Category Archives: 18th Century Clothing

Super Productivity! Kinda.

So first off, an apology. I’ve been searching WordPress and my own brain for ways to do this, but I can’t figure out how to put a .pdf on a blog post. You know, for patterns. I’m stuck. So for now, I must apologize. I want to share some of the patterns I’ve taken but until I can figure out a way to get them here, un-warped and un-wonky, I can’t. ūüė¶

Other than that disappointment, I’ve been sewing like mad. Mad, I tell you! I just haven’t had the time to blog about it. Or take any nice photos.

Since early January, I’ve made:

1 1910s-1920s velvet hat (HSF Challenge #2: Blue)

1 1918 wool skirt

1 1900s cotton & lace corset cover (HSF Challenge #1: Foundations)

1 1910s linen blouse

1 1910s cotton & lace slip

1 1915-1918 wool jacket

1 silk and (oops) polyester ‚ÄúVotes for Women‚ÄĚ yellow rose brooch

1 early/mid 1920s velvet evening gown (HSF Challenge #3: Stashbusting)

1 pair 1930s wool & leather spats

1 late 1920s tennis (style) dress

… and I’ve begun an 1880s-ish corset.

And as always:

1 huge mess

3 small trash bags of scraps

1 medium sized dent in my vintage button & cloth hoard

1 $15 dent in my wallet (you read that right, BOOYAH)

All the 1917-1920 clothes I meant to make for the April HSF challenge, War & Peace, but I was so excited about them I started and finished them way too early. That¬†worked out all right in the end, though, because I wore them for a women’s suffrage play I was in, with the last-minute addition of the Votes for Women brooch.

I made all these with my 1902 Singer, which felt nice, because I was using antique/accurate tools. Yep, I know, nerdy.

And because I’ve been awful at taking photos of my work, here are just the ones I’ve photographed.¬†I’ll get pictures of everything later.

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I am in LOVE with this hat. I usually can’t find something big enough to fit my hair under, so I made it extra big. It’s got that big/loose hat thing that was going on in the teens and twenties, and I can actually put my hair up under it! Yay!

I made the blouse in the photo above from one of my dad’s worn-out 18th century shirts. It was old and threadbare, so I don’t expect the¬†blouse to hold up well. I’ve already popped a few seams¬†– the fibers just fell apart. That being said, I’m surprised at how nicely the shape came out – the pattern was roughly based on one of my modern Gap button shirts. I’m excited to make another, hopefully in a nice batiste, or something that holds up better to drawn-thread work.

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The corset cover (left) was taken right from my original (right), which is just a tad too small for me – not that I’d wear it. I made it from a thrifted tablecloth, mimicking¬†the design of triangular lace¬†appliqu√©s at the neckline. I love it – it’s comfy and even though the materials and my workmanship are awfully crude compared to the original, it’s the best I’ve ever done with a sewing machine, and I’m happy.

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This is my ’20s evening gown. I wanted it to be kind of generic so I could wear it to events. The idea was to make a semi-fitted slip and to drape the velvet on that, but halfway through planning I realized I didn’t have any cloth for the slip. Being on a frenetic sewing high I made it anyway, substituting ribbon for lining. Now it looks like the dress has interior suspenders. It works nicely considering the velvet’s heavy and hot (it was a curtain! Thanks, Laura Ashley), and a lining would just make it more uncomfortable to wear. It drapes fairly well, too, so I don’t consider it a failure. And it’s super comfy!

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The beading came out okay; it looks better hanging than flat, as above. I made the mistake of putting the beads on too tightly, which messed with the straight Deco lines of the pattern I chose. Live and learn.

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This is my late twenties tennis dress. I made it, again, from a thrifted curtain and a few pieces of red bias tape. I like it; it’s very comfy. When I wore it to work with my re-worked¬†cloche and a blazer it became very early-1930s-sportswear-ish. The dress itself is very basic; sleeveless with a V-neck and the skirt has two huge box pleats at the sides.

Now I’m working on a new era: the mid-late Victorian. I’m starting with a basic corset based on an 1880s example, and I’m hoping that, for now, I can get away with the 1860s with it, too. After that comes all the rest of the underpinnings and gowns and hats and shoes and stuff, which will be … challenging. I have one long-term project, a 1900-1920s beaded purse which will take me a year, conservatively, to bead fully. It’s about 40% done right now, and I’m slowly working away at it. Good stuff!


Patterns, anybody?

