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Wednesday, 22 May 2019

Bed jacket #2

I finished this jacket a couple of months ago and am just posting it now. There's not much to say about it though. I cut it out very shortly after I made the first one, and then it sat untouched on The Pile for almost 2 years.
The scrunched up pieces, right after I took them out of the bag they were in.
 The fabric is a quilting cotton with a toile pattern that was in my stash. Like so many of my quilting cottons, I didn't buy it and I don't know where it came from.
 I chose this fabric because the inspiration jacket was also in a toile, but the pattern on mine is a lot smaller and denser, and doesn't look nearly as nice as the original. Oh well, at least it's finished!
 It's the same pattern as the first one, just cut slightly wider in the shoulders.
 The construction is pretty much the same too.
 Here's me wearing it over my monster nightgown.
 Sorry about the bad lighting.

 My 1730's coat is coming along well. I've got the front and back pieces all padded and interfaced, and am about 1/6 of the way through the buttonholes.

Thursday, 9 May 2019

Patterning & beginning the 1730's coat

I don't normally post about things before I've finished sewing them, but I have a lot to say about the 1730's coat, so I'm doing it in two posts. The cut of 1730's coats are quite different from the late 18th century ones I'm more familiar with, so I'd like to discuss those differences.

First, I should mention that I've made a few changes to my 1730's waistcoat pattern. Some months ago I sewed up a practice waistcoat in a cheap brocade and found that there was a bit of a fit problem. The front was too curved, and this made it gape too much in the front when I buttoned it up.
1730's waistcoats are typically worn with only a few buttons done up, just above the pocket flap. This waistcoat fits fine when I button it up higher and leave the lowest few buttonholes undone, but this won't work as well for the 1730's look. I also realized it was a bit short. It's quite long compared to the waistcoats I've made before, but still not quite long enough.
I hadn't really narrowed down what time frame I wanted this suit to represent when I made this waistcoat, but now I've settled on early 1730's.
My practice waistcoat, and the improved pattern.
You can see the extra bit taped on the hem, and the holes where the pocket corners were marked before.
I lengthened my pattern by a few centimeters, and lowered the pocket a bit as well.  I noticed that in contemporary portraits of men sitting down the pocket flap stuck out horizontally where the legs bend outwards, and mine was a bit higher than that, so I fixed it.
I think I'll mock it up one more time, just to be sure. I plan to make the waistcoat for this suit out of a piece of very nice vintage silk brocade, which is something I can't get any more of, so I really don't want to mess it up.
1736 Portrait of a member of the family Van der Mersch, Cornelis Troost.
 With my waistcoat pattern all sorted I had to make a coat pattern. Thankfully there are two in The Cut of Men's Clothes that were just what I was looking for. I drew up a pattern that was pretty close to the second one, but with the cuff shape of the first one. I mocked it up and only had to make a few small changes.

(Yes these patterns are copyrighted and I feel a bit bad about posting them, but the entire book is online as a pdf and it's the first google search result, so I don't think it makes much of a difference if I post it here too.)
(It's also a book that's out of print and pretty expensive...)

c. 1720-27

c. 1730
Here's my pattern:
The front.
The marks for the pocket don't show up well in this photo, but they're level with the waist pleat thing.
1730's coats are cut with very full skirts, and they have wider upper back pieces than later coats.
The back.
Late 18th century sleeves fit quite tightly all the way down, but these earlier ones are only tight at the top. They get wider and looser at the bottom to accommodate the large cuffs. They're also comparatively short, leaving about 4 or 5 cm of wrist sticking out.
The sleeves, the extra strip that goes in the CB of the skirts, the cuff, and the pocket flap.
Here's one of my main inspiration pictures.
c. 1735, National Museum of Scotland
I wanted HUGE cuffs, and wasn't sure exactly how they were constructed, as The Cut of Men's Clothes has next to no construction information to go with its patterns.
Costume Close up only goes as early as 1750, and the only coat cuffs it has are ones of a much smaller style that are attached differently.
After looking closely at images of extant coats with enormous cuffs I decided the best method was to sew the two halves of the cuff together, interface them with buckram, and line them - completely finishing all the edges.
They appear to be attached by overlapping them a little bit over the end of the sleeve (which has also been lined and finished on that edge) and tacking them down. Maybe with a backstitch or running stitch?
c. 1720's, The Met.
This is the underside of the cuff.
You can see the sleeve slit and where it overlaps with the cuff.
 This one has a much clearer view:
Coat worn by Gustave III, 1766
I know it's several decades later but it's a similarly big cuff, and appears to be attached in the same way.
I've cut my coat pieces out of a fairly lightweight dark green wool with a brushed nap. The wool was 2.8m long by 159 cm wide, and I didn't have enough leftover for matching breeches, so hopefully I can find a wool that matches closely enough to make a pair.

