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Sewing Projects: Stay-ing Alive

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But barely… so much hand sewing to do!

I’ve been puttering away on something I’ve been meaning to make for probably about ten years… a new set of 18th Century stays!

I’m taking part in Jen of Festive Attyre’s Curtain Along sewing project, and wiffled and waffled on what I wanted to make.  I had purchased one of the cream background curtains sometime last year and Ginger of Scene of the Past was kind enough to send me another one as a birthday gift last year. About a month or two ago, I finally settled on a transitional 1790s dress. At first I thought I wanted a high waisted one so could make do with Regency stays, but now I’m thinking I want one just slightly raised from the natural waist.  Similar to the image below:

Dress, 1790s, The Metropolitan Museum of Art
Since I no longer had a wearable set of 18th century stays, it was time for (yet) another undergarment project.  I decided that if I was going to go to all the trouble of making another set of stays, I wanted to make them as versitile as possible, and last me as long as possible.  After a bit of research, I settled on making a set of stays (or, as we know them now, a corset) that lace both front and back.  I am hoping that this will allow me the most versatility in the silhouette depending on how I lace it, and allow me some wiggle room for down the line.
The first thing I did was pull out a pattern from the first Costume College I ever attended, back when I was in college.  I took a Georgian Corset class and the pattern was drafted to my measurements.  I have grown in measurement since then, and I didn’t want those style lines since I found I actually am drawn to the later part of the 18th century, so I pulled out Corsets and Crinolines and cross referenced with The Cut of Women’s clothes.  I ended up going with a mix match between 1780s and 1790s corsets.  Sort of a transitional transitional set of stays, if you will.  This shows the comparison between the original pattern and my original changes.
 

I did have to go through several more changes, after my mock up, to get the silhouette to what I wanted and get the seam lines where I wanted, but this is a general idea.

After researching, I decided to use modern zip ties for boning, since I had heard many costumers use them with success for this period.  My husband picked me up some at the hardware store.  I also decided to go for a non-period correct, but “period style” fabrics.  Most stays, from what I understand, were linen, or linen covered in silk.  I chose to use an inner layer of corset coutil, a lining of linen, and an outer fabric of silk.

First the lining and inner layer were constructed first, since I read that “half boned stays”, what I chose to make, were often covered in a fashion fabric that would not show the boning seam lines.

Next, I flat lined the boned construction to the silk fashion fabric.  Then I covered my seam lines with decorative bias binding made with the silk taffeta I decided to use as contrast.

The trim was all hand sewn to place, then began the long and tedious task of binding the tabs.  This article on Your Wardrobe Unlock’d was extremely helpful.  I’m not all together pleased with how my tab binding looks, but after a good press I hope they’ll lay better.

Finally got the tabs done, and it was time to look into making eyelets.  I had to figure out spacing and look into spiral lacing, which was the period correct way to lace stays.  Check out Jen of Festive Attyre’s extremely helpful article about spiral lacing.  I forgot to test my strap placement and length, so I’ve got to get them wearable before I bind the top edge.

Like a crazy person, I decided to do the eyelets all by hand.  No offense to those who love to do them that way is meant at all- I’ve just discovered I’m NOT good at doing hand bound eyelets.

Oh well.

I’ve finished the front ones, and now I’m on to the back ones.  Unfortunately, my knuckles ache like crazy when doing this sort of handwork, even when I’m wearing my sewing hand brace and using a thimble, so I keep having to take breaks (which I used to resize cut out a 1940s dress…).  The problem is, I can’t make my Curtain Along dress or my desired Gala dress until I get my darn stays done!

Making these has given me even more appreciation for costumers who make beautiful 18th century stays, like Before the Automobile and Jenny La Fleur.  *le sigh*

Hopefully mine will be done soon.  I wish I could teach my kitties to hand sew eyelets for me!

1940s Bra Sample Photos!

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It’s about time!  This was one of the first patterns I did as a “Resto-Vival”, back in 2010, and it’s finally time I actually sewed one up and took some photos!

