Monday, September 8, 2008

18th century trim: Rosettes

A rosette is a strip of fabric or ribbon gathered or pleated into a round shape. It can be single or layered with other rosettes or trims, like beads, lace, silk flowers, jewels, etc. Rosettes were accessories that could be worn on almost any garment.

There are several kinds of rosettes, and a lot of them were used on 18th century clothes, hats and shoes. You can see one on a French Revolution hat here, I think it's ribbon, but it could be a metal medallion made to look like a rosette.

You can use ribbons, lace or fabric strips to make these. Ribbons work the best, and striped grosgrain ribbon works the best of all. In fact, any striped material will totally rock with this trim.

The first type is a round fabric rosette. Cut a length of fabric (the wider the strip, the longer you will need). I used about 10" of fabric to make a 3" rosette (1.5" strip). You need to have enough fabric to go around the outside of the circle without curling in, and enough to turn over at the ends. You will need more if you want a frillier rosette.

Finish the ends of your strip however you want, I rolled a small hem for this one.

Depending on the material, you can do one of 2 things.

1. Tie your thread at one end, make a running stitch along the "inside" edge, then pull the thread tight. The fabric or ribbon will make a nice neat circle and you can stitch the center closed from the bottom. Leave the ends of the thread if you are going to sew it onto a garment, cut them if you are attaching it to a pin or clip.
This works well for lightweight fabric or ribbon.

2. Anchor your thread at one end, make a very small pleat and overcast stitch it in place. Make the next pleat with a slight curve toward the center. Stitch in place again. Repeat. You may have to make several stitches to keep the pleats in place, but don't panic if they slip around a bit.
This works well for thicker fabrics or large rosettes. You will have to finish the inside with a button hole stitch, or put a smaller rosette (or bead) on top to cover the hole.

The next kind is a folded ribbon rosette, which I'm too tired to make tonight, but you can see a great video of it here. She's a bit sloppy, (because it's modern), but the first one she makes is one of the more commonly worn types of the 18th century. If your edges and folds are a bit neater, it's perfect. The cut bit she gets into is more along the lines of silk flowers rather than true rosettes, and is more 19th century than 18th.

18th century trim: Chain Puffs

I'm sure there is a correct name for these things, but I haven't come across it, so I'm calling them Chain Puffs. This is a really nice trim, it's easy and takes a lot less fabric than ruffles or ruching. It was very common on gowns and petticoats in the 18th century.

It can be cut on the straight or the bias, but I think straight is easier.

Step 1: Cut or rip fabric strips. These can be self-fabric or a contrasting fabric. Lightweight fabric (silk, taffeta, cotton, etc.) works well and 3" is a good width to start with. You can use heavier fabrics, but plan on covering the ends with something else... like a rosette!
Step 2: Sew all strips together (see comment on Ruching post)
Step 3: Sew strips into a tube and turn. DO NOT press. Leave it puffy. If you use sheer fabric, you can stuff the tube with a smaller tube at this point.
Step 4: measure & mark the intervals you want the puffs to be. I marked every 2" on this garment and it looks great. You could do shorter with lighter fabric, or longer if you used a wider tube.
Step 5: Gather the fabric into a W shape by pinching up the center then pulling up the edges at your marks. Make a small stitch in the center or at the bottom. Do not overcast onto the top side, you don't want your stitches to show. Tie your thread off and repeat until you've pinched the length of the tube. At this point your puffs will be a bit sloppy, don't panic you'll finish them later. Bury the ends of your threads or cut them very short.
Step 6: Arrange the chain on your garment and pin each puff. Don't stretch them sideways too far or they will pull on the fabric. Make sure there is a little give length-wise so there is room for more "puff".
Step 7: Cut a comfortable length of hand-stitching thread and stitch the ends under the first puff or plan on covering the raw edge.
Tack each side down and then tighten the pinch with several passes through the center near the top of the pinch. Tack the pinch to the garment.
Try to keep your stitches small, and make sure you don't pull too tight. Keep the threads between the fabric & lining, or inside the puffs so it doesn't show. Keep your stitches small and hidden. The blue line shows the easiest thread path.
Step 8: Tuck the raw end under the last puff or cover it with another bit of trim.

