Category Archives: sewing

Packing the Collection

One of the things that kept me from collecting antique clothing early on was that I didn’t know how to store it. I remember passing up an 1870s bustle dress for $25 because of this reason.

Yes. I am kicking myself for that one.

I’ve been doing some research since then. It’s still daunting to store old clothing, but there are ways to do it. Here’s my basic battle plan.

1) Plastic Boxes

Check out any museum storage company like Talas or Gaylords, and you’ll see corrugated plastic storage boxes. They fold together, have loose-fitting lids, and seem very simple for the high price tag – especially since you can use ordinary plastic tubs. It’s not as simple as going to WalMart and buying any tub, however.

If a plastic is marked #2, #4, or #5, it’s “safe” meaning it doesn’t degrade under UV rays or leech too much icky stuff. Museum storage boxes are usually made from either #5 (which is polypropylene) or a mixture of polypropylene and polyethylene.

Clear (not tinted) Sterilite tubs are made from polypropylene (#5) and are acid-free, which makes them a good choice. The Container Store carries a line of clear polypropylene tubs as well, which are just as good. Rubbermaid tubs are a different story. The Rubbermaid website doesn’t quite say what theirs are made of.

Avoid Dresser Drawer Syndrome; use shallow tubs for storing flat clothing. It’s easier to find things, keeps less weight on the pieces on the bottom and creates fewer creases.

Clothing needs some air circulation. I have no real solution for this, but I sometimes leave tub lids slightly off. I put small desiccant packs directly in the tub, in case any excess moisture is sealed in when I close the lid. It helps to pack clothing in paper; crumpled, it keeps the layers of cloth separated and allows a little air to move. I also try to check the clothing regularly.

2) Padded Hangers

There are a billion tutorials on building your own padded hangers out on the internets, so I’m just here to say “do it”. Padded hangers are incredible for supporting clothing, they keep the insides of the garment apart for better air circulation, and they reduce creasing and wrinkling. So just do it, unless the garment isn’t stable enough for hanging. That’s an educated decision that will have to be made multiple times for each garment. Because the passage of time. And because gravity.

I use unbleached cotton muslin, thick plastic hangers (WalMart), and fiberfill. I get fiberfill at WalMart by buying cheap pillows for a few dollars apiece. It’s cheaper than the craft isle and it’s the same stuff(ing). Also comes in a handy storage bag. And another life hack: throw the pillow in the washing machine before you use it. Voila, clean fiberfill.

Another great thing to do is to add supports to the garment itself to keep stress off the shoulders. Carefully sew white (or unbleached) cotton loops to the bottom curve of an arms eye seam or at a waistline seam; sewing through all the layers of fabric. Make the loops short enough to just support the weight of the garment when they are placed over a hanger.

5 3) Garment Bags

Garment bags are so easy! Buy unbleached cotton muslin, and cut a width that’s five or so inches wider than a hanger’s width. Fold it in half and sew up the tube, then just sew the top together, leaving a small hole in the center. I like to use the woven edges for the lower hemline and the upper seam, and for the vertical seam I use the cut edges. It saves time sewing them up.

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Homemade custom garment bags: a large one for a 1930s sailor dress, and a small one for a 1920s swimsuit. I try to save muslin this way.

Some clothing can’t handle the friction and pulling that putting a garment bag on creates, so these can also be made to button up the front. Instead of the vertical seam, hem each cut edge. Add loops or buttonholes to one side and buttons to the other. Just make sure there’s an overlap so you can’t see much of the garment inside. It all needs to be covered.

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If I’m keeping one piece in the same bag for a while, I tack tags on the bag so I don’t have to open it to see what’s inside.

4) Humidity Control

I went on Amamzon.com and bought a gallon of orange-indicating desiccant beads. They’re much safer than the blue-indicating variety, and on Amazon, they’re many times cheaper than museum storage companies.

Talas offers a great system of desiccant beads in little tins that look like Altoids containers with holes in the lids – I didn’t want to use actual Altoids containers for fear that they would rust, so I bought some food-storage plastic containers. Being meant for food storage means they are (or should) be made from a stable plastic like polypropylene. I dumped a handful of beads into those, punched some holes in the lids, and snapped the lids on. They work great, and don’t rust.