At work recently, I had been given the task to create 1940s undergarments for stock (I’m currently working at a theatre), so I brought a printout of my handy dandy Wearing History digital bra pattern with me and set to work.

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Although the original vintage pattern was stated a 32 (no up size), reviewers had said that this bra ran large.  I found this to be the case as well.  The dress form is 35″ around the bust and about a B cup, and it fit very well.  I have edited the item description to note this.

A few little things I did for decoration that weren’t called for in the original pattern were the topstitching details.  I found it easiest to finish the seams with a bias binding on the inside, so decided to go with contrast thread and use it as accents, and then continue the motif on the bottom piece of the cups.  I also added real bra straps (not of ribbon or fabric as called for in the original  and added a little bow at center front.  The original pattern called for bias binding around the edges but I went with a bias facing instead, making it 1/2″ shorter at top and bottom than it would have been with facing.

All in all, I don’t know why I procrastinated on making vintage bras for so long!  It went together super easy and very quickly.  I’ve actually got a pale pink one partially constructed already, and can see making more.  It’s funny leaving a pattern review of my own pattern, but there you have it!

If you want to try out your own version, you can purchase the digital download on my website for this 1940′s Brassiere Pattern.

Finished Project: Blue Corset from 1868

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I just put the finishing touches on this today, and I’m so glad to finally have it done!  I started the mock up for this sometime last year.  I really wanted a corset I could wear to get a decent silhouette for late 1860s/early 1870s gowns.  I have one Victorian corset I made myself, but it’s more appropriate for the 1880s and didn’t give me much form.  I started reading up about how women who weren’t endowed got their shapes, and talked to other costumers about it.  Jen of Festive Attyre was especially helpful in figuring out what to do.  This corset has sort of revolutionized my thinking about making them, and I’m glad to say that I’m no longer paranoid about making corsets.  It was revolutionary to me to realize that I could make myself fit a corset shape, and fit a corset to fit *me*, when my shape is so not what was the period ideal for the Victorian era.

When I started thinking about this project I knew I wanted a blue corset, like in Edouard Manet’s painting Nana, from 1877.  Although later than this corset by nearly ten years, I have always loved this painting and knew I wanted to mirror this color scheme when I made mine.

The pattern for this corset came from Francis Grimble’s Reconstruction Era Fashions book.  It was reproduced from an original Harper’s Bazar pattern from 1868 and then scaled down by half.  I re-enlarged the pattern and did my mock up. I found in the mock up stage that the original sizing of the corset pattern was several  inches too big for me, so I did some adjustments at the side seams, and some smaller adjustments to the hip and bust gussets, but made sure to leave enough room and not over fit it, so that I had room to pad out to achieve close to a period shape.

The original pattern called for boning across the back, but I decided I would rather have cording as I thought it would be both more comfortable and more decorative.  My husband was a darling and did the grommets up the back for me.  That’s one thing I really don’t like to do!  The chemise I am wearing is an antique in my collection.  Although I wouldn’t really wear it under clothing for fear of damaging it (although it is quite sturdy), it was fun to wear for pictures.  I need to make one along similar lines someday.

I should also mention that when I went to do my boning channels I realized I missed a tuck that was called for that went from the bottom of the front bust gusset to the bottom of the corset.  Oops?  Since I had already done all my fittings without this tuck I just decided to leave it be, but that accounts for one of the bust gores having a squared off shape at the bottom rather than a point.  Doesn’t bother me, but in case others wanted to try this pattern I thought it should be mentioned.  And as with all period patterns of this age, no seam allowances were included in the original pattern.

The fabric I used was white cotton coutil, to which I flat lined blue cotton sateen.  I was sick for quite a few days last week, so I used the opportunity to do something I don’t usually do- and embroider a little motif up the front of the busk and add some flossing.  I don’t have much skill at this sort of handwork, but it was fun to do and I think it looks kind of pretty!  My initial thought was to do flossing and add a contrast binding and wide lace at the top, but I really like the simplicity of these accents and I’m glad I didn’t go with my first plan.