Here's a close-up of the finished chain puffs.
Sorry it's dark, I'm on my husband's computer and he doesn't have an image-editing program.

This chain was made with a heavy cotton, and is very heavy. It's the look I wanted, but I won't be using something that thick again. You could actually iron these things and they wouldn't flatten much.

Use lightweight fabric if you decide to do this.

18th century trim: Ruching

I've looked for a nice site that tells how to make trim for 18th century garments, but the closest thing to helpful that I've found are sites on modern ribbon crafts or quilt applique.

The first trim I want to show is Ruching.
This is a ribbon or fabric strip that is gathered and stitched down.
The most common place this was seen in the 18th century was on Sack-back gowns or Brunswicks like this one.

This is Lady Mary Fox, and I want this Brunswick... without the dog.

If you are using self-fabric, (the same fabric the dress is mad out of), which was the most common thing to do in the 18th century, you have to decide if you are cutting on the bias or the straight grain. Each looks different, so try it out and see what you like. (If you are doing lots of curves, cut on the bias). This takes up quite a bit of fabric, so plan on buying at least 2 yds for trim.
Sew all your strips together end to end... make sure all your seams are on the same side.
Next you need to finish the edges. Sometimes it was turned over, pinked, or a decorative stitch was added. I've seen some paintings where it looks like there is separate trim of the same color. This could be dyed lace, or a crocheted edge... I'm not sure.

There are many variations in the stitch, here are 2 basics.
The first is a straight running stitch that is gathered. Make sure to gather and then backstitch every 10 stitches if you are using one thread.
You can do 2 running stitches side-by-side and gather the material all at once.
Modern sewing machines do a great job if you are making doll clothes, costumes or are in a rush.
To make even gathers, measure every 3" and gather into 1", or something like that.

There is no substitute for hand stitching historic garments.

The next looks best on finished edges, wide trim 3" or more, or ribbon. It doesn't work well with pinked edges... which I'm using anyway.

Mark your trim at even intervals. Sew a running stitch from point to point, looping over the edges. Pull the thread straight and you get a squiggly looking ruche.

A nice variation is a curved line rather than a triangle, it's very historic.


These are the 2 finished ruching styles. They can be edged, stitched down once or several times, paired with beads, lace, other trims, etc. Just look at some paintings or historic garments.

The fabric I used here was cut on the bias and is a very narrow scrap, about 3/4". Use wider stuff unless you are making doll clothes or sleeve trim.

A nice combination is stitched pleats with ruched edges. This was done by sewing gathering stitches on the straight fabric, stitching down the pleated center and then pulling the threads tight on the outside. You can see this in several sack back gowns from the mid 1700's.

Here is a doll dress I made as a test garment for a sack-back gown from one of Diderot's illustrations. This was more to figure out the lining than anything else, but it's a nice doll dress... to bad I still have to make the doll to go with it. The ruching isn't perfect, but it's a nice example.

I will eventually make a sack-back gown for myself and it will have loads of ruching on the gown and the petticoat. First I need paniers and fabric... then I need some serious time.

Why, oh why do I want a dress that will make my hips look even bigger???

Thursday, April 17, 2008

How to make a wedding dress in one week.






I have been painfully reminded why weddings take so long to plan and why the dresses cost so bloody much. It's because they are expensive (materials) and labor intensive.

The back-story...
I made a tailcoat for this gentleman, and he loved it. He'd told me it was for a wedding in early April, but he didn't say it was his wedding. Good man to lie and give me a date a few weeks ahead of time. Good job! (no, I mean this, ALWAYS lie to your clothing suppliers and tell them the date is sooner than it really is... So then he e-mails me back and says "help! my fiance's dress isn't done and the woman we ordered it from has stopped calling!" I told him to contact the woman and tell her to call you back and let you know if the dress will be there, or if you have to make other arrangements.
A whole week went by and I heard nothing back. Then the fiance e-mails me HELP!

So that's how I came to make a wedding dress in 7 days.
The process normally goes something like this:
Customer orders. I find an historic pattern and whip up a test garment in their size (or mine just to see if it works). I try it on someone of approximately the same size and then make any necessary adjustments. I get fabric, wash, iron, etc. Cut pattern, Sew. Take photos, send off and hope it fits. If it's really complex, (like a wedding dress) I make a sloper and send it to them to make sure I've got the right shape.