5)  Support (Hose)

Use cheap stockings (tights, hose, whatever you call them; the thin nylon things), stuffed with fiberfill, for temporary support. Like, if you’re trying to bulk out a little dress form, or if you’re working on a more permanent storage support but need a temporary one immediately. I went to WalMart recently and picked up a bunch of short knee-high type stockings for $.33 each. Stuffed and wadded into balls, they’re been great for keeping the toes of shoes supported. They also make good shoulder supports for those tops with puffed sleeves – pin them onto your dress form. Just remember, the fibers in the stockings will break down after a while. Try not to use them for long.

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1972 Converse which have been pretty much destroyed. Stockings stuffed with fiberfill have helped get them back into a normal shape after having been flattened. It would be silly to use a good support in these before they’re cleaned, so I’m using the disposable stockings and fiberfill for now.

6) A Note of Importance

One note about cotton muslin: WASH IT FIRST. Also AIR DRY it. Fabric comes coated in a sizing, like starch, for a better hand. I’ve gotten chemical burns from washing cheap cotton and getting the sizing on my hands. Not all sizing is this bad, but this is not stuff you want touching your antique clothing.

So wash your cotton, and if it smells like anything other than fresh water or your detergent when it comes out, wash it again. The best bet is to wash the cotton with soap meant for washing antique clothing, but if you’re on a budget like I am, just make sure to get all the sizing out of the cotton with your own detergent. Air drying means you won’t be putting additional softeners and perfumes in it, which can transfer to the clothing.

7,854.413 1/3) Random Linky Links

Museum Textiles Services: a company that does archival storage consulting. They have some tips for storing textiles on this page and this page.

Talas: while they’re still kinda expensive, they’re a little cheaper than some other companies.

Gaylord: they carry everything you never thought you needed. I love to browse this site and drool over shelving and tissue paper. Please tell me I’m not the only person who does this.

 

 

 


On My Bookshelf: The Mode in Costume, 1942

IMG_1462I have a difficult time appreciating older costume books. I’ve been kind of scarred by Earle and McClellan. When I got this book, a first edition of The Mode in Costume, I wasn’t expecting much, and the book really delivered for a while …

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So where do we start on this black gown … neckline, sleeves, waistline, skirt cut … The francaise next to it is pretty much okay, though. Any book that uses Earle as a source, however, is going to be kinda-sorta okay in some places, and hideously awful in others.

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Oh gawd!!! Nooo! Nooooooooo!

It’s one of those here’s-what-everybody-everywhere-wore-since-the-dawn-of-time books, and you can never expect these books to have enough detail to satisfy a moderate interest, or to have thorough enough research to build upon. I flipped from Egypt to 1800s Europe in a few minutes and didn’t see anything that really caught my attention – until I realized that the clothing in the book went right up to the date of publication. There’s no way the authors could have gotten their own clothing wrong.

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Just that line of cigarette smoke screams 1930s-1940s.

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And here we see the entire male wardrobe for the movie Casablanca …

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Huzzah, authors! I mean, these are gorgeous. For fun (because I don’t know what the rest of society deems fun) I went back and read the forward.

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Yes, it’s a statement of the state of the fashion industry at an incredibly turbulent time. I’d always heard fashion professors say that 1930s fashions ‘fossilized’ through the 1940s until Dior’s New Look came in, but I never knew that people acknowledged this during the war. The forward also notes the opportunities American designers had during France’s occupation, without naming anybody.

So do I like this book at all? Kind of. If you’re doing historical clothing research from before 1900, don’t you dare use this book. Really. If you want an overview of 1910-1940 clothing in France and the USA, it’s a start. If you want to know what people thought of fashion history in the 1940s, and what inspired costuming, go for this one. For the history of fashion history, it’s pretty awesome.


Clothing Forensics!

I love it when people dissect clothing and are able to tell a story from what they find. So this is pretty cool … The National Gallery of Victoria is kinda sorta doing that with some of their collection. Check it out!