Perhaps it's foolish of me to make a 30's coat with it when I could have made a narrower, later 18th c. coat and still had enough left for breeches, but oh well. I want a forest green coat with ridiculously huge cuffs, and I shall have one.

I sewed my cuff halves together by machine and stitched buckram in by hand. (I stiffened some black linen for the buckram because I have much more of it than I do brown linen)
It was a bit tricky to get the cuff to behave when it was stiffened and had a big curved seam down the middle, and I wondered if maybe the halves would have been lined individually first and whipstitched together, but looking at the coat photos it doesn't appear that they were.
The buckram doesn't extend past the fold.
I'm lining the coat with a 60% cotton 40% silk satin-y fabric from puresilks. It's very heavy and nice, and much more affordable than 100% silk satin would be. (My one complaint is that it's the same on both sides, and I wish they'd put the floats on just one side so that they were more dense.)
Cuff lining going on.
I think it may have been a mistake to line the cuffs before putting the decorative fake buttonholes on them, but I should hopefully be able to do them well enough through the first two layers. (And if I do snag the lining a bit it won't show.)

Speaking of decorative buttonholes and buttons, there will be a lot of them. The plain brown & brocade suit I posted above has 27 buttons and holes down the front edge of the coat alone!

This one has 26, with 10 more on the cuffs, 26 fake buttonholes down the sides of the back vent, and 8 on the pocket flaps, plus two buttons at the tops of the side vents.
c. 1720's, The Met.
That's... that's a lot of hand sewn buttonholes and covered buttons.
46 buttons and 70 buttonholes in all. I'll see how the spacing works out on my coat, but I want to get the look right so I expect my numbers will be pretty similar.
Only 5 of the buttonholes on this coat are functional - 4 at and just above the pocket, and (I think- it's a bit hard to see) the one at the very top. The 1735 brown & brocade one has the same, and this is mentioned in a number of patterns in The Cut of Men's Clothes as well.
I spent a while trying to see whether the fake buttoholes were just one line of buttonhole stitching or two.
I'm definitely doing only one line for mine, because I do not want to stitch 70 fake buttonholes twice as long as necessary, but extant coats seem to have examples of both options. I looked at some earlier and later coats for this, because often the photos aren't high quality enough to see the buttonholes well.

 In the brown & brocade one I think they're one row? It's grainy but to me they look too smooth to be 2 rows.
c. 1735, National Museum of Scotland
However, this coat looks like it definitely has two rows of tiny stitches on all its decorative buttonholes. Why would you do that?!
Probably 1750's, from Whitaker Auction.
I was excited to see the buttonholes on this coat, because they're partially worn away to reveal a bit of cord underneath! That will certainly help me get my buttonholes more raised and even! Once again it looks like just one row of stitching.
LACMA, c. 1755(The buttons are later replacements- the originals would most likely have been cloth covered.)
I have purchased 3 balls of DMC cotton pearl in a lovely almost-matching dark green, which I hope will be enough. I'm working on some sample buttonholes on scrap fabric and they're looking pretty decent so far.

I'm not sure why this coat has a little row of backstitches along the back seams like this. Were they sewn, pressed open, and then topstitched for extra reinforcement? Or did one piece have the seam allowance folded in and get backstitched onto the other one?

