Boned Interlining, Part II

Boning your back pieces isn't entirely necessary, but I like a few pieces to ensure the proper silhouette.

After you have inserted your boning, you may have an issue with the potential of the boning channels showing through your fashion fabric, particularly with zip ties under a delicate fabric like silk. Fear not!

Insert the bones and cut a piece of felt or flannel that is big enough to cover the bones, but smaller than the inside to your seam allowance. You don't want to bulk up your seams, just smooth out the bumpy boning lines. The thicker the bones, the more padding you will want- I have found felt to be the most effective over zip ties. Flannel would probably work well over spring steel. For this project, I'm using cheap synthetic felt due to the dollar cap set for the gown. I would prefer wool, but c'est la vie. For any concerned about added warmth, don't be. I overheat easily and used this method on my chocolate linen kirtle, which I wore several times in the heat of Utah's desert summer and was fine. I did not pad the back piece, which may make a difference for some.

Pad-stitched felt over bodice front

Lay the felt over the bones and pad stitch it into place. There are many videos on You Tube on how to pad stitch, which is a technique used to shape thick layers of fabric, particularly in suits and collars. ( Let me Google Pad Stitching for you! )  I'm not using it to shape the garment, so tight, symmetrical stitches are not so important. I hesitate to show you my ugly pad stitching at all, but for the sake of sharing knowledge and my poor techniques, here you go.

This use of thin padding to disguise wire/stiffening is also used in millinery, and this layer is called mulling, if I recall correctly. You only need to pad one side, as the other will be facing your body. I pad-stitched everything in place with the boning already inserted, as I wanted to make sure not to stitch through boning channels, and to ensure this layer is firmly attached, with a smooth final product.

Inside of pad-stitched bodice

Once this is complete, flatline your fashion fabric (or lining fabric, whichever you prefer) with this padded, stiffened layer.

After lining and turning, the padded layer will fall behind your fashion fabric and disguise all those unsightly boning lines!

Bodice front - not yet pressed or finished!  It'll look even better soon.

Boned Interlining, Part I

Tools

There are probably a myriad of ways to make a self-boned bodice, but this is how I do it.

I cut two of my pattern pieces out of heavy cotton canvas. A strong trigger, linen canvas, or coutil would also work. I used what was buried in my stash. I draw my boning channels directly onto my fabric, as this layer will not show at all.

The brand of zip ties I used

I then cut pieces of heavy zip tie (found at any local hardware store) at custom lengths to fit in these channels. Be sure to account for seam allowance when measuring what length to cut. I use my heavy snips to cut the plastic, simply because it's what I have. I can also use these same snips to cut spring steel boning.

Close-up of bones - left is filed, right is not

I then snip the sharp edges off of the bones and use a heavy metal file to round the corners. This will help prevent boning break-through. Sandpaper would also work for this step, but I use my file since that's what I have to file my metal bones. It makes pretty quick work of plastic bones.

Some people also dip the ends in a plasti-dip. I find this is less necessary for the zip ties. Metal bones do tend to need something as they are more prone to break-through, because they are not as thick. I have also had some luck with wrapping the ends of metal bones in medical tape in lieu of plasti-dip or nail polish.

I then number the bones from left to right, so I know later which bones belong in which channels without having to re-measure. I use a fine-tipped sharpie or similar so the ink doesn't rub off immediately. After this is done, I sew down my boning channels, with the two pattern pieces sandwiched together, creating channels in which to slide the boning down.

It is important to always sew the channels in the same direction, such as from top to bottom or bottom to top, but not to switch directions half-way through. This may cause some awkwardness from bulk of fabric under your sewing machine arm at some point, but if you change directions your fabric has a much higher chance of warping and causing wave-like wrinkles along the channels.

Once I am done sewing the channels, I give them a test drive and slide all the boning inside to make sure all pieces fit properly - if the channels are sewn too narrow, it will have to be picked out and sewn again as the boning won't fit. So far, I've yet to need to take that step thanks to careful measuring.

I will continue the next steps in another post soon!

Weekend Progress

For the ACC, I decided to try my hand at making my own lucet cords to lace my Sottana. I thought I was doing pretty well until I made a mistake and attempted to correct it - but failed at in my attempt. It looked good at first, until I put pressure on it as though trying to pull it tight for lacing - portions of it stretched out.