 


15 Hours = eh ….

It’s taken me a while to get a picture of myself in my 15-hour gown, but here it is, at the Bedford PA Historical Society’s new 18th/19th century artisan’s show & conference, America’s Past Preserved.

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Cranberry linen overload!

While a 15-hour, $5 dress is pretty great, there are so many obvious problems …

1) I went for a late 18th century round gown / apron front setup. I kept the waistline low because I’ve seen other American dresses with this sort of configuration. On me, I think it’s very unflattering and doesn’t lend itself to much flexibility. I couldn’t get the apron front to stay in place, either – you can see my stays showing at the waistline where the apron front has sagged. No matter how tightly I tied it, it kept sagging. I’m just going to give up on it now …

2) The front of the bodice overlaps more on the bottom than on the top. When I pin it together, it doesn’t line up straight. That, and the front seems to come down too low, so it creases where the apron front sits and looks icky.

3) The sleeves turned out huge! They’re puffy in the back and too wide everywhere else. I added way too much selvage when I cut them, and I cut them over my awful 1740s chemise which has huge bulky sleeves – a bad move, but it’s the only chemise I have right now, save my 1790-1820 chemise. Soooo … a new chemise needs to be in the works for the next event …

4) When I made this gown, I also made a 1780s/90s cap to wear with it, but as soon as I put it on, it screamed Amish. I have absolutely nothing against the Amish, how they live or or what they wear, but whenever I dress in 18th century clothing, I get called Amish. In all honesty I’m tired of having to explain myself to 50% of the people I come in contact with, so avoiding all triggers sounded like a good idea. Oh well. I’m saving the cap to wear with something more obviously Empire/Regency, so maybe I won’t get so many “oooh look at the Amish girl!” stage-whispered comments.

This brings me to a thought I’ve been having for a while. When I make 18th century clothing, I have to find a middle ground – I have to come up with something as accurate as my skills and research can produce, but also something that the general public interprets as 18th century. The general public is always a mixed bag. There will be knowledgeable people out there who understand my issues with my red dress, and know that it’s probably not super accurate in its current state. Then, there will be people who think I’m Amish, or from the Renaissance, or a Civil War reenactor, or some just weirdo (the latter is probably the most truthful statement). Often I’m the only woman in 18th century clothing at these events, so I can’t fall back on other reenactors bolstering the 18th century theme. I have to come up with something super evocative of “ye olde coloniale period”, while staying as period correct as I can. It limits my wardrobe, but it helps the public – you don’t want confused guests. People get embarrassed enough when I explain that I’m wearing stays.

Okay, sidetrack’s over.

Solutions:

Skirt: remove the apron front and make it an open-front gown. Wider time period, more wardrobe options  … and this alteration is very easy. Also, since my shoes are Burnley & Trowbridge’s women’s red walking shoes, making the gown an open front will result in less than 98% red, which was kind of overkill. I mean, red’s awesome, but really.

Bodice: re-sew the front and take it in a little. Another simple fix.

Sleeves: I am going to take them off completely, trim them down, and put them back on. A little more complicated, but it’s going to be worth it. Then I’ll see about making a late 18th century chemise.

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I got to wear my new Goose Bay Workshops chatelaine to this event. I wore it with a large ivory notebook and a bodkin, also from Goose Bay Workshops, and a pair of scissors without a case … yeah, another upcoming project. They’re razor sharp and pointy so it was really kind of stupid to wear them without a case, but they’re so useful to have I just went with it. It was better carrying them on the chatelaine than throwing them in my pocket, which I have done before, and which was very stupid.

I also wore my new brass sleeve buttons with my chemise. I got those from Goose Bay Workshops as well. I have a pair in oval and octagonal, and though I love the octagonal ones, the ovals fit in the chemise buttonholes so that’s what I went with. They were really nice, much nicer than the old tape ties I had worn before. I want to see if I can get a pattern scratched or engraved into them, I just have to think of a design.

