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…

It’s not quite true that I haven’t been sewing this year, I have worked on a couple of small cap and embroidery projects. But that is just about what my energy level has been up to. I haven’t blogged much either, but hopefully both sewing and blogging will work better for me now. So I thought you would be interested in seeing some of Pehr Hilleström’s (1732-1816) painting of working women I have seen this summer. Most were seen at an exhibition at Sven-Harry’s art museum and two at Julitta manor house. The picture quality is reflected by the fact that most were taken with my mobile phone. Some of you may remember that one of my costuming pet peeves is when a garment is dismissed just because it wasn’t worn at one particular place. The costume world is, for good reasons, turned toward England, France and North America, but there are a number of regional clothing differences and the working woman’s clothes often reflected that. For example, the dreaded sleeveless bodice and shift combo, was actually a perfectly acceptable for a peasant woman in Sweden during the 18th century. And coloured caps were also worn, something I was once told didn’t exist during the 1700s. This laundress is wearing a bodice that seems unboned and a simple shift. Her blue cap is what in Sweden is known as a “bindmössa”. It’s a cap made of a coloured, often expensive fabric and in the 18th century it could cover the whole hair or just be placed on the back of the head. It often was (and is) stiffened. It’s still an important feature in many Swedish traditional costume. Originally this cap was worn over a white linen cap, but in the 18th century the cap was worn on it’s own. It could, however, be worn with a “stycke” (meaning piece) made of fine linen or lace and attached to the cap in a way which made it look like a separate cap was worn underneath. A ribbon bow was often attached to the back of the cap. A "bindmössa" could be worn by the middle classes as well. Bellamn mentions the rather wealthy Madame Bergström who is wearing a cap made of green silk moiré and decorated with silver lace. Underneath the cap she is wearing a "stycke" On the picture below you can't see much of the actual cap, but you can see the "stycke" This woman has very nice cuffs, I Think. She's not wearnig a cap, but a "klut", a neckerchief folded into a triangle and wrapped around the head. As is this woman Source Another bodice, this one clearly unboned. There are several extant ones and they range from being completely unboned, having bones in strategic placed up to half-boned. Source Of course white caps were worn as well Source These close-ups are from a large painting showing a party outside Svartsjö castle, showing a variety of clothes. Lots of stripes!

Step back in time with our LOUISE, 18th-Century Dress in Toffee Linen, a beautifully crafted historical garment that brings the elegance and sophistication of the 18th-century fashion to your wardrobe. This one-piece dress, inspired by the "English dress" or "Round Gown" worn in Western Europe and America between 1770-1785, is steeped in history and designed for the modern woman who appreciates timeless style.The dress is made with high-quality linen in a rich toffee shade that is both elegant and versatile. Each dress is handcrafted with meticulous attention to detail, reflecting the handcrafted quality, creativity, and authenticity that our store stand for. This dress is more than just a garment; it's a piece of wearable history, an expression of a love for vintage style and a testament to the timeless appeal of well-crafted, beautiful clothing. Make a statement with the LOUISE, 18th-Century Dress in Toffee Linen, and wear a piece of history. Design Features of our 18th-Century Dress in Toffee Linen Introducing our meticulously reproduced "English dresses" from the late 18th century, exuding grace and style with their precise tailoring and design details. These one-piece dresses are crafted from high-quality linen, showcasing a tight bodice and a pleated skirt spanning an impressive 4.5 meters with a 37,5 inches / 95 cm length. Designed to flatter, they feature synthetic boning, preformed elbow sleeves adorned with delicate lace ribbon, and a pleated front panel with long cotton ties. Embracing tradition, these dresses also include a large train. Experience the timeless beauty of history with our collection of "English dresses" from Atelier Serraspina. Fabrics and Care Outer Fabric of the 18th-Century Dress in Toffee Linen: 100% European medium weight linen - 6.05 oz/yd² / 205 g/m² Color: Toffee Laundered & mechanically softened Bodice Lining: Composition: 100% Raw Cotton (155 gr/m²) Color: Beige Sleeves Lining: Composition: 100% Poplin Cotton (110 gr/m²) Color: White Care Instructions: We kindly recommend dry cleaning only. How to put your 18th-Century Dress in Toffee Linen on After putting on your historical underwear, step into the 18th-century dress by sliding it over your head. Allow the back of the dress to hang behind you, and position the front panel against your abdomen (ensuring the waistband covers the lower ribs). Secure the front panel around your waist with the cotton ties. Finally, put your arms through the sleeves and arrange the train folds. To finish, thread the cord through the eyelets from bottom to top and conceal the knot in the neckline. About Sizing Finding the Right Size for your 18th-Century Dress in Toffee Linen: Please refer to the size chart to select the correct size for your 18th-century dress. Keep in mind that historical costumes don't follow standard sizing, so getting an accurate fit is important for comfort and effectiveness. Here's a complete guide on how to measure yourself. Custom Sizing: If your measurements don't align with the sizes on the chart, we recommend choosing the "custom size" option. After placing your order, submit your measurements through our Custom Sizing Form as soon as possible. Delay in receiving your measurements will also delay your order. Processing Times for a 18th-Century Dress in Toffee Linen All our garments, including the LOUISE 18th-century dresses, 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. The typical production time for an 18th-Century Dress ranges from 4-6 weeks, depending on the current order volume. Keep in mind that the processing time does not include shipping.

