atherleisure: (reader)
This ended up seeming to be a year of little pieces more than full garments, though I did make costumes from the skin out for the 1690's and 1910's. I did a lot of knitting this year. One of my goals for the year was to do better with my hair for events, and I think I succeeded. There were some hairdos that I was very proud of. I got to go to a lot of events in different periods and had some opportunities to wear things that I had never really gotten to wear. One of the best parts was getting to meet a couple of LJ friends in real life in July.

I finally made the Le Baiser dress I had been planning for years.
Le Baiser

The rest is behind the cut: )
atherleisure: (reader)
My stays are finished, and my husband took pictures today. They didn't come out with the greatest resolution, and I don't know why. Also the shift sleeves kind of block the view. I'm going to see if I can get Jen to take better pictures in November because I'm quite proud of my stays.

Late17th Early 18th Century Stays - Front

Late17th Early 18th Century Stays - Back

Late17th Early 18th Century Stays - Side

They're based on the c. 1680 stays in Corsets and Crinolines. I took about an inch out of the side pieces and shortened them at the back waist by about half an inch. I also adjusted the angle of the straps so that they would come over the shoulder instead of around the shoulder. That left a 2"-3" spring at the back.

The interior is made of two layers of cotton drill with machined boning channels 3/16" wide except for the center back which has wider channels. It's boned with 3mm flat oval reed except at the center back where I cut down 1/2" flat oval reed to fit the channels. The seam allowances are turned to the back and whipped down before the pieces are whipped together with fine whip-stitching. Then the back pieces were covered with silk brocade and the eyelets made. Then I covered the tabs before covering the front and sides. On the large pieces, I made sure to keep the stays well curved while pinning the brocade to allow a little extra fabric to account for not being under tension. The reed was nice because I could prick stitch through the bones and follow the edges of the fabric, even if they didn't end up exactly along the interior seam lines. The straps were the last thing covered with brocade. Then I lined the tabs individually with muslin with a fairly fine whip stitch. Finally, I lined the center front, sides, and straps to finish off the project.

The straight front is achieved with a wooden busk between the shift and stays. I need to make another one specifically for this because the 1820's one I've been using is a little wide and a little long. I want to curve this one a little so it will rest more against my breastbone and will look more like the ones in Seventeenth Century Women's Dress Patterns. I also need to let out the shift neckline since it doesn't look quite like I intended it to. I'm going to make the mantua first, though, so I can see how it looks with that.

The stays have taken awhile, but I'm really happy with them.
atherleisure: (reader)
I finished covering my stays!

Late 17th Century Stays

The wrinkles in the brocade disappear for the most part when the stays are on the body (as shown in a recent post).

Late 17th Century Stays - inside unlined

Next is lining them. My goal for tonight is to finish half of the tabs.
atherleisure: (reader)
I think I need a to-do list for all the projects that are scattered around here. There are far more UFO's than there probably should be.

1. 1690’s stays: Finish covering, make eyelets for straps, cut and sew in lining
2. 1830’s plain petticoat: Prep waistband and set waist
3. 1830’s tucked petticoat: Prep waistband, finish tucks (4 down/5 to go), and set waist
4. 1610’s petticoat: Reset waist
5. 1950’s turquoise dress: Shorten hem by 9”
6. 18th century cap: Everything – listed more to remember that it’s there than anything else
7. 1860 rigolette: Make 127 ½” pom-pons
8. 1912 vest: Order yarn and finish, but I’m still ignoring it because I’m not ready to order any other yarn at present and refuse to order the yarn and pay shipping for one ball of yarn
9. Pineapple bag: Just keep knitting
10. 1892 Zouave: Cast on so I can have some blind knitting for when I'm reading

Yesterday I tore apart the Tiana dress I made for my daughter a few years ago. I'm saving the other princess costumes (except the first Sleeping Beauty dress that wore out), but they never liked playing with this one because it was a really heavy dress.

S2330 - Tiana

I've always liked the gold sateen in the dress, though, so I tore the dress apart to rescue it. It's earmarked for the outer layer of a two-layer corset whenever I make another Victorian/Edwardian corset. I suppose I should be proud of myself; I also took the trim from a ridiculously heavy corset cover I made in college and recycled it for my 1918 combinations this spring.

Unbound

Aug. 15th, 2016 01:26 pm
atherleisure: (reader)
I've been looking at my inspiration stays, and I don't see any binding.



I really do think this is a set of stays rather than a boned bodice due to the straps. The picture doesn't zoom all that far, but I don't see any signs of binding. It looks like the silk is wrapped around to the back and the lining turned under and whipped down along the edges. It sounds like that's the way they did the reproduction described here. There's no mention of binding, but everything else is mentioned.

Binding was used on the stays in 17th Century Women's Dress Patterns, but I guess it wasn't used on the Plymouth ones or these in the Met. I know it would make them sturdier and longer-lasting, but honestly, how much am I going to wear a pair of late 17th century or early 18th century stays?

Suddenly, my stays are much closer to completion than I had expected!

Two Points

Aug. 13th, 2016 08:50 am
atherleisure: (reader)
1. Pushing the busk from the 1820's stays between the 1690's stays and my smock solved my center front boning problem. It's almost exactly the right length too so I might not need to get/make a new busk.