And yeah, I do work for Goose Bay Workshops. I’m the webmaster/helper extraordinaire. That would explain why I have so many of GBW’s items, and why the GBW table is behind me in the first picture. That being said, this blog isn’t the place for me to sell or advertise GBW items, and I won’t. I will be pointing out if I’m wearing a GBW piece, though, just as I’ll point out my Burnley & Trowbridge items, or the awesome, beautiful chatelaine I wore the second day of the Bedford show, made by the super talented David Hughes. Pictures to come. Eventually. You know me.


Eight Hours = Half A Gown!

I’ve begun work on my new linen gown. I’m making it out of a $5 linen tablecloth I picked up from Goodwill a while back. I had re-dyed it to get rid of the crazy neon watermelon color, and it turned out a sort of burgundy. After a lot of soul-searching (red is not an easy color to wear, when it’s a whole gown and I only have red shoes to go with it) I decided to go for it.

I’ve spoken with a self-taught expert in 18th century dyes, and I showed her a swatch of my burgundy linen. I asked her if this color was an easy thing to achieve with natural dyes, and she looked at me kind of funny, as if I had asked if we were living on Earth. So yeah, this color is something that would have been around. Whether it was commonly made into everyday clothing is another story – I still can’t answer that question.

This dress will be a 1780s everyday sort of thing. I’m making it in my super-simplified pattern, all handsewn with linen thread. I’m also timing myself for fun. Here’s what I got done in 8 hours.

* Everything got ironed (I think two hours went to this … oh the joys of ironing huge pieces of linen …)

* The mock-up is fitted. I actually made a real throwaway mock-up this time, but not intentionally. I meant to use some leftover white linen for my lining, but after I had cut my lining and tried it on, it fit horribly – so badly that I wouldn’t be able to reuse the linen. So I scrapped that (haha) and used my beautiful checked linen for the lining – not what I had wanted, but that fabric has such a nice feel, it made a perfect lining. Whatever.

* The exterior fabric pieces are all cut and most of them finished: sleeves are done but not set yet, and the front skirt is cut.

* The back pleats are laid and sewn down, and the back half of the skirt pleated to the body.

* Of course, I had to watch Scarlett O’Hara wear a dress made out of a curtain while I sewed a dress out of a tablecloth.

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My favorite part of sewing a gown. Before these pleats are laid, it looks like a jumble of scraps. After these are pleated and sewn, the dress is suddenly right there and I can almost see it finished. Also, these pleats have got to be the prettiest part of 18th century gowns. I love how they fall – so graceful. 

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Hideous lighting, photography, etc. … but hey look, half a dress. You can see my huge mistake of cutting the neckline too low in the back.

What I have left to do:

* set the sleeves and finish the cuff (that will take a few fittings, but only a few minutes of actual sewing)

*Attach the front skirt and hem/flat fell all that crap (I believe a Godfather marathon is planned for those hours)

* fix something for the back of the neckline – I cut it too low accidentally, and wasn’t planning on putting a very large binding there, but it looks like I will have to now. That will take some putzing.

In sewing this gown, I figured out a cool way to do sleeves. I’m not sure if it’s correct as far as 18th century gown construction goes, but it does save time and uses very little thread, two things that seem to factor into 18th century sewing. Here’s my method.

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Cut sleeve and lining together. Fold under and iron/press the cuff edges and one of the edges for the seam that will run up the inside of the arm. For this sleeve I turned under and pressed the right vertical edge.

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Tack the cuff edges, starting at the corner of the two turned-in edges (shown).

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Roll the sleeve up as it will be when finished, and sandwich the un-pressed edges in between the pressed ones. You can leave your needle on the thread used to tack the cuff, and sew this whole thing with one piece of thread.

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Sew up the inside of the arm with running stitches or a back stitch, catching each piece of lining and exterior fabric with one row of stitches. All the selvedges will be facing the same direction inside the sleeve.

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Well, my camera isn’t good in the low light I have, so you’ll have to take my word for it: here’s the semi- finished sleeve! The front of the cuff will get tacked up to shape the elbow later. Somehow these sleeves look too wide at the lower end. Going to tackle that issue later, I guess …

 

 

 

 

 


Kinda Excited …

I’ve been working a lot on my clothing collection lately. Not the collection of stuff I’m making; my collection of vintage/antique clothes. I’ve been cataloging every piece on my other WordPress blog, which I’m kinda sorta proud of … it’s got over 80 posts now! With a few notable exceptions, most of the women’s clothing I have in that collection isn’t really reproduce-able, like jeans and constructed purses.