Just like today, women would pad out what nature didn’t give them naturally.  As I mentioned previously, I was on a quest to get a bit more of a Victorian shape than I had naturally or with my previous corset.  When I took my mock up of this corset to work with me, I had some help from a theatre perspective and found that they still use this trick. One of the “tricks of the trade” are to use men’s tailoring shoulder pads and place them strategically at the sides, both at top of the corset, and at the bottom, to create more of an hourglass shape.  Then you can use little pads in the front for extra support- to create a bit of a shelf.  I tried this, and lo and behold, I actually had a decent shape for the era! Much better than I had had previously.

Since this project was done in conjunction with the Dreamstress’ great group, The Historical Sew Fortnightly, here’s the info required.

The Challenge: Under it All

Fabric: Cotton coutil, cotton sateen

Pattern: Reproduced Harper’s Bazar pattern from Frances Grimble’s Reconstruction Era Fashions Book.

Year: 1868

Notions: Metal spiral and flat steel boning, corset busk, grommets, corset lacing, cotton embroidery floss, stay tape, thread, set of pre-made shoulder pads, cotton quilt batting to make two more pads, white muslin to cover shoulder pads.

How historically accurate is it?  Looks accurate on the outside (embroidery inspired by, rather than reproduced authentically from, period examples), but the inside and construction are done with modern methods.  The gussets were flat lined then serged, and applied with  lapped seams rather than flat felling.

Hours to complete: Several.  From start to finish, perhaps around 10 hours, including several mock ups and time to enlarge and alter the pattern.

First worn:  Not worn yet other than for photos

Total cost: Didn’t keep track but I’m guessing $35-40ish, not including the book cost.

Keeping Warm in the 1930′s- Socks and Stockings

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I’m so glad that so many of you loved the theme of “keeping warm” for upcoming posts!  I admit there was a lot more response on the last post than I expected.  I guess there’s lots of us who like keeping warm and toasty!

Next up, since we’re on the subject of what goes on underneath, we’ve got stockings.

Most people think of stockings of the 1930s and 1940s in terms of the “cuban heeled” or “fully fashioned” stockings that were sheer and made of rayon, nylon, or silk.  Some even think of fishnet stockings, which were less common than we might think but certainly were still around.  And when we get to the 1940s we think of leg paint to help out with looking like there were stockings when in reality they were mostly given up for the war effort!

For everyday wear, around the house, or for cool weather there were, thankfully, more options than those sheer stockings we usually think of.  Here’s two pages of legwear options from Fall & Winter 1937-1938 with images of legwear to keep you warm.

National Bellas Hess- Fall and Winter 1937-1938

The socks (or anklets) at upper left were advertised to be worn in addition to your hoisery.  Ladies wore these not only with flats and “saddle shoes”, but they were often worn with heels!  It was a cute, sporty look, and it kept your feet warm.  It wasn’t as common to wear with heels as it was to wear stockings alone, but you do see it in catalog images for footwear and in real life photos.

“Remember- Wool is Warmer”- the ad on the right reminds us.  You could select your stockings by wool content.  The ultimate luxury were 100% wool or a wool/silk blend.

Below this ad, we’ve got invisible “under hose”.  These would be an extra layer underneath your sheerer stockings, and apparently, the idea was to have these under hose look like it was actually your skin but it provided an extra layer of warmth.

And below that we’ve got stocking lined in fleece!  Don’t those sound cosy?

National Bellas Hess- Fall and Winter 1937-1938

On the page above we’ve got cotton stockings in various styles.  These would keep your warmer than sheer rayon or silk and would would be more sturdy for everyday wear.

And on the left we’ve got the “outsize” stockings, which were made for “stout” women.  You can see the standard range that most stockings, in regular or outsizes, were available in.

I usually skip over the stocking pages in old catalogs, but I found these cool weather options rather enlightening!  Are they what you would expect?  What sort of legwear do you wear to keep warm in cool weather?