This is how THIS dress went:
Day 1 (I've got the flu)
I got a frantic e-mail... didn't hear back... started looking for patterns anyway.
Found 3 great patterns.
Got the e-mail without payment or measurement information (which means no actual order).

Day 2 Start 3:00 pm

Started tracing out the pattern anyway in the original size.
Got the e-mail with payment and measurement information, get phone call with specific info.
Re-sized the pattern and made design changes.
Cut & sewed a test garment, re-cut & sewed a test garment that would fit a human.
Checked measurements and made notes.
End11:20 pm

Day 3 Start 6:40 am
Made new test garment & figured out mechanics of bodice.
Went shopping for fabric ($ from credit hadn't come through yet... Mom paid for it)
Cut "actual" bodice & sewed together
IT DOESNT FIT!!!
End 3:20 am

Day 4 Start 7:20 am

Re-fit pattern, cut new bodice.
Cut skirt, sew.
NO GO, IT DOESN'T FIT!!!!!! AARGH!
Re-work pattern again.
Re-cut (praying I've got enough fabric)
Re-sew.
FITS!!!
End 9:00 pm

Day 5 Start 7:50 am
Sew skirt, it fits!
Cut overskirt (lace)
Sew that.
LUNCH & shopping for odds & ends.
Sew bodice
Sew sleeves
End 11:00 pm

Day 6 Start 7:30 am
Pin everything together
Re-vamp sleeves.
Sew together.
arrange skirts,
pin, sew, attach.
Hand stitch trim on neckline
finish hooks & eyes at back.
Take pictures, mail the sucker (not 100% finished... but wearable)
End 8:15 pm

Day 7 Start 1:00 pm
Make bow & lower detachable sleeves
Send
End 4:45 pm.

This whole thing cost her $500 + $100 shipping. Holy Cow! I really hope this fits her.

Saturday, April 5, 2008

Blue Cotehardie


Here is the finished blue linen cotehardie. It's been done for quite some time, but today I got good pictures. The chemise is a 1500's version, and not for this dress. However, when modeling for paintings, historic accuracy often takes a backseat to artistic license. Note the relatively modern spinning wheel and fully modern blinds. I think my coffee cup is in the window sill.

I'm very pleased with this series of photos, and just wish I'd been able to wear the right chemise (see the previous entry on the 1400's cotehardie for the inspiration painting) and my veil. I may re-do the photos for my online gallery, but these will do for now.

This modeling session made me very interested in the process of spinning. After holding that small hank of wool for so many hours, I can see how it would be a meditative past time. It had a very pleasant pull and felt smooth. I think I would really enjoy spinning. This may be something I will look into in the future.

As of right now, I'd like to replace the machine stitched button holes with hand-stitched holes and the commercial ribbon with a 4 strand cord. I'm working on a fairly big order at the moment, getting ready for an event in May and making more test garments, so I really don't have time for these alterations. I may or may not get to them before summer.

I love this dress. It's comfortable, pretty and has a divine power to resist stains of all kinds (including coffee and oil paint). It's not quite as long as an historic gown, the back just touches the ground, but in these modern germ-infested times, who wants to drag your train through the mud? I may add a white linen boarder for length... if I do I will replace the gold edging with white... and drag that through the mud...

Tuesday, March 11, 2008

An analogy for emotional... baggage


About 10 years ago, one of my friends was having trouble letting go of emotional baggage. Someone would say or do something that hurt her and she would carry it around, mull it over, let it pace around inside her head until it practically drove her mad.

Another friend provided this extended analogy for her situation. I though he was very wise. (this is my dad's dog Punky, btw)

A man has a dog, and he loves his dog. They go to the park and play fetch, they go for long walks in the morning and afternoon. They sit together by the fireplace at night while the man reads and the dog enjoys his bone.
As with all living things, the dog eats, sleeps and, well... poops.
The man has several choices available to him post-poop.
He can
A. Pick up the poop and throw it in the trash (or flush it).
B. Leave the poop.
or
C. Put it in a paper bag and leave it on his neighbor's doorstep (perhaps even light it on fire), then ring the door bell and run away to hide behind some bushes to watch the outcome with glee.