But that’s going to change in a week or so. Coming up, I have two women’s dresses and a girl’s dress, all dating from between about 1900-late twenties. Yeah, excitement. I’ll be adding them to my blog with tons of pictures, patterns, and construction tips. Eventually I want to reproduce the two women’s dresses, which will be a lot of fun.

That, and I’ve decided to finally get to work on my new 18th century dress. I’m going to make it from some linen I bought a while back that I had to re-dye over it’s original rabid watermelon color. I have a deadline; early April – my next event, but I also want to see how quickly I can sew a dress by hand. I want to break my old record of two days.

That, and I’m thinking really hard about picking up a dress form so I can actually see some of this clothing worn, and (gasp!) maybe be able to drape dresses, finally!

So I’m going to go get my costume movies in line (I’ve gotta watch something while I sew!) and get to work!


A Caraco!

So it’s been a while … I feel like every blog I write starts off like that.

I recently went to the 18th Century Artisan’s Show in Lewisburg, PA. While it’s a sutler event that’s held in a hotel banquet hall, it’s one of my favorite events. The people are awesome, the things they make are absolutely superb, and the setting is really, really comfy. It’s just so luxurious to go to an event where they take orders and deliver food right to your table. Pretty sweet setup.

I made a quick linen caraco for the event. I eyeballed the pattern from Patterns of Fashion. I used some cheap pinkish linen for the outside, and the lining is made from INCREDIBLE thin, fine linen that’s so stiff you’d think it was starched – it’s not, I washed it multiple times. The stiffness of the lining made the caraco go together really nicely.

I put the caraco together by first sewing lining & outer pieces together, then by sewing each segment together. It saved a lot of thread and sewing time, but it was a little more difficult for me to do, without a dress form or anybody to help me fit the caraco. It was also a little difficult when I finally got the pieces together and found that it didn’t fit perfectly. When I’m sewing for myself with no dress form, I find it easier to make a linen lining, try that on, tweak it, and then complete the garment.

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The back came out oddly tight in places, but I love the sleeves. I made them a little puffier at the shoulder, like a 1770s/80s silk robe I saw in a book. I made the elbows straight and long, and then sewed a little linen band to loop them up with in the front – that was taken from a 1780s calico gown I saw somewhere online. Yay for good research …

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I did finally figure out how to keep the point at the center bottom of these bodices flat – the trick is boned stays. Before, when I’d wear a bodice cut like this, I’d sit down, my jumps would warp, and my bodice would fold up. With boned stays, it stays put, even if it’s loosely pinned, thin cloth, unboned … anything. Yay for figuring stuff out!

 


18th c. American Clothing Resources

Sometimes it’s difficult to find books that focus on American clothing from the 18th century, instead of France and England.  Here’s a list of my go-to research books that take a look at American clothing. It’s certainly not complete, but it’s the basis of most of my research.

The Mirror of Antiquity

The Mirror of Antiquity: American Women and the Classical Tradition

Caroline Winterer

Cornell University Press 2007

ISBN 978-0-8014-4163-9

An utterly fascinating in-depth look at how classical ideas and ideals shaped American dress and culture. Recommended for those looking for a deeper understanding of 18th century women’s clothing & early American culture. A detailed, well-researched book. It covers the 18th century and much of the 19th. Illustrated, B&W.

Fitting and Proper

Fitting & Proper: 18th Century Clothing from the Collection of the Chester County Historical Society

Sharon Ann Burnston

Scurlock Publishing Co., Texarkana TX1998

ISBN 1-880655-08-X

A basic book looking at a few great pieces of clothing from the Chester County Historical Society. Mainly Quaker pieces, these are well-documented and the author shows how they were created. Men’s and women’s clothing is included – the book covers basic pieces of clothing worn during the 18th century. Graphed patterns included, illustrated, B&W.