Ah well, more learning to do, I suppose. This is my first attempt at lucet weaving longer than three inches. I understand that there are also issues with the document-ability of lucet in this period, so I may not go with this after all - but it's a nice skill to have even if it's not 100% accurate for my period.


In other news, I worked on Sven's brick red tunic! He chose and purchased the trim. I had some black linen left over from other projects, so I decided to do the neck facing in black for added interest and contrast.

I measured and cut (in most cases ripped, actually - I love rectangular construction done in fabrics you can rip), and began assembling the tunic. I attached the underarm gussets and then flat-felled the seams by hand.

I usually try to do this using an invisible stitch, but I back-stitched the flat fell instead, using threads of linen drawn from scraps of leftover fabric. I need to work on keeping my stitches a more even length, but I'm pretty pleased with how straight they are looking, on the whole.

I attached the sleeves, side gores, and neck facing, and am now in the process of felling all seams by hand. I will sew the trim down by hand around the neck facing. Then I'll have to sew the sides up, and hem the sleeves and bottom. I might do a guard in black linen around the bottom hem... maybe.

Silk Ribbons, or Why Crystal Fails at Math

Remember the green silk ribbons I bought to use as sleeve ties?

I'm eight inches short. I miscalculated how long to cut them, and now have to order more. Learn to count, noob. :(

I can't finish the linen sleeves (or rather, one of them), until I get more ribbon. Because I'm making these to be fully reversible, I sewed the ribbons down inside the sleeve when they were right-sides together, rather than tacking them on afterward. I took some steps to ensure that they won't pull out from strain (I hope).

The good news is that I got the scroll from Bethany and can spend my time painting until the ribbon arrives in the mail.

Artemisian Costuming Challenge

For the Artemisian Costuming Challenge, I will be doing a Florentine gown as popularized by Eleanora di Toledo, particularly in this image painted posthumously by Bronzino.

The kirtle, called a sottana in Moda a Firenze, will be made of butter yellow damask from my stash. The overcoat may or may not be a part of this challenge, depending on how cost prohibitive the fabric is and/or finding a patron. This gown has been in planning stages for about a year, and I do not want to compromise my vision due to the dollar limit on the challenge. I hope to obtain eggplant silk for the overdress. If this doesn't happen, the overdress will not go towards the challenge, but I will eventually be making it anyway (possibly within the challenge time-frame, possibly not).

The kirtle will be self-stiffened: no bodies will be worn with it, as was believed to be the case for Eleonora, according to Moda a Firenze.

I will be making a new camacia in white linen with embroidered details as my skin layer, and there will be a high-necked partlet as an accessory. My warmth layer will not be the overdress, but a Dutch Cloak, which Eleanora had several of in her wardrobe accounts. This is a circular short cloak, often with sleeves, or sleeve slits. Another post later will provide additional details on this piece of the challenge.

Sleeves

Wednesday and Thursday evenings were spent hiding in my basement, as the temperature is a few degrees cooler than upstairs. The window air conditioner unit is a lifesaver, but the air doesn't circulate particularly well, and I don't do well in the heat. The benefit of becoming a basement hermit is that my studio is in the basement.

I drafted a fitted curved sleeve pattern, largely based on the fitted sleeves in various commercial patterns such as Margo Anderson and Reconstructing History. This was an adventure in frustration as I have very bulky (fat batwings!) upper arms, but my arm length is ridiculously short. Remind me to install a mirror in my studio as well.

I figured I'd pin down the curved sleeve documentation a little later, as it's so accepted... and I've been a bit frustrated in trying to do so. I'll have to pull out my Janet Arnold library later to verify things... but all I've found so far is the use of curved sleeves in Alcega's men's doublet pattern. So yeah, the men did it... did the women really do it too? Probably, but I'd like proof. Regardless, I have my pattern, curved and all, and have cut out one layer in black linen. The other layer will be chocolate linen, and these will be reversible, with sewn-in green silk ribbons for tying them on. These ribbons are actually more olive/less minty than the picture shows.

