French cavalry presentation sword, 18th century from Artemis Gallery
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!
GENTS FRENCH METALLIC EMBROIDERED COURT COAT, WAISTCOAT and CAPE, LATE 18th - EARLY 19th C. Photos used with permission from Whitaker Auction House. http://www.whitakerauction.com
Nancy Duong le gusta estudiar, investigar sobre la moda de los hombres y mujeres chinas y orientales a lo largo de la historia, desde la dinastía Han hasta el qipao modernizada. Y luego realiza e…
Lovely 18th century gown reproduction
Cartridge pouch, embroidery in silk and metal thread and applied work on wool and leather, England, 1750-58.
khanjar, 18th century, india
Reversible corset dress made of violet organza from one side and black cotton fabric from the other. The corset is fully boned with metal bones. The dress has lacing on the back of the corset with a satin bend, as well as a skirt. The dress was inspired by 18th-century fashion. We made some antique patterns of corset and used them for creating this dress, and it turned out just amazing:) This can be a separate corset and skirt and also a dress. Please write in the personalisation section do you want corset+skirt or dress If you are from France or Belgium and cannot purchase the product, please contact us.
You know when you have tons of stuff to get done for a major costume event or trip, and yet Costume ADD strikes and despite being ridiculously short on time, you simply must get into something totally new? Yes, that. Going into Autumn here in Northern Nevada,
Historical shoes, 18th century reproduction, made of leather. Velcro closure. The buckles are free and will be chosen based on availability and size fit.
For the 18th century silhouette (King George or Louis XVI) I suggest a corset to wear on your day shirt. An essential element of any 18th century outfit, this corset is made of linen lined with soft cotton. Cream lacing link. Unlike the corset of the ladies of the bourgeoisie or the nobility, it is laced in the back and on the front which allows you to put it on without help. Knotted tight at the waist on the baskets, it gives finesse and maintains the silhouettes of the century of Marie Antoinette and Louis XVI. You will receive a corset and a triangle (stomach piece). Corset only, without shirt and baskets. washing at 30 degrees, tumble dryer not recommended
Explore PWimsey's 328 photos on Flickr!
French cavalry presentation sword, 18th century from Artemis Gallery
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!
“Afbeeldingen van de Kleeding, Zeden en Gewoonten in de Bataafsche Republiek, met den Aanvang der Negentiende Eeuw”, translated as “Pictures of the Dress, Manners and Customs of the Batavian Republic, at the Beginning of the 19th Century”, released by publisher Evert Maaskamp in 1803 is a very compelling book detailing the looks and styles of […]
@ Museum of Applied Arts, Budapest
Replongez dans le passé avec notre Robe à l'Anglaise 18ème siècle LOUISE, en lin caramel, un vêtement historique magnifiquement confectionné qui apporte l'élégance et la sophistication de la mode du 18ème siècle à votre garde-robe. Cette robe une pièce, inspirée de la "robe à l'anglaise" portée en Europe occidentale et en Amérique entre 1770 et 1785, est imprégnée d'histoire et conçue pour la femme moderne qui apprécie le style intemporel.La robe est fabriquée en lin de haute qualité dans une riche teinte caramel qui est à la fois élégante et polyvalente. Chaque robe est fabriquée avec une attention méticuleuse aux détails, reflétant la qualité artisanale, la créativité et l'authenticité qui caractérisent notre boutique. Cette robe est plus qu'un simple vêtement, c'est un morceau d'histoire à porter, l'expression d'un amour pour le style d'autrefois et un témoignage de l'attrait intemporel d'un vêtement beau et bien fait. Faites-vous remarquer avec la Robe à l'Anglaise 18ème siècle LOUISE, en lin caramel, et portez un morceau d'histoire.
