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Narcisse La promenade Les fausses confidences Avant le bal Le peintre La lettre indiscrète
Das Rokokokorsett aus rot-goldenem Stoff scheint ein sehr provokantes Stück Unterwäsche des 18.Jahrhunderts zu sein. Es kann als separates Ding für eine zeitgenössische Fotosession verwendet werden, als richtige Dessous für ein Rokoko Marie-Antoinette-Kostüm oder als Teil eines Burlesque- oder Kabarett-Kostüms. Das Korsett hat eine Reihe-zu-Reihe-Kunststoff-Stäbchen, wodurch es nicht zu schwer und bequem zu tragen ist. Für größere Größen wird das Hinzufügen von Stahlstäbchen jedoch dringend empfohlen. Korsett gibt eine richtige historische Silhouette aus dem späten 17. - frühen 18. Jahrhundert mit einer prominenten Büste und einer schmalen Taille. Korsett hat weißes Baumwollfutter, es schließt auf der Rückseite Schnürung. Das Fehlen von Schulterträgern ermöglicht es, mit Ballkleidern des 17. - 18. Jahrhunderts getragen zu werden. Am besten geeignet für folgende Maße: 1) Brustumfang 82-92 cm 2) Taille 70-78 cm Kundenspezifische Kopie von verschiedenen Farben und Größen kann gemacht werden, verschiedene Stoffe verfügbar. Bitte zögern Sie nicht, mich zu kontaktieren, wenn Sie weitere Fragen zu Details haben oder eine Kopie sowie ein neues Korsett anfertigen möchten.
When it comes to 18th-century fashion, one thing is beyond debate: it was far from comfortable. Don’t get us wrong, we love the style; it’s elaborate and
A week ago I finally got the chance to drop by the current fashion exhibition in the Gemeentemuseum in the Hangue. Named ‘Femmes Fatales’, it’s a tribute to female fashion designe…
At long last, the riding habit is revealed! I hope it's not anti-climactic!. It was a LOT of work, even though it looks rather plain. Tail...
Veranschaulichen Sie die Eleganz des siebzehnten Jahrhunderts in diesem 3-teiligen Set. Umfasst das Korsett, den Petticoat und, um die übertriebene Hüftsilhouette dieser Ära zu erreichen, wird eine Bum Roll unter dem Rock getragen. Dieses Ensemble umfasst c. 1660 Korsett, 17.Jh. Petticoat und Bum Roll, in jeder Größe erhältlich. Sparen Sie Geld, indem Sie diese Stücke als Set kaufen, dieses Angebot beinhaltet einen Rabatt von 10%! Ensemble ist in allen Periode Korsetts Größen SMALL bis XX-LARGE oder benutzerdefinierte Größe nach Ihren Maßen bis zu 4XL erhältlich siehe unsere Größentabelle hier: https://www.periodecorsets.com/sizing-and-custom ********************************* Ø Convo mir Ihre BÜSTE, TAILLE und HÜFT Maße, Höhe und Außennaht für uns, um Ihre Korsett und Rockgröße zu bestimmen oder dieses Ensemble in einer benutzerdefinierten Größe anfertigen zu lassen. ********************************* Ø Seitennaht Änderungspunkt für eine verstellbare Passform Ø Mitte Rückenschnürung Ø Farben erhältlich in Baumwolle: Weiß, Schwarz und Creme. (alle Artikel sind von Hand waschbar) Wir können fast alles auf unserer etsy-Seite individuell nach Ihren Maßen anfertigen. Fotograf: Raul Campoverde Eigentum von Period Corsets®
So, as some of you will recall, my January: Foundations entry was 1815 undergarments for a ball gown, which was to be worn on Valentines Day at a Regency ball here in Halifax. The ball was Saturday evening, and as of 4 am on Friday morning, my gown looked like this: Promising, right? There was some discussion on my facebook page as to whether or not I would get it done (I'm pleased to report that people seemed to have faith in me), and although I determined that I would, I knew that it would likely be without sleep. But hell if I was going to miss the only regency event before I leave Nova Scotia, especially after putting so much work into the ensemble already! I put the bodice away at this point and got 2.5 hours of sleep before a full day of classes on Friday. I stitched much of the skirt during lectures and at singing practice, and when I got home around midnight I still had a couple of skirt seams and the cartridge pleating to do before I could even attach it to the bodice, let alone think about sleeves or a hem. Part of what was taking so long is that the sheer and fragile silk prevented me from leaving seams unfinished, even for one