A step-by-step tutorial of how to sew an 18th century petticoat, perfect for history-bounding looks.

I have just over a month to make an 18th century ensemble for myself. There's a Rococo picnic I want to attend happening at the end of April. At this moment, I have nothing quite acceptable to wear. My 18th century wardrobe currently consists of a shift, an under petticoat, a pair of shoes, and a white linen cap (not yet blogged). A few more layers are required for me to be a properly dressed Rococo lady. The stays I've been procrastinating on for well over a year? Yeah, those have got to happen. Now. And the gowns I've been dreaming of? It's time to make one reality. For the stays I've decided to use Simplicity 8579 - one of the 18th century patterns Simplicity produced as a collaboration with American Duchess. I'll be altering it somewhat to lace up in the front as well as the back, since back-lacing only stays sound difficult to put on one's self without assistance. Stays with lacing up both the front and the back are a historically accurate option and would seem to be more user-friendly. Picking the pattern was easy. Deciding to make the stays both front and back lacing was also easy. My procrastination has had nothing to do with either of these things, and everything to do with the next step of the project, possibly the most important part of the whole stay and corset making process - making the mock-up. I do not enjoy making mock-ups whatsoever. Now, I do know their value, and I've never regretted making a mock-up (and have regretted not making a mock-up), but I just generally don't like making them. Thus, I've avoided making my mock-up stays, and thus my actual stays as long as possible. Due to my immediate need of an 18th century outfit, my time of mock-up avoidance was forced to an end last week. I made my mock-up. Out of cardboard. 18th century stays are often fully boned, thus more rigid than a Victorian corset. Making a fully boned mock-up sounded tortuous. (This is part of the reason I've avoided making a stays for so long.) However, a few months ago, I learned in one of the 18th century sewing groups I'm a part of on Facebook, that non-corrugated cardboard (like the stuff cereal boxes are made from) works well for making stay mock-ups. The stiffness apparently nicely simulates the structure of fully-boned stays. This concept made the stay mocking-up process seem a lot more approachable. I just so happened to have two large sheets of this type of cardboard on hand. So last week I traced my pattern onto the cardboard, cut it out, taped it together, punched holes in the edges for lacing, and tried the cardboard stays on. They actually looked like stays! And they fit pretty darned decent! And took way less time to make than a fabric mock-up would have! There were only a couple small fit changes I needed to make. First I lowered the armscyes slightly so they wouldn't dig into my armpits. Then I took a bit of width off the top of the center front edge for better bust support. I laced myself back into the cardboard stays, and. . . They fit!! So now that the pesky mock-up stage is out of the way, I can cut out my actual stays, sew them up, then make this dress: A sacque-back gown, which will be machine sewn, in a rather inaccurate fabric. But, I'll tell you all about that later. Right now I'd better get to sewing all the boning channels on my stays!

