 1700 too.


Edel Sophie Bille 1684-1706. Ubby kirke, Roskilde stift. Painted in 1714

Margrethe Ingeborg Hemmer, 1643-1723, married to Mathias Worm. Painting from 1700-09, Århus Stift


Unknown girl, 12 years old. painted 1690-09. Denmark


Wednesday, 30 December 2015

Looking back, looking forward


So 2015 is drawing to its close and it’s probably my least productive year in more than a decade. But despite not sewing anything (almost) until June, I have managed to finish a few things during the autumn, even if I haven’t been able to take any good photos yet.. So here is this year's meagre sewing:

Look, cap!
 
  • 18the century coloured cap.
  • 1930 hat in corduroy (to match a coat in the same fabric which only needs hemming and buttons).
  • Salmon pink 17th century petticoat in silk taffeta.
  • 1940’s faux fur swing coat.
  • 1740’s wool jacket to go with the embroidered stomacher I made last year.
  • Ca 1700 fontange cap


The jacket before buttons and the the cuffs just pinned into place. You can also see a glimpse of the salmon pink 17th century petticoat.
 
Finished jacket. Well, the cuffs are supposed to be sewn down a lot more, but I have decided to wear the jacket first and see so they are in the right Place before I stitch them down permanently.
 
 
 
My list of UFOs are still much too long:

17th century boning channels. The thread is dark green, not black.
 
  • Bodice for the Swedish national gown- only needs trim.
  • Purple 1630’s gown- sleeves and hemming of the bodice, the petticoat from scratch.
  • Embroidered 1630’s jacket- this one has no deadline, it will take the time it will take..
  • Late 17th century stays- I have finally found proper silk thread for the boning channels in the colour I want, so I’m sewing boning channels right now.
  • The aforementioned corduroy coat, early 1940´s
  • 1940’s raincoat.
  • 1940’s brown wool jacket.
  • Two 1940’s dresses, one dotted and one patterned with flowers. The dotted one just need the neckline fixed.
  • And my perpetual UFO;  the 18th century embroidered polonaise.
 
Part of the back of the 1630's embroidered jacket. The silk/gold thread is more glittery than ity looks here.

And 2016? well, I have started to help modding The Historical Sew Monthly on Facebook, so I need to be a good girl and make challenges. And this year will be the year i finally get some 17th century done. So, a tentative plan is to work on my UFOs and try to finish as many as possible. Several of them have very little left to do before they are finished. As for the 17th century, I plan to start the mantill very soon as it’s not fitted and ought to be rather uncomplicated to make. I also have my 1940´s wardrobe project. As for the HSF challnges, the current plan looks like this:
 
  • January –  Procrastination – Finish the bodice for the Swedish national gown. It only needs to get the pleated trim sewn in place, but I have been not doing that for a long time...
  • February – Tucks & Pleating – Make the petticoat for the Swedish national gown. It has a lot of pleated trim.
  • March – Protection – A 1916 coat in black wool with blue details.
  • April – Gender-Bender – I’ll make it easy and go the obvious route; a pair of 1930’s linen trousers.
  • May – Holes – The 17th century stays. Lots of lacing holes in them.
  • June – Travel –No idea. I want a pair of 18th century mitts in embroidered wool and I guess one can claim it’s suitable to have for travelling.
  • July – Monochrome – make a garment in black, white, or any shade of grey in between. The robe for the Swedish national gown, as the whole gown is white. Or a new shift.
  • August – Pattern – make something in pattern, the bolder and wilder the better. An early mantua in striped wool.
  • September – Historicism – I haven’t got a clue. Any ideas?
  • October – Heroes – I’m not much given to hero worship, so I don’t know.
  • November – Red – 1930’s dress in red wool.
  • December – Special Occasion: I don’t know, but possibly the embroidered 1630’s jacket as I think it will look very festive with its glittering silk thread and spangles.
 

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