I can see that unlike later coats, where the CB vent has a little overlap, these ones meet edge to edge.

These earlier coats have more interfacing than the later ones, and thank goodness there's a diagram in The Cut of Men's Clothes to tell me what goes where! That's one of those things I can't figure out by looking at photos of displayed garments.
A lot of heavy buckram and padding in there.
(the horizontal lines indicate padding)
I have some cotton quilt batting in my stash that should work for the padding in the skirts. I thought this was weird when I first read it, but it makes sense when you think about it. It would give the pleated skirts that glorious poof without getting crushed when you sit down on it. I don't think buckram would hold up so well, as in my experience it likes to crease.
I'll need to iron it a bit because it's been crunched up in a box.
This painting is from a decade later but it illustrates the poof really well:
Pamela Asks Sir Jacob Swinford’s Blessing (detail),  Joseph Highmore, 1743.
When I cut out my back panels I had to piece them because my wool was limited. I traced them out on either side of the end of the yardage, and where they crossed in the middle I cut there and pieced on the extra. This makes it more historically accurate too, because with 18th century fabric widths you see this kind of piecing on every single full skirted coat. I pieced a tiny bit onto the corners of the coat fronts as well. And on part of the lining, just to save on fabric.
Here's a really nice extant fragment that shows us a lot of good interfacing stuff, as well as piecing.
Man's coat fragment, c. 1745, Manchester Gallery of Costume
  The pocket bag in this coat is so big! I cut my pockets in a similar size, out of the lining material.
As you can see, I also cut my back lining out of brown linen.
Here's the state my coat is in at the moment. I've got all the outer and lining pieces cut, and both sleeves & cuffs lined and assembled. The cuffs aren't attached yet because I want to add the buttons & fake holes first. I've got my pocket flaps interfaced, and the buckram for the front interfacing is still drying because I gooped it up with fabric stiffener this morning.
I have only 43 of the small wooden button blanks, which may not be enough, but I've just ordered more
I'll do a second post on this coat when it's finished!

Thursday, 2 May 2019

Blue undershirt

In late January, when I went to the fabric swap, I obtained some blue cotton flannel-y stuff. (It only has the fuzzy texture on one side but I don't know what else to call it.) I also got some cotton prints, including this blue & white stripe. I immediately washed these two fabrics and cut out another Nelson undershirt - something I've been meaning to make more of since I made that first one back in 2017.
 Unlike the first one I made, which has a lot of hand finishing, this one is mostly machine sewn. The materials don't look anything like the historical ones, so I decided it would be best to flat fell all the seams by machine.
I still made 10 thread buttons for it, even though it's probably weird to have handmade thread buttons with machine buttonholes. I found a greyish blue linen yarn in Mama's stash that matched my blue flannel fairly closely, and I used that on small plastic rings.
In my first undershirt I cut all the panels long, but for this one I tried doing the separately attached bottom bit, like in the original. It doesn't really make sense to do it that way though, unless you're attaching a bottom piece of a different quality like the original has, so next time I make this pattern up in all the same fabric I'll just do the long panels.
Once the shirt was all finished I thought it looked pretty good, but then I put it on and went "oh no!"
It turned out I had somehow marked the cuff slit on the wrong edge of my pattern pieces, and so had sewn the sleeve closure on the wrong side. It was on top of the wrist and looked terrible, besides being much more awkward to button!
Aaaah! No!
With the entire cuff already finished there was no question of picking it out and re-sewing it on the other side. I simply cut it off, flipped it around, and sewed it on the other way. I corrected the marks on the pattern too, because I don't want to do that again.
The two wrist buttonholes are by hand, because they're right on a join between two pieces.
I covered up the join with another strip of the stripey print. This happened roughly a month and a half after I'd cut off and re-sewed the cuff, because I am still very very bad about doing alterations.
The sleeve is now a bit shorter than it should be, but overall it's not too terrible.
It's less warm than the other one, because the flannel is thinner and less fuzzy, but it's still quite comfortable. Here are two badly lit photos of me wearing it. The lighting was mush better in person, but the camera was being foolish.

















