2018 in review

The new year has started, so it’s time to look back at 2018!

I had few concrete historical costuming plans at the start of this year, mostly planning underwear and accessories. Those plans were the 1660s shift, 18th century stays, and the steeple henin. Those all got done, so that’s good! I didn’t do so well with my modern wardrobe, as I planned to make 2 dresses, but only got half-way on one.

Looking back at what I did make, it’s mostly underwear and accessories. I made two shifts, one pair of stays, one corset, one false rump, one corded petticoat, three 18th century petticoats, a fichu, a hat, and a henin.

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Top-Bottom, Left-Rithg: 1660s shift, Burgundian henin, 18th centuy stays, false bum, petticoat, fabric for other 2 petticoats, hat, 1830s corded petticoat & early victorian corset. I don’t have ‘separate’ pictures of the 18th century shift and fichu.

 

For outer garments, I only really finished one piece; my 1780s silver dress. But honestly, given that it was sewn all by hand, and how busy last year has been, I’m pretty happy with it. It wasn’t rushed, and I didn’t take short cuts, which usually lead to regrets. It took me half a year to sew, but I really enjoyed making and wearing it. That definitely makes it worth it, although I’m not yet planning to make everything entirely by hand in the future. I’m also really happy with how the whole look came together. I made quite a bit of underwear and accessories for this dress, and for my first attempt at the 18th century, I think it came together quite well!

 

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At the Winterball at D’Ursel (picture courtesy of Irina Krutasova)

 

However, when thinking about this year, what really comes to mind is not the costumes I made, but the events I went to. In 2017, I visited one historical ball, and that was only the second one ever. I’d mostly been wearing my costumes to fantasy fairs. I did that in 2018 as well, but I also visited four historical balls, one salon, organized two historical picnics, and went to a conference. This was one of my big goals, and I’m so happy it worked out so well, as all of these were wonderful experiences.

2018

The events from last year! Top-bottom, Left-right: Winterball at D’Ursel, Salon de societe de raffinee, victorian picnic 2, Structuring Fashion conference, victorian picnic 1, Societa di Danza ball Brussels, Persuasion ball, Elfia fair, New-years ball Ghent.

 

A big bonus of visiting more events was that I got to know more people in the historical costuming scene, or got to know them better, which was so lovely. So thanks to everyone for making it a great year!

Patterns of Fashion 5

A Dutch version of this blog is out today at ModeMuze.nl!

History

Janet Arnold is a household name for everyone who’s interested in the construction of historical clothing. In the 70’s and 80’s, she published several books with detailed patterns of existing garments. This Patterns of Fashion series is still one of the most used when it comes to recreating historical clothing. Part 1 is about women’s fashion from 1660 to 1860, part two about women’s clothing from 1860 to 1940, and part 3 women’s and men’s clothing from 1560 to 1620.

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My copies of Patterns of Fashion 1 and 2

 

Janet Arnold passed away in 1998, leaving her work, in a way, unfinished. She had multiple further Patterns of Fashion books planned, and in 2008 part 4 was published, about linen undergarments and accessories from 1540 to 1660. This book was planned by her, and finished by Jenny Tiramani and Santina M. Levey.

However, there was a lot more material. From her legacy, the London School of Historical dress was founded in 2012, also housing her collection. This includes her pictures of originals, and the patterns she’d taken. And, end of this October, the latest book in the series will be published. Patterns of Fashion 5 is about ‘structural’ women’s garments from 1595 to 1795. Bodies, stays, hoops and rums. From the material and legacy of Janet Arnold, but supplemented thanks to modern techniques and new research, by Jenni Tiramani and Luca Costigliolio, with the assistance of Sebastien Passot, Armelle Lucas and Johannes Pietsch. In color, with detailed photographs, x-rays and patterns including all the different layers of the objects.

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Patterns of Fashion 5

 

I had the pleasure of receiving my copy early at the Structuring Fashion conference in Munich, so in the rest of this blog, an overview of what to expect from the book! The pictures below present a small selection of the objects which can be found in the book.

Content

The book starts with an extensive introduction, with a lot of information and new research using primary sources. It includes a description of the different types of materials which were used. Very useful, as words don’t always mean the same thing now, and some materials aren’t produced anymore. It also includes a description of how fashion evolved, and how these garments were made historically. It’s definitely recommended to actually read the full introduction, despite the temptation to only look at the pretty pictures, as it contains a wealth of information.

1640-60 Stitched stays & stomacher in crimson satin. Filmer collection, Gallery of costume, Platt hall, Manchester City Galleries 2003.109/2

 

Because the book does contain a lot of pretty pictures. A number of objects has the well-known drawings as found in the earlier books. But every object is also photographed extensively. When possible mounted, to see the object in shape. And with a whole number of detail shots giving more information about construction. The inside, bits where the lining is coming off, close-ups of eyelets, etc. Every object also has an artwork accompanying it, in which you can see this type of object being worn in context. One of the highlights for me are the x-ray pictures. A number of objects have these, and they really show the true inside. How many layers of fabric it has, which way the seam allowances are folded, where the boning is placed, and where the metal

1650-80 Stitched stays & stomacher in Pink watered silk grosgrain. Victoria & Albert Museum London V&A: T.14&A-1951

 

And now the patterns, because that’s what it’s all about in the end. All patterns are drawn on the familiar inch-grid, including a legend with cm, and the rulers in the end of the book. New in this book is that the patterns were drawn larger, and then scaled down to make them more precise. Also new is that many of the layers are shown individually. For some of the stays, the strength layer is not cut the same as the outer layer, and the lining might be different still. This makes it very difficult to get to the pattern of the inside layer. This is one of the places where the x-rays come in handy. The patterns also show very clearly how the object is stiffened. From baleen boning (sometimes including information on thickness), to steel, wood, extra layers of linen, leather and paper. They also include pictures of how exactly all those layers are put together. For the hoops the layers are a bit less relevant, but these also include information on how hoops are attached to achieve the end result.

1740-50 Short hoop in striped linen. Victorian & Albert Museum, London T425-1990

 

The book finished with a chapter on how to recreate the garments in the book. It includes a number of pictures of replicas made by the School of Historical dress, so you can see some of the more fragile objects mounted as well. One personal favourite bit is the description (based on a primary source) on how to draw the patterns for stays. Very interesting if you want to make them yourself! It even includes a list of where to get materials, and what to use instead of baleen. The chapter ends with a list of terms, with historical terms and their translations in English, French, German, Spanish and Italian, and sometimes Swedish or Dutch.

1720-30 Smooth-covered stomacher in embroidered linen. Museum of Fine arts, Boston, 43.1906

 

It’s really a beautiful book, and highly recommended for everyone who wishes to know more about these garments. With a lot of new knowledge, filled with beautiful patterns, and details of original garments. The book can only be ordered via the School of Historical dress (ISBN: 978 0 993174421). Edit per 20-11-2018: The copies are back in stock, but as they’re such a small team, they are only putting up the next 100 copies for sale once they’ve processed the previous. So if you see an ‘out of stock’, just keep checking their website! It’s well worth the wait.

Also, the ladies from American Duchess made a wonderful podcast with an interview with Jenni Tiramani, which I thoroughly recommend if you want to learn more about how this book came about. (Part I and II).

C.1740-1760 Stitched Stays in blue silk damask. Museum of Fine arts, Boston 43.561