I've been dying to make some mitts for a while. They seem like such a practical thing to have--wool or leather for the winter and linen for the summer. I love the simplicity of the mitts of that era yet they make such an ideal canvas to show off one's embroidery prowess. Here are some examples of extant mitts: Yellow Silk Red Silk Linen Leather Fancy Embroidered Linen Fancy Embroidered Leather I started out looking at the pattern and examples in Costume Close Up. The pattern is a 1/2 inch scale so I copied it at 200% and pieced it together. I wasn't sure about doing it that way so I ended up getting the Larkin & Smith pattern which is basically the exact same style. I'm glad I did! The pattern has a bound booklet with instructions, photographs of all the construction steps along with photos of the extant pair of mitts the pattern is modeled after. It also contains in depth stitch guides. The instructions are very well written. I traced the medium sized mitt piece to make a muslin. I didn't bother making the thumb pieces for the muslin. All three sizes of mitts use the same thumb piece. I then just machine stitched a 1/4 inch seam to check the fit. I ended up shortening the pattern 1 inch. Also, these mitts are cut on the bias which gives them a little bit of stretch. I decided that I would make summer mitts from a piece of handkerchief linen leftover from a cap. I also decided to do the embroidery but to omit the wrist slit. The first thing I had to do was practice my embroidery stitches as it had been over 20 years since I last did this sort of thing. Fortunately there's a local shop called the Stitching Post that specializes in cross stitch and they had several brands of stranded silk floss. I settled on Soie d'alger 6 strand floss which they carry in over 100 colors. Since I like itty bitty needles, I bought some size 10 beading needles which are very thin with a larger eye to make threading easier. Using 1 strand of floss I practiced my herringbone and edge herringbone stitches. I cut out the mitts and pressed the hem all the way around the edges. The directions say to press under 1/4 inch then turn under the hem allowance to make a 1/8 inch hem. I had trouble doing that with the fabric being cut on the bias so I just pressed under the 1/4 inch and left the edge raw. I used matching (white) silk sewing thread and stitched a running stitch all the way around to secure the hem. I made my running stitch about 1/8 inch from the folded edge. Making the running stitches an even distance from the fold helps in making you herringbone stitches even. Then, using one strand of floss, I stitched the three lines on the glove front and did the edge herringbone stitches around the edges as indicated in the pattern instructions. Because the gloves are cut on the bias, some stretching occurred during the stitching. I steamed them to flatten them back out before proceeding. Finished stitching Inside of glove edge stitching I decided that I would do the double 1/8 inch hem on the thumb pieces as I thought they would get more wear. I pressed that hem under and then pressed under 1/4 inch on the curved edge that gets stitched to the glove body. I thought that pressing those first would make it easier. I then stitched a 1/4 inch side seam in the thumb piece. The instructions said to whip stitch the allowance but I did a felled seam that ended up being about 1/8 inch wide. I used running stitch to secure the thumb hem and the seam allowance on the curved piece. The thumb hole was the trickiest part. I slightly snipped into the seam allowance and finger pressed it under about 1/4 inch, being careful to maintain the heart shape. The thumb pieces butt to the glove piece. They do not over lap. I just whipped them together using tiny whipped stitches. The pattern is so well made that I did not have to pin. The pieces fit together perfectly. Thumbs stitched on Then the thumb seam is covered with herringbone stitches, being careful to cover the white running stitches. Finished thumbs According to the pattern, the point linings are stitched on using the edge herringbone stitch after pressing the hem allowance under. I decided not to do it quite that way as I didn't want to mess up the other side which also had herringbone. I did the edge herringbone stitches on the point lining piece, then laid it on the glove piece, wrong sides together. I used white silk thread and tiny whip stitches to stitch them together on the very edge. I secured the straight edge of the point lining to the glove with whip stitches --not the running stitches as indicated in the pattern. All that is left to do is the ladder stitch which connects the side seam. I used 4 strands of floss for this and I spaced the stitches about 3/8 inch apart, based on the spacing of the edge stitches. I think next time I will make these stitches closer together. Close up of stitching on back of hand Close up of palm Finished mitts I'm so glad I decided to undertake this project. These will be perfect sun protection from the hot July 4 sun at Mt. Vernon!

OK, I'll be honest. This was one of my beginner 18th c. outfits, and I was this close to not even bothering with getting photos for th...

Gail Marsh, a costume and textiles curator and senior lecturer […]

I made this jacket a year ago, as my first real attempt at historical clothing. I have tried it a bit previously but never bothered to read up on historical techniques and silhouettes so the result…