Hopefully I'll get some more flannel things sewn this year, especially nightgowns. I really need to make more nightgowns.

Sunday, 31 March 2019

Another shirt, this time with slightly more exciting ruffles

This was my Historical Sew Monthly item for February. I cut it out nearly a year ago and it sat around for many months until I finally decided to begin sewing it up.
I've wanted to try one of those shirts with ruffles on the cuff slits ever since I noticed that they existed. It's hard to see that part of the sleeve in a lot of portraits, but I've gathered a bunch on pinterest where a cuff slit ruffle can be seen.
(In most of them there are other ruffles but there's one very weird shirt in that portrait of Paul Revere holding a teapot where there are ruffles on the cuff slit and nowhere else on the shirt!)

I also managed to find photos of an extant shirt that has these ruffles.
Shirt, 18th century, Meg Andrews.
Here's one of the portraits in which the ruffle is most clearly visible.
The Greenwood-Lee family by John Greenwood, c. 1747 (Detail)
My shirt is made of that fine linen twill I got years ago. It's an inaccurate weave for 18th century shirts but I still have a bunch that needs to be used up.
It's mostly machine sewn. There's hand finishing on the bosom slit and the inside of the collar. The cuffs, ruffles, buttons, and buttonholes are all by hand. Hm, maybe that's not mostly machine sewn.
These are definitely the best ruffles I've ever done. I didn't know how to attach ruffles properly until very recently, when I came across this nice video tutorial on doing rolled whip gathers.
Attaching the ruffles.
  The ruffles are made from a semi sheer cotton that has been in my stash for years. I think it might have come from Mama's stash originally. I'm quite sure I didn't buy it.
I hemmed the ruffles with a small rolled hem.
Ruffles attached! Lovely!
As with so many historical sewing techniques, I couldn't figure this out on my own, but it seems so obvious now. It took quite a long time to attach all the ruffles but the results are well worth it.
I can't see the seam joining the two parts of the ruffle on the extant shirt, but I'm assuming it's just a tiny flat felled seam. And the narrower ruffle must have the end cut on an angle, since there's no other way to attach it smoothly to a wider one.
The scrap of fine cotton I had wasn't quite big enough to cut all the ruffles out of in one piece, so one of the slit ruffles is pieced in the middle. (The part that's at the innermost end of the slit.)
I sewed my ruffle seams by hand and made them very small. I made a new pair of sleeve buttons after I finished this shirt, with floral metal buttons, which are shown in the photo above. The red ones in the photo below are one of two pairs I made with cheap rhinestone buttons last year.
I was a bit late posting this in the HSM group. I originally cut the cuffs too small, and after I had hand sewn them on, and done buttonholes on them by hand, I had to take them off and make new ones 1cm longer. This was rather discouraging, so I was 3 days late finishing it.

Because I had cut the shirt out so long before I sewed it up, the collar turned out to be too high. I should have noticed and trimmed it down before sewing it on, but I did not, and so it's a bit too high collared to be an early 18th century shirt. I could probably just fold it down and hide it under a stock though.
The Challenge: #2 - Linen/Linens

What the item is: A man's shirt

How it fits the Challenge: It's made of linen, and is an undergarment

Material: Linen twill, fine cotton for the ruffles

Pattern: My usual set of shirt dimensions

Year: uhh 1760's-70's ish? It could have gone as early as the 30's if I hadn't made the collar too tall.

Notions: Silk thread, linen thread, cotton thread, heavy linen thread for buttons, DMC cotton pearl for buttonholes.

How historically accurate is it: Maybe about 80%? The linen twill isn't an accurate weave for shirts. The main seams are by machine, but there's a fair amount of hand finishing. The pattern is mostly accurate but I did cut the collar a bit too high.

Hours to complete: 40 (Including picking off and re-doing the cuffs)

First worn: March 3rd, 2019

Total cost: I think about $15 or so (Canadian). The linen was on a buy 1m get 2 free sale.
I love my gauzy ruffles! They make such a difference in how nice the shirt looks!