What Clothes Reveal

What Clothes Reveal: The Language of Clothing in Colonial and Federal America

Linda Baumgarten

The Colonial Williamsburg Foundation

Yale University Press, New Haven CT, 2002

ISBN 0-300-09580-5

An in-depth look at clothing and culture in America during the 18th century – this book looks into the answer to “why did they do/wear that?” Highly recommended as a place to start a deeper knowledge of American life in the 18th century. Detailed research, fun read – an enlightening book covering all aspects of clothing. Well illustrated in full color – you’ve got to get excited about that.

Costume Close-Up

Costume Close-Up: Clothing Construction and Pattern 1750-1790

Linda Baumgarten, John Watson, Florine Carr

The Colonial Williamsburg Foundation

Quite Specific Media Group LTD NY 1999

ISBN 0-89676-226-2

In essence, this book is a more detailed version of Fitting & Proper. A fascinating look at a handful of American clothes, showing how they were cut, put together, and how they aged over time. It’s great because it focuses on both men’s and women’s clothing. A good place to start costuming – this and Fitting & Proper are my go-to books for when I begin a piece of clothing, because they show the construction very well. Not a heavy read; many illustrations. Graphed patterns and color/B&W illustrations.

Tidings from the 18th Century

Tidings From the 18th Century

Beth Gilgun

Rebel Publishing Co., Texarkana, TX 1993

ISBN 1-880655-04-7

The most down-to-earth and practical costuming book that exists, to my knowledge. A fabulous book to begin re-enacting with. It covers more than clothing, too – the biggest themes of living history and re-enacting are included. An easy, fun read – many of the chapters are in letter format, like an 18th century novel. Some patterns, well illustrated, B&W.

Cloth and Costume

Cloth and Costume 1750 to 1800, Cumberland County, PA

Tandy and Charles Hersh

The Cumberland County Historical Society 1995

ISBN 0-9638923-2-0

I haven’t finished reading this book, but it looks pretty good so far. The biggest drawback are the pictures – the printing and photography are very poor in some instances. The book covers both clothing and its production in Cumberland County PA. Illustrated, B&W.

Have I missed any great reads you know of? Comment below and I’ll add them to my list!


A New Pair of Stays for Market Fair

Well, I wasn’t able to sew a whole bunch of things for the Market Fair on November 2, but I was able to squeeze out two wearable items. First, I made a new set of pockets which I’m pleased with.

New pockets made in linen diaper weave. The cloth was trimmed from a waistcoat that was updated from c. 1720 to c. 1760.

New pockets made in linen diaper weave. The cloth was trimmed from a waistcoat that was updated from c. 1720 to c. 1760.

I also started on a huge undertaking that I’ve been dreaming of for years – a new pair of stays, handsewn with metal (not plastic!!!) boning. I’ve always wanted pink stays, so I scraped together all the leftover bits from the frump dress / pinner apron project and got peachy-colored ones.

Close enough.

I only had two short sleeves and a bit of the bodice of the dress left, so I pieced the crap out of it and I actually finished the stays with that tiny amount of cloth. Here’s the pieciest piece:

This was half a day's careful work. I have about an ounce of scrap cloth left from this project, and it's all thready bits trimmed off the edges.

This was half a day’s careful work – ten pieced of scraps to form one pattern piece. I have about an ounce of scrap cloth left from this project, and it’s all thready bits trimmed off the edges. Everything else was used.

These are my old corded jumps that I based my new stays on.

I based the stays on two American originals from the 1740s-60s. I found that stays from this time are differentiated from earlier and later ones by two factors: the height of the stays in the front (higher than later stays, lower than earlier ones) and that most of the boning is more vertical than later, angled boning.

All the pieces in line, before all of them were boned.

All the pieces in line, before all of them were boned. I eventually shaped the top line differently.

The front four pieces from the inside, sewn together. I meant to make the front lace up originally, but I threw that idea out - too many eyelets.

The front four pieces from the inside, sewn together. I meant to make the front lace up originally, but I threw that idea out – too many eyelets.