The responsible, kind person A will pick up the poop and throw it out so that no one steps in it, or has to step around it, or smell it, or look at it. This is the attitude of "poop happens, clean it up." A is the type of person who simply deals with life as it comes and doesn't sweat the small stuff. After all, he has this wonderful dog as his friend, so what if there is the occasional mess that must be taken care of? It's all part of being a pet person.

Option B is the lazy thing to do. B doesn't have to plan ahead by bringing a plastic bag when he walks the dog, and once the dog does it's business, he moves on. The poop is behind him, and he has forgotten about it. Most importantly, he don't have to carry icky-poo anywhere!
Occasionally someone will step in the poop, and if B sees it he will laugh. Or more rarely and even more ironically, he himself may step in week-old poop and become angry that no one has cleaned up this awful mess, and now look what's happened!
B is the type of person who doesn't realize that his actions affect others, or himself. He do not understand that there won't always be someone else to pick up his mess, or that poop can hurt those around him. He is carefree, and often careless. He blames others for his shortcomings, and offers half-hearted apologies when he gets caught. He isn't mean; he simply doesn't care.

Option C is the one few people take, but everyone thinks about every once in a while. C is usually a kid playing jokes, not thinking about the consequences of his actions, not translating his joy in the joke to the other person's horror at finding a flaming bag of dog poop on their doorstep. Of course, C can be any age, and doesn't necessarily need to light the bag on fire to get a giggle out of it. Usually just the look on the unsuspecting victim's face is enough for him to get his jollies. What it comes down to, is that C is just plain mean. He takes joy in the discomfort of others and doesn't give a thought to anyone but himself. He probably don't even feed the dog... he only want the fun stuff!

Now, dear readers, let's look at this from the neighbor's point of view.

The neighbor of person A will most likely come out and have nice chats with A, they may even visit for coffee in the mornings and have pool parties in the summertime. They will think of person A with respect and fondness, and occasionally marvel at A's ability to deal so gracefully with poop when it happens. They never need to worry about stepping in A's dog's poo.

The neighbor of person B knows to watch out for dog-bombs along the sidewalk. They know to 'tread carefully' when walking the same paths, and they may say hello, but never get into deep conversations for fear of being associated with B, who leaves dog poo on the sidewalk. They may occasionally forget to be cautious and end up stepping in what was left behind. Neighbor B, now has 3 options.
1. They can scrape off the poo on the grass and wash the rest off with a garden hose.
2. They can curse and throw away the poo-smeared shoes.
3. They can bemoan the fate that has befallen them and walk around life wearing shoes with dog poop on them.

The neighbor of C learns to be cautious. They build a fence with a locked gate, or put the house up for sale and move to a safer community. They always check the ground before walking out the door, and they never, EVER let their guard down. They live in a constant state of anxiety about what terrible dog-poop thing will happen next...


Now, my friend was the 'neighbor' of 'dog-owner C.' She was always on her guard against certain people, and eventually against everyone. She expected to be hurt, so even when A was being responsible, she was offended at the his interaction with the poop, and eventually mad at the dog for producing it, then mad at A for having a dog that made poop!

Now, if you are neighbor C, and someone leaves a steaming(or smoking) bag of dog poop on your front porch, what are you going to do?
Well, anyone's first reaction is going to be EEEEEEWWWWW!
Then you will likely put the fire out. (As I recall, the point of the joke is to watch the person stomp on the bag only to get dog poop on their shoes)...
You know this is an all-around bad situation and that someone is being blatantly mean. So what do you do after putting out the fire? Do you wash off your shoes, throw them out, or walk around covered in dog poo all day?

What wold you do if someone left a pretty paper bag on your porch?
You could leave it there, call the bomb squad, or pick it up and open it...
I'd open it.
Then you find there is dog poop under your nose. Ick. So now what?
You can throw it away,
Give it to another neighbor (or leave it for your spouse to find)
or carry it around with you forever... after all, it was a gift that came in a pretty paper bag!

No matter how C delivered the "gift," it's still dog poop! Blatant or sneaky, it's still a mean joke!

No one wants to carry around a steaming, then cold, then old bag of dog poop, so why, oh why do we carry around these emotional burdens of past events that are done and over, and really just a part of life that should be tossed? Why re-open that bag to look at the same poop? It's just older poop! It's not going to change. Dog poop isn't going to get nicer with time!