event. I worked through the night along with my roommate Breeze, who was also making her gown (by machine, which was smarter - but I can't bring myself to machine sew historical stuff, especially when the fabric is nice). By about 11 am the skirt was on and both sleeves were finished and set in. We went to the mall to get flats for the event, since neither of us had period or even period-ish shoes, and hurried home as fast as we could. I put on everything and we marked my hem. By now it was about 3:00, and we had to be ready by about 4:45. I pinned the gold binding around the hem while Breeze curled my hair and put her own into a bun. Then I put the gown aside and we used just about every bobby pin in the house to do each other's hair. At 4:45 we packed everything up - just in time, because our ride was out front. On the way to the event I stitched my hem, and the gown was finished. It is made of a sheer white striped silk organza base, with figured stripes of gold silk cut from a larger length of silk organza as trim. It's completely hand-stitched using silk thread, with lapped seams on the bodice and felled seams on the skirt, and a cartridge-pleated CB section. There's a linen lining in the bodice for strength, and linen tape to lace it up the back. It is worn over a cotton chemise, cotton short stays, a cotton petticoat, and a cotton drop-front undergown (see my January: Foundations post for these). Here are some photos taken at the event by Dianne Grant: My back hem got a little hiked up here - woops! It is actually level... I'm so proud of Breeze's hair! And she did an awesome job on mine. I'm wearing the gown with vintage ivory kid gloves and a lot of pearls (and we won't mention the shoes ever again). Oh - and fun silk clocked stockings (from AD) which only show when I'm dancing, or when Breeze and I are being silly. The evening was wonderful! In the 72 hours before the event, I spent only 2.5 hours sleeping, but somehow I had energy to dance and enjoyed myself very much. The excellent food, researched and made by some wonderful NSCC (I think?) students, perked me up a bit too. The Regency skirt-hike, or "wedgie pose" Here are some close-ups of the gown fabric, and of the eyelets in back (which are covered by trim but which are all nicely bound in silk thread and deserve a photo). Okay so I don't actually have any close-ups. But they exist! And they're tiny and even! =P At the end of the night, it took about 10 minutes to extricate all the bobby pins from each other's hair, and no wonder: I will leave you with this stunningly elegant piece of admirable decorum, in the form of a selfie taken at the ball: We would do so well in the Regency. And now I'm working on my entry for February's challenge, "Blue," which is a new 1860s corset! Updates on that soon; I'm still in the fiddling-with-the-pattern stage.
Już w tę sobotę w Krakowie odbywa się po raz kolejny Bal Szkocki. W tym roku dresscode obejmuje pierwszą połowę XVIII wieku, więc postanowił...
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Explore this photo album by Rachy_F on Flickr!
The stays are made from two layers of linen canvas, reproduction 18th century silk brocade / droguet as the top layer and linen lining. They are bound with silk grosgrain (the narrower grosgrain over seams is rayon) and hand sewn with linen thread. They are boned with reed. They are based on the c. 1740 stays in Norah Waugh's Corsets and crinolines with only the side back seams taken in a little at the waist to fit my shape better. Stays construction: I constructed them my usual way. After outlining the pieces, I quilted the boning channels. I inserted the boning, secured the edges and whip stitched the seam allowances down. Then I made the lacing holes. Then I whipped the seams together, made horizontal boning cases from linen tape in the stomacher and then bound the stays. Lastly I added the lining. Shift construction and detail photos:
Well people, I’ve done it. I finished these puppies in just over 2 weeks (nevermind the extra week to blog about it)and way early for the Historical Sew Fortnightly Challenge #12 (Due July 1s…
The making of a wine velvet german court robe.