Transport yourself to the 18th century with our Historical Linen Overdress & Skirt in Night Blue. This reenactment gown not only captures the essence of the era but also makes for a unique historical gift. Transport yourself to the romance of the 18th century with our breathtaking CHARLOTTE 18th-Century Overdress in Night Blue Linen & Skirt. This faithful reproduction of a popular historical fashion features a long overdress with a fitted bodice and an optional skirt in white or night blue. Crafted from medium weight prewashed linen, the overdress boasts a flattering square neckline, metal eyelets for a perfect fit, and stylish lace trim. The wide pleated train adds drama, while the skirt completes the authentic look. Meticulously handcrafted, this ensemble is a perfect piece of history for the modern woman. Ideal for historical reenactments or themed parties, step into the CHARLOTTE 18th-Century Overdress in Night Blue Linen & Skirt and experience the allure of the past. ☆ OVERDRESS ☆ Introducing the CHARLOTTE overdress, a stunning 18th-century costume that combines a fitted bodice with a wide, pleated open skirt. Crafted with a generous volume of fabric, this outfit exudes elegance. You have the flexibility to purchase the overdress alone or to pair it with a skirt. The linen bodice is fully lined with raw cotton and cotton poplin for the sleeves. It features a square neckline that closes at the front with eyelets and delicate lace ribbon trims on the preformed elbow sleeves. Synthetic whalebones are meticulously placed on the back and both sides of the front opening, providing structure and elegance. The overdress is completed with a wide, 37.5-inch pleated train, adding a dramatic flair to the ensemble. ☆ SKIRT ☆ The HELOISE linen petticoat is a beautifully designed historical garment consisting of two fabric panels (3 for sizes X1, X2, X3) joined at the sides with an open upper end. This clever opening allows for easy wearing of the skirt. The pleating of the panels follows the elegant 18th-century style. The front pleats cascade from the central box towards the sides, while the back pleats converge in the middle of the back. For added shape and emphasized waistline, the photos show the petticoat worn over a bustle pad. ☆ SIZING ☆ Finding the Right Size: Please refer to the size chart in the photo gallery to select the correct size for your dress. Keep in mind that historical costumes don't follow standard sizing, so getting an accurate fit is important for comfort and effectiveness. Custom Sizing: If your measurements don't align with the sizes on the chart, we recommend choosing the "custom size" option. Please add your measurements to the customisation field. Important Note: Made-to-order items cannot be returned. Please make sure you're certain about the size you choose. If unsure, opt for the custom fit option. ☆ FABRICS ☆ Charlotte is made of prewashed medium-weight linen (205gr/m), in a range of colors matching Atelier Serraspina's color palette. You can therefore combine your Charlotte open dress with any linen or tartan skirts from the shop. Outer Fabric and Skirt: · 100% European linen · Medium weight linen - 6.05 oz/yd² / 205 g/m² · Prewashed so it didn't shrink anymore · Mechanically softened so it is very soft and especially pleasant for your skin · Fabric woven according to universally accepted quality requirements which correspond to OEKO-TEX 100 standards Bodice Lining: · Composition: 100% Cotton · Type of fabric: Raw Cotton · Approximate weight: 155 gr/m² Sleeves Lining: · Composition: 100% Cotton · Type of fabric: Poplin · Approximate weight: 110 gr/m² ☆ HOW TO DRESS ☆ The Charlotte outfit is to be put on as follows: The petticoat: Put on your petticoat by the head.Once put on, the petticoat is tied in the following way: you start by tying the ties of the back panel, making a knot on the front; then you adjust the front panel like an apron, with a double turn around the waist. The overdress: Just slip your arms through the sleeves of the dress mantua that you'll tie at the front, passing a cord through the eyelets on either side of the opening.In the presentation photos, the dress is worn over a bum pad which adds volume to the hips and emphases the thinness of the waist. ☆ CARE INSTRUCTIONS ☆ We kindly recommend dry cleaning only. ☆ PROCESSING TIMES ☆ All our garments, including the Charlotte Overdress, are handmade in our workshop in Spain. Each piece is crafted with love and care, using the finest materials to ensure excellent quality. These garments are meant to be cherished for years to come. Please note that our items are meticulously handmade, which means it will take some time for us to create them. The typical production time for an 18th-Century Overdress & Skirt ranges from 4-6 weeks, depending on the current order volume. Keep in mind that the processing time does not include shipping.

These 18th century style stays feature front and back lacing for easy adjustability, a low scooping neckline to accentuate and support the bust, and curvy waist tabs for accentuating the waist. This corduroy fabric in a deep shade of burgundy is rich in color and soft to the touch.