I got my silk ribbons from Wm. Booth Draper, and I can't say how much I love this shop. Last year I bought their bone bodkin, embroidery waxer, and rosewood needlecase, and I *heart* them.

Elizabethan / Jacobean Jacket

For many years I've been lusting after Elizabethan Jackets. I feel in love when I saw a fine lady wearing one at Known World Academy of Rapier/Known World Costuming when these two fine events were held together in Outlands, approximately 2003. Yes, I really am this slow to pursuing projects.

Mistress Isobel of Extreme Costuming fame renewed my love for this style with her amazing Maidstone Jacket. When the Plimoth Jacket was finally finished, I was head over heals. I'm not so insane as to think I might finish embroidering a jacket like either of these fine examples though... at least not in the next several years.

Other examples are this, from the Metropolitan Museum of Art, ca 1616

and this, from the Art Institute of Chicago

There are examples of some with lower necklines, some with collars, and some without. I think I'd opt for the style above, from the Art Institute of Chicago. I was gifted some interesting fabric from my grandmother, and it screamed "Elizabethan/Jacobean Jacket" to me the second I laid hands on it, and it has been a long-term plan to do this, after finishing a base gown to wear it over. Well, put your hands together folks, as I finished my chocolate kirtle which will also act as petticoat bodies under the long-awaited jacket.

In reality while the browns in these fabrics don't match exactly, they are a much closer match than the image indicates. The pattern is woven, and the fabric has a fascinating texture. I believe it is cotton. I do anticipate making a black skirt to go with this as well, in the future, possibly made of silk taffeta.

Drawers

On a whim, I decided I needed a new pair of drawers for this weekend's event. So last night I whipped up a pair - no measuring (bad Jaquelinne!!), just eyeballing it. This was not a good move, and I'm lucky they actually fit. They are not nearly as roomy as my other pair, but I can get them on and they aren't too tight. I added some sweet lace on the hems, and flat-felled all seams by machine. I would have done this by hand... but they're drawers, and I want to wear them tomorrow.

They're made from a random cotton twill fabric I had in my stash - heavier than I would have chosen from the store, but I think they'll be nice for the chilly rainy mountain weather we're expecting.

Not bad for a two hour project.

Petticoat Waistbands

This post is for you, lovely Lady Jane!

In a prior post about using elastic on Sven's pants, we discussed using elastic on petticoat and forepart waistbands, as they are hidden beneath over-skirts. As my foreparts tend to be quite heavy with beading and such, this is the method I use for making a painless waistband.

This is an example of a cotton broadcloth petticoat with attached forepart, with a flat front and gathered back. This was important, as it must have the circumference to fit over a farthingale and bumroll, but still be flat in the front so that the forepart lays smoothly. I backed my fashion brocade with cotton canvas so that it would be stiff enough not to sag from beading, as well as to hide farthingale hoop lines. I then beaded it and attached it to the petticoat. I hid the raw seams under strips of grosgrain ribbon, rather than adding bulk beneath the forepart by folding it under. This technique is straight out of Margo Anderson's patterns; I cannot take credit.

The waistband is where I deviate from Margo's instructions. She recommends sandwiching the skirt between two strips of grosgrain ribbon. I have done this in the past, and my seams were too sloppy for this to be satisfactory for me. With practice, perhaps it would work. I chose to take a wide strip of grosgrain about two inches longer than my waist measurement, and fold it in half. I pressed the ribbon to create a crisp line, and then sandwiched the petticoat within the ribbon and sewed it close to the edge. This way, I only had to sew one line rather than two. I finished the petticoat with skirt hooks using the excess ribbon length as an overlap. This is helpful in the event of weight fluctuation as additional hook "eyes" can be added easily.

Chocolate Kirtle

I was very tempted to make the Ultramarine blue kirtle first, but alas I needed to get started before the fabric was done being pre-shrunk. So in the end, the decision was dictated by my washing machine.

Friday night I cut two layers of cotton canvas interlining for the bodice, drafted and sewed boning channels, cut and filed boning, and watched the conclusion of Downton Abbey and all of Wuthering Heights. My boning is simple cable ties for this gown, as I didn't feel like dealing with spring steel for this project.