I have handfuls of patterns¬†that I’ve taken from originals, or adapted from originals. I’m thinking of posting a handful of them.
Very soonish, I’m posting an adapted mid-18th century small cap pattern, a ca. 1900 corset cover pattern (about a dress size 4), and 1930/40s high¬†or low spats pattern.
Here’s why I’m writing¬†this particular post. I also have a ca. 19-teens¬†silk jacket¬†in¬†a loose-fitting dress size 0-2, and my own 1920s feed sack dress pattern from this original¬†dress, which is about a dress size 6-8.¬†I also have a size 2-4 way-too-many-gores skirt pattern from the¬†1900s. These patterns will take a little more work to get online, especially the skirt. Would anybody like to try them? They’ll be formatted as images to download – measured drawings on graph paper, with instructions and a link to a page of detailed images of the originals (except for the cap) Let me know as a comment!


So I said I wasn’t going to be writing until after Christmas –

but I’ve got something to say, five minutes and two¬†images – and one of the images even moves slightly.

I’ve been seeing posters and ads for the new Into The Woods movie that’s coming out in two days. It looks like many¬†of the costumes are¬†classic fairytale Middle-Ages or Disney-style prince and princess stuff – but I have to say I’m super impressed with one item.

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Apologies for the poor .gif quality. I couldn’t find a better picture on the Internets. The one below looks a little Photoshoppy, too. But whatever.

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These look soooo close to a pair of original 18th century stays that I’ve seen – can’t remember which particular pair, if I do I’ll post it with a comment here. But really. The color’s nice, the shape is great, the seams and boning all appear accurate … even that decorative half-lacing down the front is correct.¬†Of course we could debate about how they’re being worn … another issue entirely … but right now I’m impressed. I want to watch¬†the movie just to¬†see the rest of the costuming!


My Late Reticule

I’ve recently joined The Historic Sew Fortnightly, which means I not only have deadlines for school and work, but also my hobby.

And I missed one!

I meant to submit this piece for the challenge that ended last night, but I missed it by half an hour. I would have been really lucky to get it done by then, considering that I hadn’t been a member of the group for long. Like, five days or something.

This project began when I decided to remake my little white reticule because it was a little too little. So I tried the big, pocket-shaped embroidered style popular in the late 1790s and early 1800s.

So here’s my adaptation; 100% hand sewn with linen thread and made with linen and cotton fabric, and a cotton cord for the drawstring. And probably about 2 cups of starch. Again, I used my huge embroidery vocabulary of two different stitches here. Completed, it’s about¬†14″ deep by 10″ wide, certainly big enough to hide¬†an iProduct in.

For reference, here are some originals from Two Nerdy History Girls here. And some variations on the theme, from the Met, here and here.

I rushed through mine and finished it to the point of being juuust useable … but now, hey, since I missed the¬†deadline, why not¬†keep working on it? I’m thinking I’ll embroider the front pieces¬†more. It could use more fancy.

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I cut two U-shaped pieces of linen, and two of cotton for the lining, and starched the bejeezus out of them because I didn’t have an embroidery hoop. I also tacked the edges together. The embroidery designs are adapted¬†from the originals linked to above.

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I gathered a strip of linen to the edges to make the sides, and used a scrap of cotton for the drawstring casing and ruffle at the top.

 

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Close-up of the embroidery, which I like, but is super basic. And that weird circle thing in the middle of the design could have been executed wayyy better. And what the heck am I going to put inside the circle? A peacock? Maybe a basket of flowers or a cornucopia? Phhh. 

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All gathered up.

 

 


Springy Underthingies

I have been sewing a lot, which means I have other things that I’m procrastinating on.

Like midterms. The surprise one that’s due in four days. And the two papers due five days after that. And registering for Spring classes in five days.

Aaaanyway.

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From my limited research, it appears that steel springs were used in clothing beginning sometime around 1760-1780. They don’t seem to have caught on for much other than garters, which they were used for through the 19th century. The Kyoto Costume Institute has a pair of 1790s transitional stays with springs in them, but they’re the only pair I’ve ever seen.

So late 18th century springy garters are cool. I’ve wanted to make a pair for a long time, and just last weekend was given two lengths of spring suitable for them. Of course they had to happen.

IMG_2136With wire cutters, I cut 6 pieces of 3″ long springs, and made little loops on the ends with pliers.

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I sewed two pieces of cream silk taffeta in little channels, leaving about 1/4″ edges for ruffles.

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I sewed the springs to pieces of cotton tape.

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Put the silk over them,

IMG_2144and sewed smaller pieces of tape to the other ends of the springs.

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Then I cut larger pieces of the same silk and pinned them to the tape at one end, sewing the other end together.