Making this darn thing was a serious act of hubris. I figured since I had made the stays with no problem and had sewed more complicated garments in the past, how hard could it be to make a pleated tube skirt? So with all the confidence in the world, I took a look at some extant pieces and just started hacking and smashing my way through only to redo this petticoat 3-4 times depending on how you count. Even after looking at some great resources such as American Duchess's Tutorial and the excellent how-to from Koshka the Cat, I still managed to muck it up. So I thought I would write a blog post, in the hopes you can learn from my mistakes, even though such blog posts did not stop my brazen ego. In essence, an 18th C. petticoat is just two 50-60" (or 127-153 cm) wide rectangles of fabric (you can always use more but that is bare minimum) pleated and sewn together at the side. Easy! Right? Measure twice, cut once First, you will need a few measurements, and all of them should be taken with your undergarments on. This means shift, stays and false rump or pocket hoops. Measurements you will need: Waist Circumference Waist Center Front to Floor Waist Side to Floor Waist Center Back to Floor I will use my measurements as an example. I was wearing my shift, stay, and bumroll. Waist: 25" CF to Floor: 41" Side to Floor: 44" Back to Floor: 43" Now you need to decide how long you want your petticoat to be at the center front. I decided I wanted mine to be 4" from the ground so I could walk and move with ease. If you are going for a walking length gown you may want to make this even shorter. Once you have decided how far off the ground you want your hem to be, subtract that number from all your previous waist to floor measurements. So for me, subtract 4" from my measurements = CF to floor: 37" Side to Floor: 40" Back to Floor: 39" These will be the measurements of the final skirt length. Now we can begin cutting. You will be cutting two rectangles which are 50-60" (127-153 cm) wide and the length of your longest measurement +3", to accommodate the hem and adjustments for length. I used an old bed sheet for my petticoat, and so just used the existing hem. If you are doing something similar only add 1" to your longest measurement. One piece will be for the front and one for the back. Now at this point, you will want to hem the bottom edge of each piece. We will be adjusting the length at the waist so you can do a straight 1" hem along both pieces, turning them in by 1/2" to cover the raw edge. Next, we will mark along the waist - this will be the raw edge - to adjust the length of the skirt. We are adjusting the length of the skirt from the waist, so you are going to make the adjustment at the top of your skirt panel. Starting at the CF you will measure from the bottom up your CF measurement, in my case 37". Then do the sides with your side measurement, for me 40". To make everything even, I also marked the quarter point. Then draw a line out from the center to edges. Do the same for the back using your back measurements. You should have gentle "v" marked out on your fabric. Pressing Pressing Pressing... Next, starting from the center, fold the top of your fabric to the marked line, tuck in the raw edge so that they are encased and work your way to the edge. If you have a large difference between your CF and Side measurement - say for panniers - you may need to make a small slit at the center to ease the fabric. Press to keep the fold in place. You should now have a gentle "v" or scoop shape along the top edge of both pieces of fabric. Leaving the length pressed in the center means you can make adjustments in the future. You can see there that the roll get narrower at the end and wider towards the middle. Now you can begin pleating. If you like you can measure this out properly, The Mantua Diary has a great formula, but I went by feel rather than hard numbers. In the front, the knife pleat should go out from the waist with a box pleat at the center front, and in the back, the pleats should go in toward the center, with an inverted box pleat at the center. When doing my pleats, I pressed the top 3" or so just to keep them in place. Once you have finished the pleats, quickly whip or blanket stitch the top edge to keep them secure. I use a blanket stitch and some button thread just to be extra sure. Your stitches do not have to be neat, it will be covered by your waistband. If you have extra fabric you can make yourself a waistband or use folded ribbon or bias tape, your choice. I made a quick waistband and tacked some twill tape into the center for ties, then attached it to the skirt. Once you have completed both the front and the back pieces go ahead and sew them together at the side, leaving 8-10" at the top open so you can access your pockets if you like. And you're DONE! Phew. Now you can twirl around in your living room to your heart's content. You can see here that the petticoat has a nice even hem! Happily, these measurements work over both of my false rumps, but the trick is to make sure you take the measurement OVER your skirt supports so that when you are done that sides and back are not comically short. Putting on your Petticoat With all your appropriate undergarments on, step into your skirt with the back ties in your hand - remember the back side will be marked by the pleats going inward. Tie the ties at your front. Give the back a good fluff - most important step tbh - to make sure it is not caught on your bum. Take the front ties and tie them behind you. If you like you can tuck in your ties under the waistband of the back section. Now that you are all suited up, make sure you can get into your pockets and you are good to go. Resources The Mantua Diary - Great Pleating formula The Fashionable Frolick - Super Detailed Tutorial Arnold, Janet. Patterns of Fashion: Englishwomen's Dresses & Their Construction. New Ed.] ed. London: New York: Macmillan; Drama Book Publishers, 1977, 6.