A Little of This, a Little of That- What I’ve Been Up To

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I don’t know about you, but sometimes inspiration comes so in force that I get scattered.  I dabble a bit here… dabble a bit there…. and nothing quite seems to get done.  There’s just too many fun things to do!

I’ve been slowly making progress on my tatting.  Thanks to some facebook users I found out I am tatting a hat- not a belt.  It would have been good to look up the term “fanchon” before I started the project.  Ah, we can only laugh at ourselves ;)

tatting

I’ve also been procrastinating on making my 1868 corset I started.  I have to finish this before I can start the historical costumes I’ve got my mind on.  Both this and the project above are from Frances Grimble’s Reconstruction Era Fashions.  My corset mock up looks scarily like my first bustier I ever draped in fashion school. Was it really over ten years ago since I was in that class?  My, how time flies…

1868 corset

I’ve finally finished sewing a western shirt I started making for my husband well over a year ago.  Why are men’s clothes such a pain to sew?  He’s got the job of adding the snaps.  And now, of course, I need to make a matching dress…

western shirt

And other than that, I’ve been listing a few vintage dresses from my collection on Ebay.  Time to pass these on to new homes…

One is a Horrockses dress with matching jacket

horrockses

And the other a studded late 1930s crepe dress

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Plus, I’ve been adding more vintage patterns to Ebay and Etsy.

Of course, the creative mind goes much faster than our abilities to complete projects and I’m already daydreaming of things to make after all these projects are done!

Corsets and Dogs- Images from Good Housekeeping 1909

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But not dogs in corsets ;)

I haven’t shared images from old periodicals in a long while, and I must confess the reason.  As some of you know, I got really sick a while back. Part of that was due to new sinus problems.  And you know what gets me pretty badly now?  Mold.  I have a hard time handling my dear old paper collections and even old patterns.  Part of that is why I’ve decided to start the Resto-Vival patterns- handing new paper is much easier for me now that I’ve accumilated the sensitivity- so I’d like to get some of my treasured old patterns transferred over and shared.  Ah, my, how the Lord has a sense of humour- let’s give the girl with the vintage patterns and magazines a sensitivity to them ;)  In any case, I’ve been needing to wear a face mask to help keep my reaction down when dealing with old paper, and finally got up the gumption to give it a try and scan in a few images.  Seemed to work well!

My mom loaned me some of her old magazines a while back. These are from Good Housekeeping magazine, November 1909 issue.  I thought the illustrations were rather lovely.
corsets1909

Luckily these days our manner of dealing with bad dogs has changed, but the informal sketchy nature of these illustrations from a short story are rather pretty and fun with the orange accent color.  They are by Reginald Birch.

dog01

dog02

dog03

dog04

Hope you’re having a lovely Wednesday!

Finished Project: 1910s Corset

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First of all, THANK YOU for your sweet comments on my blog post yesterday about my finished 1930′s dress!

I can’t believe I have two projects to post in a row! That almost never happens!  I had been working on this on and off, and just had a few finishing touches to put on it last night.  My husband helped by doing the grommets for me, so today I have another finished project to share.  Remember how I mentioned that our weather was warm and spring-like yesterday?  Well, today it’s quite overcast and gloomy, with expected rain.  Ah!  So not good for picture lighting, but I was excited to share proof that this project was complete.

The dress form and I are different measurements than one another, but you can get the general idea!  I’m still debating putting garters at the bottom, and do need to put a large hook and eye at the bottom of the “skirts” at some point, but other than that she is ready to go!

This corset was made using Jen Thompson’s 1910s corset pattern she has available for free on her website, Festive Attyre.  I really loved it- it was very simple to make for a corset and her instructions were wonderful. She even gave suggestions for resizing!

I did make a few changes, but they were minimal and based on my personal fit with the exception of the length of the corset. I did shorten the length, as I am planning on going to a few 1910s era dances this year and wanted the extra movement. In fact, I was inspired by a particular corset on a 1910s image posted on the Bridges on the Body blog,  who is doing a 1910s corset sewalong right now,  for a corset which is shorter in length than what I generally think of for 1910s corsets.  Although mine does not have as sharp curve that the second image from the left on that post has, I think the shorter length will be a bit more comfortable for dancing.  I do, however, want to go back and make another one at some point in the longer length, and next time I plan to use more boning.  In this corset I only used boning at the seam lines, even though the pattern called for more in the middle of each section. Meh, I got lazy.  But now I think it would actually have helped.