Saturday, after many trials and tribulations involving a marathon blocking my exit from the city, I finally arrived at Serafina's house to keep her company and keep us both focused on our projects. She was a machine zipping through curtains like mad while I worked on completing my bodice, including hand-worked eyelets... why is it that the first few eyelets of every project are complete crap? Oh well, they are serviceable. I am disappointed in myself that I didn't quite count right and I have an extra hole in my bodice for spiral lacing. Oops. Yes, I did extra eyelets for no reason. *facepalm*

Yesterday I cut out my skirts, graded the front of the waistline to account for the dip, pleated and attached said skirts to my spanky new bodice. These pictures are complete crap as I don't have a dress form to speak of (in the works though!), and are taken in my poorly lit bedroom. I am pleased with how the pleating ended up in the back. I don't love the front. I used three panels, with only one in the front so I could use the existing seams for the side lacing. There isn't enough pleating in the front, in my opinion, but I don't hate it enough to re-do it.

The Kitty was far too interested in my lacing cords for her own good. Next up, hemming the skirts.

Norse Pants v.1.2

Exciting News! Okay, maybe not very exciting. The espresso colored pants are complete, save a hem. I won't have much time to measure for the hem tonight, and if it doesn't happen, I may have to guess based on Sven's inseam measurement. Leap of faith?



After these pants are done, I'm going to make something for myself. Or help Serafina, if she needs it. The big question is... do I make the chocolate kirtle, or do I hold that for now and make something brighter, like perhaps an ultramarine blue kirtle? Ooooh the choices...

"Norse" Pants

I say "Norse" because I'm well aware that the pattern I used is not period-accurate. I could have used a pattern based on the Thorsberg Trousers, but I chose, instead, to so something very fast and easy. These pants are black linen, with an elastic waistband within a casing. I added a drawstring for extra security, and will be hand-tacking the area the drawstring comes out of the casing as I couldn't manipulate my machine to do what I wanted.

I still need to hem these pants, and of course clean up the front casing a bit by hand, but the end is in sight! Quest for the Holy Lands is coming up in a little over a week, and my Sven shall not be naked!

Next up, the Espresso Norse Pants.

Chocolate Kirtle - Partlets!

One of the key ways I intend to make the Chocolate Kirtle change from look to look, is by adding several different partlets. Partlets can save my fair skin from the evil sun and make my dress more period-appropriate at the same time. The beauty of historical costuming is in the details, and partlets are not used nearly enough, in my humble opinion. Below is a montage o' partlets that I find particularly beautiful... i.e. I'll probably die if I don't make them one day. The won't all be appropriate with a simple linen kirtle, but the overall shape and look can be used with numerous materials to achieve nothing short of greatness.

Norse Pants

Sven, the long-suffering boyfriend, is in need of pants to wear with his tunics at events. Last summer (wow, has it really been that long?), Serafina helped me cut and serge the pieces for two pairs of fabulous linen pants - one black, one espresso. She then left it up to me to finish them. This of course means I haven't done anything with them. I did finish his linen undershirt, and I'll call that a success.

Knowing we have several camping events coming up, I thought I ought to dust off these projects and finish them, so he doesn't have to run around either in heavy jeans (eeewh!), or pantsless... which I might be okay with, but most others won't appreciate it.

The black pants were mostly finished already, only needing a waistband and hem at the legs. The espresso pair was in pieces. Last night I decided to work on the espresso pair so that it was at the same stage as the black. I still need to press the seams, but I'm ready to insert a waistband. This is going to be a casing with a *cough* elastic band *cough* and back-up drawstring.

Sven is not concerned with authenticity and only attends SCA events to support me. He's not interested in this game I play. This is why I'm choosing to add this modern comfort for him. These have never been intended for any kind of competition, and the band will be hidden by tunic and belts anyway.

Project: Kirtle

For quite some time I've been planning to make a chocolate brown linen kirtle, side back-lacing, like this beauty, painted by Orazio Gentileschi:

I Plan to use this versatile garment in a number of different ways by dressing it up with different accessories. A variety of parlets, sleeves, jackets and overgowns will make this a staple in my wardrobe. I have two or three different fabrics that will make splendid camicias and/or partlets with little hand-work involved. These will be ideal for the camping season, where nature can be detrimental and disastrous to certain labors at times. I would hate to spend dozens of hours hand-couching a partlet only to have it destroyed by a stain while camping.