Finally! It took me a little longer than I’d wanted, but I finally finished my first embroidery project! I took a short break to enjoy the holidays, and then my husband and I re-organized t…
In the late 18th century the bum roll was worn under the gown in place of the panier or pocket hoops. Especially under the Robe a l'Anglaise and the Robe a la Polonaise. Material: Linen fabric Polyester stuffing
Size: Standard (5" x 7") Birthdays or holidays, good days or hard days, Zazzle’s customized greeting cards are the perfect way to convey your wishes on any occasion. Add a photo or pick a design and brighten someone’s day with a simple “hi”! Dimensions: 5" x 7" (portrait) or 7" x 5" (landscape) Full color CMYK print process All-sided printing for no additional cost Printable area on the back of the card is 3" x 4" (portrait) or 4" x 3" (landscape) Standard white envelopes included Paper Type: Matte The most popular paper choice, Matte’s eggshell texture is soft to the touch with a smooth finish that provides the perfect backdrop for your chosen designs. Light white, uncoated matte finish with an eggshell texture Paper is easy to write on and won't smudge Made and printed in the USA
Fasion of 1780's
02/28/11 I've now got most of this complete. I used a Simplicity pattern for the chemise, although I completely redid the sleeve because I didn't want this gathered poofy thing going on. The petticoat was draped without a pattern. I took a look at several blogs and "how to get dressed in the 18th century" blogs and figured I could do without a pattern, and it worked out fabulously. I will admit that everything is built out of five yards of cotton that was used as a Thanksgiving tablecloth. I figured eventually I'd use it to flatline something or make undergarments. I managed to work around a stain left by the gravy boat being knocked over by an inebriated guest, and since I'm short there was plenty of yardage to work with. The fabric had been washed, spot treated so it no longer smelled like turkey, and dried to get it to shrink a bit. The following pic is a quick dry run. An update on the stays: I was able to make the stays smaller by overlapping the back and lacking it shut like that -- not correct but without doing that the stays were too big and didn't really cinch me in. The shoulder straps are also way way too long, but for now I'm going to sew them together--I think rather than redo the whole darn thing....maybe....we'll see. I have a great mask to wear which I will photograph later. 02/21/11 Pocket hoops are done, but not without a great deal of modification. I used the pattern provided in the link below, however, there were no instructions regarding scaling. As a person who is on the line of petite/average I found the pattern to be too long. So in the end I cut off 8" of the width of the two pieces, and more than 6" on the length. I've been told that the first time you wear panniers they seem unnatural and that bigger/wider is better, however, for my frame the original pattern sized seemed unreasonably large. This will do for now. I used the industrial zip ties again, this time finding a better deal in the plumbing department (25/36" heavy ties for $10). These seemed to be a bit heavier than the ones in the electrical department and I doubled them up in each casing (used 12 total). I think I'm ok with the finished product, and since I'm going for historical feel rather than accuracy they will do. First Post: I will be going to a Mardi Gras costumed/masked party soon and want to wear a historical costume rather than anything scary or too revealing. I don't have time to sew a dress but I have the stays and can whip up a petticoat and chemise. However, I need the pocket hoops. I found a DIY site that I will try to replicate the hoops. I will not use steel for this one but rather the industrial zip ties, but probably two in each channel. Here is the link: http://www.ferdalump.com/panniers.html
Robe à la francaise Time: approx. 1770 Reconstruction of a rococo dress - a robe à la francaise - made of ice blue silk in the typical vertical wave pattern with embroidered floral bouquets. The hand-embroidered plug was made using the pattern and embroidery technique of the 18th century. The dress includes a chemise made of fine linen with antique lace on the sleeves, a functional base with pockets, a large panier and a corset with handmade nest holes. All parts were made according to original cuts and templates. We offer the dress complete with a base, as the panier in particular must be coordinated with the skirt and the dress cannot be worn without a corset. The side seams of the jupe (skirt) and manteau are open at the top so that the pockets are easily accessible. Pictures 4 - 9 show the order of dressing: Chemise - Pockets - Corset - Panier - Skirt - Plug - Manteau The plug is authentically attached to the corset with pins (Fig. 7), and the manteau is also attached under the garnish on the plug (Fig. 9) (don't worry, the needles can't prick). This allows for much wider variability for different sizes. Material: Skirt, manteau, plug 100% silk, lining top manteau 100% linen Chemise 100% fine linen, lace 100% cotton Corset and panier 100% cotton Size variable thanks to the plug-in system and lacing inside the jacket about size 40 - 44/46 The doll has the following dimensions: chest circumference 114 cm, waist 98 cm Length of the dress measured from the shoulder-neck point: 155 cm The dress shown in the photos is being sold. Our company has specialized in the design and manufacture of high-quality historical fashion for more than 20 years. We work for museums, artists and private individuals. There is a reference page with our work on our website gandiva.eu.
Indulge in the beauty of the past with our Toffee Linen 18th-Century Dress. This exquisite overdress comes with a skirt and offers an authentic historical look. It's the perfect unique gift for history lovers. Step back in time with our exquisite CHARLOTTE, 18th-Century Overdress in Toffee Linen & Skirt. This 18th-century outfit is a meticulous reproduction of a popular historical style. The costume includes a long overdress featuring a fitted bodice with metal eyelets, pre-shaped elbow sleeves with pleated lace trim, and a wide pleated train. The optional skirt (in chocolate, white, or toffee) is an 18th-century pleated petticoat made of linen panels. Discover the timeless beauty and exquisite craftsmanship of the past with CHARLOTTE, our 18th-century overdress in Toffee Linen & Skirt. Experience the luxury of authentic style, expertly crafted to elevate your wardrobe and transport you through time. ☆ 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.