This was the second Edwardian era corset I have made. My previous corset was made with a lot of help, and this is the first one, with exception to my last set of Regency stays and Regency short stays, that I did without any in-person help- though Jen was very nice to answer some of my silly questions along the way :) .  For some reason corsetmaking has always intimidated me, but I gained a bit of confidence with this project!

I used a single layer of domestic corset coutil for this project.  The top and bottom are finished with store-bought bias binding, and then I attached some French cotton laces to the top and bottom, and added silk ribbon through the beading and in a bow trim at the front.  The laces and ribbons were left over from when I made my Edwardian wedding trousseau, so they will match all my other Edwardian underthings.

W.B. NuForm and Reduso Corsets, 1911

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I got a fun little package in the mail today of a few lovely old magazines.  On the back cover of one is this lovely image on the ad for corsets from 1911.  I thought I’d share with you!  There’s a corner torn off, but it was too lovely to not share on that account.  Click on the image for a larger version

I am particularly amused by one sentence of the description of the W.B. Reduso corset:

“The measurements at the hips and abdomen are reduced from one to five inches, by the scientific shaping and placing of gores.”

Emphasis on that last bit, since that’s the part that struck me.

When I was looking at the available corset patterns of this period I was taken by the variety of versions available. I went with one that’s straighter, with no set in gores, similar to the version on the  left in this ad, posted by Jen Thompson of Festive Attyre on her website, but I noticed the version in the Corsets and Crinolines book has several gores to be set in.  I am entirely a corset novice and am not knowledgeable about them, but am interested in this period description of them.  Look at the construction at the one on the right! Talk about piecing!  Absolutely fascinating to me.

I believe the sizing on here, 18 to 30, or 19 to 36, were the waist size measure of the corset, not including “spring” at the back. Does anyone know?  If not including spring you’d add 2-4 inches to that measure, if I understand correctly, which would make the waist sizes seem much more reasonable by modern standards.  If there’s any corset historians out there, I’d love to hear your input on this and the optional construction with gores of this period.

I am pleased to say that the pattern I drafted for the first 1910s pattern for Wearing History, a blouse, is just finished after a lot of time in preparation several revisions to get it “just so”- but I’ve still got a ways to go before it’s ready to release.  Got to make instructions and all that first, of course! But one step closer! Woohoo!  Hopefully pretty soon here I’ll have some pretty photos to share with you of a sneak peek :)

Catalog Inspiration: 1912-1913 Corsets

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Hope you had a lovely weekend!

I started making a 1910s corset this weekend using Jen of Festive Attyre’s pattern she took from an original corset and very graciously posted for free on her website.  In case you were not aware, Bridges on the Body is doing a 1910s corset sew-a-long right now as well.  Since I’ve been madly patterning away here for the first 1910s patterns for Wearing History I figured it was high time I made myself a corset to wear underneath the samples I’ll be making soon :)   Still a way to go before you get a sneak peak, but I’m sooo excited!

In fitting my corset and deciding on length and such, I flipped through my old Gimbel Brothers catalog from 1912-1913 and found two pages of lovely corset images.  I hope you enjoy, too! Click on the images for a larger version.

Finished Project: Regency Short Stays + Pattern Review

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Here’s my finished Regency short stays!  Since asked in a previous post for more info, I thought I’d do this follow up and a brief pattern review.  Sorry,  I’m not going to be modelling these, for modesty’s sake.

Pattern review guidelines borrowed from patternreview.com

Pattern used: Sense and Sensibility Regency Underthings. I used the E-Pattern and only made the short stays.

Pattern Sizing: 6-26D.  I used size 8.