I spent time yesterday with Serafina, who helped drape a pattern for me (one of these days, I really will get a dress form so I can do such things on my own, but for now this is an excellent excuse to go visit my lovely friend). So, with bodice pattern in hand, now I can start the process of garbing myself for the summer.

If Only...

If I had a reason to, I'd love to make these dresses:

Jean-Phillipe Worth evening dress ca. 1910 via The Costume Institute of The Metropolitan Museum of Art. Seriously. Go to the Met's website and zoom into the crazy beaded details of awesome.

Dress ca. 1888 via Abiti Antichi

Sleeves Done!

The Ginger dress is done at long last. Last night I opted to sew additional lacing rings to the shoulder straps, rather than sewing ribbons directly on it, so that I can change the color of the ribbons if I choose. This decision was somewhat based on the fact that I didn't find any fluttery ribbons on my quick jaunt to Hancock, let alone ones in the color I wanted. I was hoping for a springy color like butter yellow or salmon. I ended up with some eggshell twill tape. Not quite what I wanted.

At any rate, I can wear the sleeves now, and for some reason I have yet to take pictures of them. They are reversible!! I will be sure to obtain pictureness at Collegium. I will also be sporting my new laurel medallion which I commissioned from Deb at Time Travelling Traders.

I picked up some red coral beads as many portraits I've found are sporting lovely Italian beauties wearing coral bead necklaces. As jewelery making is outside my realm of expertise (and while I love it, I have to draw the line somewhere in my pursuit of hobbies), I will be commissioning the lovely Aine to help me come up with a way to wear said beads. She is brilliant, beautiful, and disgustingly talented. Everyone should go buy something from her right now.

Ginger dress revisited

With Southern Regional Collegium coming up this weekend, I thought I'd better ensure I have something to wear. Weight fluctuations have rendered my garb wardrobe as a topic of annoyance, at best. So last night I pulled out my ginger and teal dress to find that I never did attach lacing in order to tie the sleeves on (oops). The one time I did wear this dress, I wore it Campi style with my smock sleeves rolled up.

Tonight I'm off to the fabric store to find some suitable twill tape or something, so I can finally call this project done. Oh, and yes, it still fits (woo!).

I will be doing a test-run on my new shoes at this event as well, which means I should go about finding some insoles so that I don't whine incessantly about foot pain by the end of the day.

In other news, I'm looking at getting assistance in building a tape double so that I can work solo instead of constantly dragging friends into my projects. Also, Sven's cousin will be visiting us for a month this summer, which means I'll need to make a tunic for him for Baron's War. Guess I should stop slacking, hm?

Solstice Court

I was once again reminded how much I love court events and seeing everyone in their finery. Everyone looked fabulous and a certain few were absolutely glowing.

I finished my little Italian Bonnett in time, and even attached the feathers. I couldn't find my box of brooches though, so the aiglets I used to sew the feathers in place were in full view. Ah well, at least they were the fancy filigree ones. These caps were worn all over Europe, and were particularly popular in Spain, as seen here.

The bodice wore fairly well, though it felt loose and had wrinkles that made me sad. I'm not 100% certain how this is happening, becuase during the fitting phases, it was just fine. I speculate that the corset was tighter at the event than during fittings, and I probably lost weight in the last week. I know, a few pounds shouldn't make that big a deal, but my weight fluctuates on epic proportions, and when doign fittings, it's very likely that I was retaining water. I know, TMI.

I am in love with my new high necked smock, though the sleeve ties drove me batty. Anyway, further work will be done to tweek the bodice into behaving properly.

My camera died during opening court after one picture (d'oh!), leaving me sans photos. Fortunately Seraphina (Noelle) has awesome photographing skills, and snapped this shot of me during the lovely and talented Bethany's ceremony. Bethany was absolutely gorgeous, and I was incredibly honored to speak for her. I'm so proud of her.

I got to spend the day chatting with THL Eneas, Mistress Bengta, and trying not to drool on Aine's copy of Moda a Firenze. I must get a copy of this book. It shows up close, detailed images of Italian portraits, in color. There are several of the images I wasn't familiar with, and was extremely pleased to become so.