Lately I've been working on a waistcoat to go under my Snowshill riding habit. I really love the look of this menswear inspired style, but before jumping in, I needed to take a closer look at the evolution of the waistcoat throughout the 18th century. Lancret,

Please note that most of the dresses presented here in our Etsy store are just examples of our old work for clients. These are not ready made dresses for sale. We realize only customized dresses and we DON'T HAVE SHORT DEADLINES. Therefore, before you make a purchase, please ask us for details in a private message. If you make a purchase without reading this description - we do not accept cancellation of the transaction. We do not accept returns and resignations from an already ordered dress during sewing or after sending it (does not apply to tailoring corrections), because our dresses are made to measure and based on a design that is created individually for each customer. By clicking "buy it now" - you accept our terms. We accept payment plans discussed individually with each client. We are small fashion house Atelier Saint-Honore and we make all designs individually for each clients. All dresses are sewn for measures. We use traditional haute couture techniques like fine hand made finishes, hand made embroidery and artistique techniques of decorations. We offer the highest quality custom service and the best materials. Please ask in private for more details.

Please note that most of the dresses presented here in our Etsy store are just examples of our old work for clients. These are not ready made dresses for sale. We realize only customized dresses and we DON'T HAVE SHORT DEADLINES. Therefore, before you make a purchase, please ask us for details in a private message. If you make a purchase without reading this description - we do not accept cancellation of the transaction. We do not accept returns and resignations from an already ordered dress during sewing or after sending it (does not apply to tailoring corrections), because our dresses are made to measure and based on a design that is created individually for each customer. By clicking "buy it now" - you accept our terms. We accept payment plans discussed individually with each client. We are small fashion house Atelier Saint-Honore and we make all designs individually for each clients. All dresses are sewn for measures. We use traditional haute couture techniques like fine hand made finishes, hand made embroidery and artistique techniques of decorations. We offer the highest quality custom service and the best materials. Please ask in private for more details.

Learn about early American clothing in the 17th and 18th century, including the fashions and styles of the time.

18th Century Bodice Pattern I drafted this bodice pattern for my Robe à l’Anglaise back in 2017 and recently reused and tweaked it a bit, since there were some issues with my first version. Read about that in my new blogpost 🙂 You can download version 2.0 of this 18th century bodice pattern down below… Read More 18th Century Bodice Pattern

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After studying the various looks of the character Clare in the series “Outlander”, comparing them to the fabrics from my stash I decided to go for the simple laced up jacket and skirt t…