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I flipped these over and embroidered the silk in place on the tape. I used my extensive embroidery repertoire of a backstitch and a satin stitch.

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And here’s where I left them last night: Mostly embroidered up, except for whatever I want to put in the cartouches. Maybe my initials, I don’t know. I’m pretty proud of how the embroidery came out. It’s the best I’ve ever been able to do! I’m excited to get these finished, but¬†midterms are calling.

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An 18th Century Workman’s Apron

Last night my order from Burnley & Trowbridge came in (yayyy!!) so I was able to finish my dad’s new work apron.

My dad and I often wear aprons when we do shows. We sell metalware, which is oiled before it’s packed for a show – and then needs to be wiped down when we set up.¬†So we don’t need heavy work aprons, really, just something to protect our clothes as we’re setting up the table.

Dad had an apron made from heavy canvas in an eye-poppingly wide navy and white stripe. It didn’t fit very well and was so heavy it pulled his waistcoat down. It was also old and pretty dirty – oil doesn’t wash off so well.

His new apron is made from a lighter cotton-linen blend in a white and coffee-brown woven stripe, with thin cotton ties. I hand sewed it with linen thread. It’s a simple design; the top is a triangle and the bottom just extends into a square (but it’s cut in one piece). I hemmed the edges, added a buttonhole and a loop at the top corner, and two ties¬†at the hips.

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There’s no way to make this thing look decent if it’s not on a person.

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A buttonhole that behaved and went together well! I’m always thankful for that. I added a waxed linen loop at the top, for hanging and just in case the buttonhole didn’t let the apron fall correctly. It’s probably superfluous but whatever.¬†


The Metropolitan Museum of Art: Death Becomes Her & Kimono: A Modern History

Thanks to The Met, there’s tons¬†of awesome clothes to check out for the next few months!

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1870-1872 ensemble, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art.

Death Becomes Her: A Century of Mourning Attire is open until February 1st in the fancy new-ish Anna Wintour Costume Center’s Carl and Iris Barrel Apfel Gallery, which can be reached by winding through 4,000 years of Egyptian art. It’s worth asking three or four security guards the way; don’t give up. And if you have the chance, go soon, it’s perfect for Halloween!

It’s fully handicapped accessible, but if you have the option, go down the stairs. They’re wide and have a few landings, so they’re not too strenuous. The walls along the stairs are painted with folk-art style, life-size black weeping willows – it sets the mood, especially as you walk down into the dark gallery with 1890s requiems playing in the background. Yeah!

Inside, there are about 30 ensembles from the early 19th to early 20th centuries. All are on nice mannequins with historic hairstyles in white wigs, and many have coordinating hats or veils. There are two men’s outfits, and one child’s dress, but mostly there are women’s clothes, hats, and accessories. Contemporary quotes are projected on the walls, and fashion plates are hung in one gallery.

While every piece in there is fascinating, some really stand out. One is a mourning gown worn by Queen Victoria, and two gowns worn by a princess (I forget who, sorry) in mourning for Queen Victoria. These two gowns are incredible – all glitter and spangles. There’s a bright purple ensemble from about 1895, and a late 1860s wedding gown made in partial mourning in respect for those lost in the Civil War.

So go see it! It’s great – very Gothic and Victorian and super interesting. The only truly bad thing about it is¬†there’s no catalog!

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Over Robe (Uchikake) with Shell-Matching Game Boxes, mid-19th century. Lent by Museum of Fine Arts, Boston. William Sturgis Bigelow Collection.

Kimono: A Modern History is also super good. This exhibit is¬†up in the Arts of Japan galleries on the second floor until January 19th. The gallery begins with scraps of silk from before the 18th century. After that, some absolutely gorgeous Edo period kimono are displayed: think like-new metal and silk embroidery, eye popping colors and incredibly intricate work. Most of these pieces are displayed on racks, not mannequins, which shows the artwork much better since it’s flat.

The exhibit shows some working kimonos, especially those for firemen, some export garments and things made from exported silk in vaguely Asian-inspired designs, and then, a really interesting little collection of 1920s-1940s wartime and propaganda kimono. Who’d have thought?

(A tip for those who visit: ask a security guard to show you the staircase to the 3rd floor Chinese gallery nearby. There’s a single room up there filled with Chinese clothing from about the same period (18th century & up). It’s worth checking out!)

Kimono: A Modern History has a catalog which looks really good, too – I haven’t bought it yet but I think sometime soon I’ll pick one up.

So there’s my¬†overview-in-a-nutshell! Enjoy!