Did it look like the photo/drawing on the pattern envelope once you were done sewing with it? Yes, but I made alterations to the back (made it scooped and not squared), and also cut the front length down at the top.

Were the instructions easy to follow? Yes, very.

What did you particularly like or dislike about the pattern? It really works!  It gives the accurate shape and went together pretty quickly for a period foundation garment.  The instructions were also quite well done and I loved that she gave suggestions for smaller ladies.

Fabric Used: Two layers of corset coutil.  This was not what was originally called for in the pattern. She called for three layers- linen, coutil, and cotton, or something similar.

Pattern alterations or any design changes you made: I did make many changes, most of which I outlined in my previous post. Instead of rewriting them, you can read them on my last (very wordy) post about these stays.

After I posted the last post I added twill tape to the top and bottom of the stays to bind them and chose to run a lace through the binding so that I could snug in my neckline even more and prevent it from falling off of my shoulder. I’m very glad I did this, as I can feel the extra stability from having that extra tie there. I just tuck the ends inside my gown when I wear it.  I may, however, replace it with a thinner cord sometime in the future, as this one is a little bulky and made a little bump on the surface of my white cotton gown when worn.  Of gowns of thicker fabric, like my evening gown, you could not see the ties.  I also cut in the underarm 1/2″ at the front because it dug in a bit.  I could even cut it in an extra 1/2″ for more comfort, or convert the straps to tying on in front instead of being fully attached, to be even more comfortable.

Would you sew it again? Would you recommend it to others? Yes, definitely, on both accounts.  I suggest making at least one mock up. I believe I made two, then still  needed to alter my pattern afterward.  Make your mock up in a hearty fabric like a cotton twill or duck that does not stretch. My muslin stretched on me and caused me heartache.  I also want to play with the straps more in a future version, since I put my straps a bit too close together so they had to be pinned to my evening gown to prevent them from showing.  Alterations for this pattern are very figure specific, and it will probably not fit the same two people the same way (it would really be impossible to make a pattern like this that would fit everyone) and the patternmaker was very thoughtful in her instructions for what sorts  of alterations might be needed.  As long as you take into account, like most patterns, that it will probably not fit straight out of the envelope, it is a fantastic little pattern and I very highly recommend it.

Conclusion: Really great pattern! I highly recommend it, especially for smaller ladies who do not want or need to wear the full stays.

Other notes:

I was asked about comparing these to long stays. I think it depends on the person, and their preferences, but for me, I much prefer them.  These are designed to still give you good posture, but leave the stomach free and you are also free from the front busk, which I found very uncomfortable in my long stays when sitting for long periods of time.  I live a few hours away from most events, but I Could actually wear these in the car with little discomfort.  Since I have poor posture in day-to-day life I did find that my shoulders ached by the time I got home from being pulled back into their proper position.  I have heard that these are not well suited to larger ladies, or larger busted ladies, and they may prefer to wear full stays instead of short stays.

I was also asked about comparing these to a modern bra.  I would not recommend this in place of a modern bra, simply because the silhouette, while great for Regency, does not seem like it would fit well under modern clothing.   The short stays force the bust up higher than the natural bustline, and modern clothing is designed to fit more at the natural bust.   I also find that they sort of smooth the shape at the underbust due to the gores (in a V shape), instead of rounding out like a more modern silhouette.  For Regency wear, however, I wholly recommend these as they will help obtain the period silhouette.  For those who are smaller busted, if these are fitted correctly, you can even add a little bit of padding inside. Be sure you have them fitted snugly, however, or stitch in the padding, so it doesn’t go skittering across the dance floor ;)

I also should say that my stays are not laced in a period correct way.  If they were accurate they would be spiral laced.  And sorry for my sloppy eyelet holes. I decided to do them with a buttonhole stitch, and I found my technique greatly improved from the time I began the first until I finished the last. Oops? Maybe next time they’ll be more uniform and I’ll learn the real way to stitch eyelets.

 

Disclaimer:  I purchased this pattern on my own and was not compensated in any way for a pattern review.  All of the information I shared is my own personal honest opinion of this sewing pattern.