I've been binging Outlander whilst making 18th Century stays and talking to several long-standing costumers on the 18th Century Sewing page on Facebook (who are knowledgeable in this period). Most of my acumen has been the 16th Century and Victorian, so dipping my creative brush into the 18th Century has been an exciting endeavor, as it is actually my favorite era, aside from bustle dresses! *swoon* One of the things I recently learned, as I am planning my OWN 18th Century ensemble - A caraco a la Pierrot and petticoat styled like the picture to the left - is that prints were pricey and more than likely not available to the poorer or working classes. But unlike the 16th Century where the most expensive fabrics were often reserved for sleeves and foreparts and worn under the over skirt, for the 18th Century these pricey chintz prints were worn predominantly as outer garments rather than petticoats and such. Good thing I learned that, because I was mulling over making a print petticoat to go with a solid bodice/jacket! Since the the first season of Outlander, the working class worn by Clair when she first arrived in 1743 Scotland, have become popular. Of course, wool - especially authentic Scottish tartan - is very expensive and can run upwards to $70 or $90 a yard/meter! Crikey! I did find a nice Donegal tweed for $35 a yard, and I am using it for a client's "Lady Broch Turach" ensemble in the coming weeks. If you're concerned with historical accuracy, and your character is part of the working class, you can never go wrong with Linen! But if you're wanting something for the upper middling/merchant or upper class, a polished cotton chintz is a more affordable option as silk brocades will be much more expensive. SAMPLE OF 18TH CENTURY PRINTS: The following examples of print motifs will assist those who wish their fabric to be as Historically Accurate as possible in 21st Century fabrics. Examine the type of prints for each decade and you can find something similar. 1790s Caraco a la Pierrot A nice quality polished cotton chintz can run about $20 + a yard, so those who might not be able to afford 10 to 12 yards, can pair a print Caraco or a Pierrot jacket with a linen or lightweight wool in a solid color. Quilted petticoats were also in vogue. This is a bustled 18th Century Polanaise gown worn over a quilted petticoat, but they were also worn with Caraco Jackets. The caraco and the Pierrot jacket (Pierrot Jackets were predominantly popular 1785 to 1790s) were worn by all different classes. In the 1770s, Dutch Fashion finds the use of mixed prints in vogue. They would mix up to three different prints for the jacket, petticoat, and apron. While you can find this trend in other countries, it was more prevalent in Holland, as that was where many of these cotton chintz prints were produced. COLOR MATCHING: One of the questions I faced whilst planning my ensemble was color palate. As a designer, I'm accustomed to using a color wheel to pair up different colors, rather than using the main color in your fabric and "matching" it with a solid skirt in that same hue. Instead of "matchy-matchy" stretch a little out of your comfort zone and get creative! Pull a secondary color out of your fabric and use that instead. Here are some color combinations to play with! I found this trapunto (Italian for quilted) fabric at JoAnns Fabrics in the home decor section. It makes a great quilted petticoat. I also have this rustic cotton weave. I love it. Pink is one of my long standing favorites, second only to purple. My plan is to make a Caraco jacket out of the pink and cream fabric, but what color do I make the linen skirt? - - I decided on a light aqua blue: https://www.fabric.com/buy/0403740/kaufman-essex-linen-blend-willow I purchased this gorgeous chintz on Ebay (below). I snagged the last two yards, but it is 54 inches wide so that is more than enough for the swallow-tail Pierrot I plan to make. The color most might be tempted to pick would be lilac, but the pale aqua blue above is the color I'm choosing. That way, I can mix and match it with the pink and ivory jacket, as well as pair the chintz with the ivory quilted cream petticoat. Have fun with your fabric and color choices. Pair Stripes with floral prints! A striped petticoat with a floral chintz is a nice look. But don't be afraid of color! Bright colors were common during this time period. Example: Pair a red and white print with a bright apple green! There are plenty of ideas to draw from on Pinterest.

On ebay, this very interesting upper body garment brings lots of questions, no answers. No sure date, no provenance, if I were to guess I would say c1790-1800. But.. that is a guess only. Let's take a look Inside view of the lining has the typical piecing of an early garment. The quality and color of the linen lining is also correct for an early garment. This center front view shows lacing holes that I am guessing from the image are about 2 inches apart. Hard to tell but they do not look like the holes accommodate a spiral lacing, but since I can document non spiral laced stays in the 18th century (center front lacing), this is not a deal breaker. The edges of the neck and center front are bound in ribbon, not an uncommon finish for raw edges. The eyelets are odd colors, but I believe that is more a function of fugitive dyes than it is a planned arrangement of colored eyelets. The eyelets look correct, the knots on the back are correct for the period as well. The stitches are also correct. This little inserted gusset is also a typical fitting solution for the 18th century. The fabric will be the big clue here. Now we just have to find a similar printed fabric and we could possibly nail down the date. Back view with split tabs. Inside view of center back. The construction of the lining is also very typical 18th century. Ok.. lots of observations on my part, no conclusions. But I don't think it is fake. Comments?

Please note that most of the dresses presented here in our Etsy store are just examples of our old work for clients. These are not ready made dresses for sale. We realize only customized dresses and we DON'T HAVE SHORT DEADLINES. Therefore, before you make a purchase, please ask us for details in a private message. If you make a purchase without reading this description - we do not accept cancellation of the transaction. We do not accept returns and resignations from an already ordered dress during sewing or after sending it (does not apply to tailoring corrections), because our dresses are made to measure and based on a design that is created individually for each customer. By clicking "buy it now" - you accept our terms. We accept payment plans discussed individually with each client. We are small fashion house Atelier Saint-Honore and we make all designs individually for each clients. All dresses are sewn for measures. We use traditional haute couture techniques like fine hand made finishes, hand made embroidery and artistique techniques of decorations. We offer the highest quality custom service and the best materials. Please ask in private for more details.