The progress on my stays had to be interrupted because of work, so on the day before the Market Fair, they were in three pieces and none of the edges were bound. They also needed to be re-fitted because I had forgotten that those old corded stays stretched when I laced them up, and fresh new metal-boned stays weren’t going to stretch all that much. So I worked all day, and got enough done to wear them. I wasn’t able to bind the entire lower part of them, but I did get the upper edges done, and the eyelets in, and the whole thing pretty much fitted. The lining had to wait.

The stays from the front - the upper chest fits a little funny, but otherwise they are so much more comfortable than my corded jumps.

The stays from the front – the upper chest fits a little funny, but otherwise they are so much more comfortable than my corded jumps. It’s because of the tabs on the bottom – no more bones digging into my waist, yay! That being said, these stays don’t give me a lot of waist anyway. I’m kind of tubular.

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The side. I see now that the boning directly under my arm is too vertical; it makes the waist of the stays stand out from the body. Lessons for next time.

Final analysis: I’m not as pleased with the stays as I thought I would be. They still fit a little funny around the upper bust and waist. I think it’s because of the direction of the boning, and because they come up a little higher in the front than I’m used to. I’ll take a closer look at that later.

In the end, I went to the Market Fair with some stuff to demonstrate with, and I was able to dress two of my sisters, myself and my dad. It was a perfect sunny fall day. I had a table full of repro clothing and my sewing kit out, and I worked on a new stomacher for an early gown that I haven’t made yet (…). I spoke about what people wore, how clothes were made, who made them, and the issues facing re-enactors and living historians in reproducing 18th century clothes. I scared a bunch of little boys when I taught them that 18th century boys their age wore gowns like girls. I met some great people who were doing wonderful work creating their own clothing. I had such a good time that I forgot to get a picture of my table or any of us! Oh well, next time. : D


Market Fair Preparations

With an event (the Market Fair in Dover, DE) in early November coming up, I’m under the gun. I need to clothe 2-4 people c.1770 from my meager stash of costuming, and I need extra clothes to display and to demonstrate with. So now comes the big push: I need to finish *all* my sewing projects and complete a handful of new ones within three weeks.

First up was reworking a checked linen shirt for my dad. I had made the collar too small when I finished the shirt. Instead of making a whole new collar (which would mean I’d have to sew another buttonhole … I hate buttonholes … ) I took the collar off, cut it in half, and added a piece to the center back.

Widening a shirt collar. I took it off and cut it in half, then added a strip down the back & re-attached it.

Widening the shirt collar: the original cut in half, and the addition about to be added. Also the iProduct playing Mozart – you’ve gotta have that atmosphere.

The finished shirt, with the collar and back of the body both pieced. If I had been more careful, I could have lined the checks up and made the seams almost invisible.

The finished shirt, with the collar and back of the body both pieced. If I had been more careful, I could have lined the checks up and made the seams almost invisible. More on me and my accuracy in sewing later.

Except for the button rings, this shirt is 100% linen, and 100% handmade. It feels sooooo good.

Except for the button rings, this shirt is 100% linen, and it’s 100% hand sewn. It feels sooooo good. And looks sooooo bad all wrinkled and droopy.

My second project was for myself. I have needed a muff for a while because my hands get cold easily, so I made one from a leftover bit of wool from my red wool cloak. I also made a cover for it, to make it a little more versatile. It was a nice project because it wasn’t difficult sewing, and it took only an hour to get the actual muff done. The cover took a little longer.

The muff, with the cotton and silk cover on. It'll look better in context. I hope.

The muff, with the chintz and silk cover on. It’ll look better in context. I hope. And yeah, I know how to sew a straight line, I was just making this up as I went / too lazy / not caffeinated enough to do it.

So what’s next? I have a mental list of things I want to make, but I’m not sure how many I will be able to actually finish. I’d love to make a small child’s set of clothes, with a pudding cap and stays, to demonstrate with. I really need to get a few more petticoats, short gowns or jackets, chemises and shoes (eek!) made. A pair of stays or jumps to demonstrate with would really make me happy, but I probably won’t be able to do that in time. We’ll see how much I am able to do before the end of the month!