2. I assembled my knitted rigolette from an 1860 pattern except for the pom-poms. I'm calling it 60% complete because there are a lot of pom-poms. I'm having trouble getting excited about making about 150 pom-poms. That's a lot of pom-poms.

1860 Rigolette verify velvet balls

1860 Rigolette before velvet balls
atherleisure: (reader)
I finished the eyelets in my stays so I was able to try them on.




The fit seems to be pretty good, but I think I may need to strengthen the boning in the center front a bit. The 3mm reed is very flexible, and I think I might need to put a couple of 1/2" pieces right at the center front. (Yes, the mixing of units is obnoxious, but that's how it was sold so it's how I think of it.)

I only cut half the tabs for the try-on, but I'll do the others now that I know they fit and can start covering tabs.
atherleisure: (reader)
I think I might need a pair of these knitted 17th century garters.



Of course, patterning them will be a bear. I wish I could zoom in a bit more, but it looks like they must be knit in the round with the pattern on both sides because both side look like the right side of stockinette, and there are no floating threads on the back side.

[livejournal.com profile] reine_de_coudre, [livejournal.com profile] isiswardrobe, do you know whether these are specifically men's garters, or would they be okay for a woman?
atherleisure: (reader)
My late 17th century smock or shift (I'm not sure when the terminology shifted - pun intended!) is finished. It's all hand-sewn and somewhat speculative since I couldn't really find any extant examples in my searches. Perhaps I didn't search long enough, but I don't care at this point because it's done!

It's hand-sewn from a lightweight linen-cotton blend and is sort of a cross between a Portuguese smock in Patterns of Fashion 4 and the 1750's smock pattern on Sharon Burnston's shift research pages with a big ruffle added to the neckline.

I might get good pictures of it on me once I finish the stays, but it just looked ridiculous when I tried it on. I may end up cutting down the neck ruffle a bit if garments over it don't squash it down a bit.

The neckline is big enough for me to wear it off the shoulder for c. 1660's dresses...

Late 17th Century Smock - Off-the-shoulder for 1660's

More pictures... )

It was satisfying, but I'm glad I'm finished with it and onto the stays.

Speaking of stays, they progress.

1690's stays progress - 8/4/16
atherleisure: (reader)
My turn-of-the-18th-century smock/shift is approaching completion.

Smock Progress - 7/26/16

The neck ruffle is pieced and hemmed and gathered. The neck band and facing are pieced. I just have to attach the ruffle to the neckband, gather the body, attach it to the neckband, and attach the neckband facing. I'm pretty pleased with it and with how it's coming.

I also started a couple of 1830's petticoats, though they've only had the main seams sewn and the hems pressed up. I wanted something that would move quickly, and running up those seams on the machine hardly took any time at all. Besides, when you're in the mood to work on underwear, you should seize the opportunity! How often does that happen? Two petticoats should be all I need to finish my 1830's underwear, which is definitely worth a little happy dance.

There hasn't been a lot of knitting lately, but I did take a picture of a section of the front piece of my 1860 rigolette, or winter headdress, after I blocked it. I think it's quite pretty.

1860 Knit Rigolette Front Band

I also took a picture of the fichu I made for the Jane Austen Festival since I forgot to take a picture of it on me at the festival itself. (I'm hopeless, am I not?) Sorry about all the creases; I was not interested in ironing it just to take a picture before folding it right back up into the box.

Fichu/Neck Handkerchief

I still have to report on our excursion to Jamestown, but I'm going to wait until after all of the CoCo hullaballoo has passed. I hope [livejournal.com profile] starlightmasque will be as kind as she was last year and post frequent pictures to keep those of us who cannot attend involved. It was really great seeing all those pictures last year.
atherleisure: (reader)
I clearly did too much boning on my stays on Saturday because my fingers were still a bit sore on Sunday. I did a little more boning but left it to start on the shift. I didn't manage to find any extant shifts from c. 1700 so I'm going with something that's a cross between the 1752 shift in Sharon Ann Burnston's article on shifts, the various shifts in Patterns of Fashion 4, and what [livejournal.com profile] the_aristocat did for her 1660's shift.

Then there will be big ruffles around the neck and sleeves like in the paintings because I did manage to find paintings that show the shift, and while they're not exactly standard dress, they make sense with the necks of the shifts shown with some of the early 18th century simple satin gowns in other paintings, including some of those in the shifts article.

I cut all of it except for part of the neck ruffle and had very little scrap - 4 pieces of scrap: 3/4"x11", 3/4"x11", 3/4"x4", and 1/4"x11". Most of those are where I wanted to cut the fuzzy selvedge off rather than incorporate it into the sleeve bands. I'll be able to take the rest of the neck ruffle off of the yard of fabric I've got left, but I want to get it mostly sewn together before I do that.

Since I finished cutting it out while the whole family was watching Mary Poppins together, I started hand-sewing it together. I really hadn't meant to be hand-sewing it, but I'm pleased with how it's looking, including tiny (for me) flat-felled seams so I might keep it up. I have until November to finish the stays, shift, petticoat, dress, and cap so there should be time, right?

1690-1710 Shift Sleeve Progress

I started with a sleeve using the theory that if I run out of interest in hand-sewing this, it will be better to have the sleeves hand-done since they'll be visible while the body gores won't be.

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