Caitriona Balfe in ‘Outlander’ (2014). x

SUBMITTED BY: AUADB (first of all, sorry for grammatical mistakes. English isn’t my first language :D) Sometimes characters wear huge skirts, and when a common hoopskirt or a petticoat isn’t enough,...

I have always wanted to make the early type of elastic garters which get their elasticity from metal tension coil springs. These were made of ivory silk taffeta embroidered with silk thread and silk ribbon. They are padded with cotton fiber. They have four metal springs each sewn between the taffeta. The motto was taken from a surviving pair of 18th century garters and the embroidery design is a combination of several others. Finished embroidery and spring channels:

Opera Colorado’s “Marriage of Figaro” will make you think about love… and then again

After two quick afternoons of sewing, I'm proud to say that my Curtain-Along contribution is complete! (If you're not familiar with the Curtain-Along, click here.) Everyone is making gowns, which I admire and all look great, but I wanted to do something different. "Sew" I chose to create an embroidered under petticoat. Crewel embroidered petticoat, 18th century August Auctions Mid-18th century petticoat, Vermont, linen plain weave with wool embroidery MFA Accession Number 38.79 Mid-18th century New England petticoat, linen and cotton ground with wool embroidery. MFA Accession Number 50.3175 Knowing that there are oodles of examples of beautifully embroidered under petticoat borders such as.... Crewel work petticoat border, 18th century New England. Linen ground with wool embroidery and worsted wool tape. MFA Accession Number 50.3123 Petticoat border, New England 1758. Linen plain weave with wool embroidery. MFA Accession Number 40.571 Petticoat border, 1758, Ipswich, MA. Linen plain weave with wool embroidery. MFA Accession Number 61.158 ...I used these as inspiration when curtain shopping. I searched online and found beautifully embroidered fabrics curtains like: Pottery Barn Margarite Embroidered Drape, starts at $129 a panel. Ballard Designs Crewel Embroidered Drape. This is no longer available but the sale/clearance price was $100 per panel. I wasn't willing to pay anything close to that amount. It seems to defeat the purposes of Jen's initial inspiration of the curtain fabric being similar to the reproduction fabric, yet much cheaper. Thanks to Etsy I eventually found a vintage pair of valences. Made from, most likely, a polyester yarn, the embroidery is done in chain stitches, which is accurate, and the design seems relatively 18th century in inspiration. The fabric on a Joann's-type osnaburg. At $25 it's a good fit. A detail of the embroidery. There's a great embroidered under petticoat from the UK National Trust that's all pieced together, which I used as my curtain-along inspiration / documentation: Petticoat 1740-1760, linen and cotton National Trust Collections Inventory Number 814614.8 Initially I thought I would unpick all the machine stitching and sew the whole thing by hand. Given the time consuming nature of unpicking machine stitches, I bagged that. I sewed the valences together; and then I sewed the valences to three pieces of a beige linen fabric--all on the sewing machine. (This is a big accomplishment for me as I'm much better versed in hand sewing.) Since this project is more costume-like than reproduction-like, I decided to keep the rod pocket seams so the valences retain their "curtainness". I pleated the waist and whip stitched the tape in place... ...and before I knew it, it was done! A peek at the inside. Some day I'll make a reproduction embroidered under petticoat with beautiful images. In the mean time, since students often ask about the many layers of 18th century clothing, this makes a great talking point.

American Duchess:Historical Costuming: How Wide Should Your 18th Century Panniers Be? | Interesting article with a guide to pannier proportions

So I am currently quite busy with a number of things. Firstly, I am picking up my new puppy tomorrow so madness is soon going to ensue! I have also been working on some commissions and setting up some new stuff on my etsy shop. Alongside this I am also doing a part time photography course, its always been a secondary hobby of mine but I am interested in learning a bit more about it. Last week I did a photoshoot with a great friend of mine to document some older and some new costumes that will shortly be up on my etsy shop and I thought I would show you the results. There are many more images, most of which I have started to upload onto my deviant account here All of the things shown here will soon be for sale on my etsy shop, I will post here once that is all up and running. I hope you like them...