Wieder einmal ist es Zeit für eine neue Schnürbrust. Da ich meine allererste eigentlich für alle Anlässe anzie
A week ago I finally got the chance to drop by the current fashion exhibition in the Gemeentemuseum in the Hangue. Named ‘Femmes Fatales’, it’s a tribute to female fashion designe…
Since panniers were rarely made in particularly fancy colours, this fashion gallery is simply showing different, surviving panniers of the 18th century. French panniers, 1775-80 Swedish side-hoops, 1750-90 Pannier from 1750 Italian panniers, 18th century German grand panniers, 1760 British pannier with silk ribbon, 1760-80 English pannier with corset, 1750-80 German pannier covered in blue linen, 1760 English pannier, 1765-75 English pannier of whalebone and linen, 1750 Yet another example from England; this one of baleen and linen, 1750
For my robe a la piemontaise and redingote, I decided I wanted new stays. I wanted them to be a little different than my other stays, so I decided on front lacing (though this wasn't the most common form of stays) and strapless. I used the 1798 jumps in Corsets by Jill Salen as a starting point. I combined two pattern pieces and made them without the alterations. I wanted them half boned, but used these stays as my main inspiration for boning channels. My stays are made of a layer of purple wool from Burnley and Trowbridge, a gift from a friend (thank you!), two layers of linen buckram from William Booth, Draper, and lined with linen check from Burnley and Trowbridge. They're bound in ultrasuede, which I bought an eighth of a yard of on eBay. They're boned with reed, which I cut in half to make narrower. There are two reeds in most channels. The front and back lacing areas are reinforced with either metal or plastic artificial whalebone. All the sewing is done with linen thread, though I wish I had used silk! I need to thank Nicole, of Diary of a Mantua Maker for not only the ultrasuede suggestion (I was looking for a non leather alternative), but for explaining just how 18th century stays managed to have such a narrow binding--the outer fabric seam allowance was basted over the edges. I was lucky enough to see this on an extant set of stays in Lara Corset's collection. More pictures of the completed stays can be found here. I started by tracing my pattern and boning channel placement onto the wool outer layer. I then basted the pieces to two layers of linen buckram, and cut them leaving a wide allowance. The basting stitches can be seen on the left. After sewing all the channels, I trimmed again, leaving a seam allowance on all edges. After inserting the boning, I trimmed away the linen seam allowance on just the neckline, underarm and waistline. Here are the trimmed pieces. You can see the excess wool on to and bottom. To prepare the pieces for sewing, I basted the seam allowances down to the linen. The pieces are sewn together using a closely spaced whipstitch. Here's what it looks like when it's sewn together. Once all the pieces were sewn, I folded the excess wool over the top and basted it to the linen. This basically binds the stays. Here it is from the inside. You can't wrap the wool perfectly around the tabs because of the way they're cut, but it does help! I lined the tabs separately in ultrasuede based on this example at 18th Century Stays. I cut the ultrasuede to the shape of the tabs, and then trimmed. Before binding, I sewed a 1/8" piece of cotton tape to each seam. This was common on stays. Here they are trimmed. The lining goes all the way to the edge of each tab. Then it was time for binding! The ultrasuede has a firm edge, so you don't need to turn it under. Since it's sewn through the fold of the wool, you can make it very narrow from the outside. Here's the binding partially sewn on. I like the sew the tabs first since they're so annoying :) The binding is turned in, as normal, and whipstitched to the back of the stays. And here it is, half done! Since the tabs are already lined, the lining itself is quite easy. It doesn't need to be seamed--tracing the finished stays works fine! The edges of the lining are turned under, and it's whipstitched in. It doesn't cover the eyelets and it covers the edge of the binding, making it easy to replace if necessary. Completed stays front! And back!
This is the third and final post in my small series chronicling an “experimental archaeology” project of mine about 18th century alteration practices by first making then altering a 176…
A week ago I finally got the chance to drop by the current fashion exhibition in the Gemeentemuseum in the Hangue. Named ‘Femmes Fatales’, it’s a tribute to female fashion designe…
Last week was all about making underwear for the striped robe à l'anglaise. I sewed a new big bumpad, shift and an under-petticoat. My old s...
Quand je me suis lancée dans la fabrication de costumes historiques, un des premiers livres sur lesquels j'ai mis la main était le Patt...