Just throw it away. Enjoy the dog, if you can't deal with poop, give the dog away.

Wednesday, March 5, 2008

Regency Tailcoats

I've been getting a lot of orders for Regency Tailcoats lately. By a lot I mean 3. There are a few Jean Austin Balls coming up, and the guys are getting ready. I now have 2 gray coats in stock. One is double breasted, the other single breasted. Both are quite pretty ($200 if anyone is interested). This picture is of my husband reluctantly modeling the single breasted tailcoat, (unfinished in the photo), over his jeans and t-shirt. I must say, it suits him much better than a sweatshirt. This coat is a little big for him, but fits me quite well. I look great in a tailcoat and 1812 stand-up collar!

I got the pattern from The Cut of Men's Clothes, a truly wonderful book and a good investment for anyone interested in costuming. (I'm saving for Cut of Women's Clothes, and Corsets & Crinolines). Most of these patterns require an extensive knowledge of period tailoring, modern sewing and pattern-making experience. I started by blowing up the pattern as-is, then adjusted it to fit my customers. None of the drawings include seam allowances, so if you work from them, be sure to add 1/2" allowances (much easier to calculate than 5/8"). If I thought in metric it'd be even easier.

I like to draw all of my patterns free-hand and check everything with a ruler and measure tape many times. I also use grids and plum lines. The T-square is my friend! Someone suggested that I pick up one of those curve-makers at JoAnn's, but I've found them difficult to use, and for me it's easier to just re-draw a curve by hand. There have been a few garments that I've made miniatures of, just to understand the proper assembly and finishing techniques. Doing this saves fabric and prevents nasty surprises (like, the directions didn't mention the gown had a bodice lining that is totally different from the outside!)

One thing I noticed is that most of the CoMC patterns are quite small. At first I thought the tailcoat was for a child or very young man, but then I looked at the back-waist measurement (17") and realized that the person was actually a little taller than my petite 5'2". They were just very, very narrow. In the last 200 years Americans have gained a lot of weight! Our shoulders and chest have gotten broader, we have grown taller (my great grandmother was 4'10 and only a little under average), and we have gotten much bigger around.
This is a generalization, of course, one of my many-great grandfathers was over 7' tall, he may have been a giant.

The small waist could be explained by a men's corset, but I don't think the person who wore this coat needed any help in that department. Corsets were commonly worn by men in the Regency and Victorian eras, and helped give them that wasp-waist / pigeon-breast look that was so popular for both genders. Puffed sleeves made shoulders look wider without adding bulk to the midsection.

You can see in the cartoon how a good deal of the body was artifice and clever engineering. One of my friends who also makes historic clothes made calf pads for a guy who did 1720's reenacting. He had very small legs and wanted calf muscles to look good in his stockings!

After making several of these tailcoats, I know doesn't have to be as complicated as the cartoon portrays. The coat is tight at the waist, then flairs at the hips and chest, making the waist look smaller, no matter what size it really is. The collar is heavily stiffened (I use a heavy wool with a fusible interfacing), and the chest is padded with the same material. The stiffness of the front and collar make it stand out from the body, making those areas look even bigger (instant pigeon-breast without a corset!).

In addition to the clever cut of the coat, the shirt has a wide stand-up collar, the cravat adds considerable bulk, and the waistcoat adds quite a bit of poof & foof to the whole look, while keeping it very 'clean'. You can see the white-on-white look was quite popular. I love the combination of royal blue and warm brown. Very striking. This particular gentlemen (Nicolas -Pierre Tiolier, 1817) is not nearly as romance-novel-worthy as another gent in similar clothes, but alas, his painting doesn't show the clothes as well.

As to the shirt, I've been using another CoMC pattern, the 1700-1810 shirt, with very wide cuffs, no ruffles, and a collar from Tailor's Guide (I turned the Highlander collar upside-down for a perfect 1812 collar). I could also use a very wide rectangular collar and get a similar effect, but I got a kick of turning theirs upside-down. For this last customer, I added a straight button placket to the front instead of leaving it open. I didn't think he would appreciate having an open chest, and I have found one example of an 1812 shirt with a 2 button closure. Unfortunately, painters didn't revel in painting men in their shirtsleeves like they did women in their chemises...