🌸 Our toffee linen skirt is perfect for all your next medieval reenactment and any Renaissance Faire. This 18th century skirt will combine perfectly with any bodice or jacket in the shop. 🌸 This softened linen petticoat is a must-have piece in your historical wardrobe! This historical skirt is perfect for completing your Outlander Costume! You can also use it for dressing up a medieval peasant or a Renaissance fair maiden. But you can also wear your long linen Skirt daily with a modern jacket or sweater, in a very history-bound spirit. 📌📌 DESIGN 📌📌 - color: TOFFEE - 2 panels of linen, patiently pleated according to the 18th-century fashion - 3 m span - long ties on the back and front to attach each panel around your waist - Ankle length: 37,5 inches (95 cm) long - Use a bustle pad to give the skirt its beautiful volume: https://www.etsy.com/listing/1109774117/bustle-pad-in-white-cotton-beautifully 📌📌 SIZES 📌📌 The item comes in 12 sizes: from XS to X4. Please, refer to the item measurements in our Size Guide as the last picture of the listing. 📌📌 FABRICS & CARE 📌📌 - Fabrics: 100% organic mid-weight softened linen (205 gr/m) - Care: Use hand wash or cold machine wash. Do not bleach, soak, rub, or tumble dry. ❤️❤️ Please note that all garments in our workshop are handmade to order with love and care. We use only the best materials in fabrics and haberdashery to obtain excellent results and attire you will keep and cherish for many years.❤️❤️ ❤️ Thank you for visiting our shop!

Here's a little collection of 18th century paintings that depicts clothes that are a bit unusual and interesting. First of is this wonderful portrait. Isn't it amazing? An old woman portrayed with dignity and beauty. I also find her cap interesting. I can't recall any other 18th century portrait with such a peak down the forehead. Portrait of An Old Woman by Balthasar Denner (or possibly Christian Seybold), probably the first half of the 18th century Plaid isn't all that common on 18th century portraits, but they crop up from time to time. I really like the kitchen maid's plaid apron, but her spotted caracao even more. Not to mention the colour combination. I think I need this outfit! Plucking the Turkey by Henry Walton, 1776 This girl was a member of the Moravian church. Click on the link for more paintings of Moravian women, they have a rather distinct front-laced bodice that you can't see here because of the neckerchief. This girl is the only one in plaid, though. Young Moravian Girl by Johann Valentin Haidt , painted before 1780 A Scottish lady of a Jacobite inclination, so her choice of fabric for her riding habit is not so surprising. Portrait of a Jacobite Lady by Cosmo Alexander, 1745-50s This fabric in her brunswick is just gorgeous! I wouldn't mind getting my mitts on something like that. Princess Frederika Sophia Wilhelmina of Orange by Johann Georg Ziesenis, 1768-69 After plaids it feels natural to progress to stripes. Maria Luisa de Parma, later Queen of Spain by Laurent Pecheux, 1765 A very clever use of the fabric here, I think.  Infanta Maria Josefa de Borbon by Giusseppe Bonito, 1758-59  And last of fabric patterns; flowers. Foliage crazy, anyone? Victoire of France by Jean-Marc Nattier, mid-18th century I scanned this picture several years ago from a book and I'm sorry that the quality is so bad. I have never seen this kind of buttoned shirt on an 18th century woman anywhere else. The painting belong to Nationalmuseum in Sweden, but the catalouge entry is without picture.  Brita Christina Appelbom by Georg Desmarées, painted before 1757 This is clearly a regional costume, Strasbourg to be exact. The hat is truly in a category in itself and the stays are interesting in itself. La Belle Strasbourgeoise by Nicolas de Largillière, 1703 Does anyone know anything more about this rather curious layering? To me it looks like a chemise, probably stays, a (padded?) jacket with another jacket, or gown, laced over it. I think it is pretty and it ought to add warmth. I know I have seen more paintings than the two here and I think all have been French. Seems to me to be a bit too practical to be just an artist's imaginatiopn so I am apt to think it was an actual fashion, but perhaps a rather regional one. Portrait of Mlle Lavergne, the niece of the artist by Jean-Etienne Liotard, 1746 Portrait of a young lady with a courtly letter in hand by Jean-Baptiste Mallet This one is interesting just because ot the complete dissarray of hair and clothes. Especially the hair as it gives a glimpse on how hair was arranged. The Broken Mirror by Jean-Baptiste Greuze, 1763  There are several extant examples of stays with tie-on sleeves. Here is a somewhat rarer example on them in a painting. Detail from Women Working on Pillow Lace by Giacomo Ceruti, 1720s

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.

A few months ago I made an 18th century Caraco Jacket, but it turned out looking more like something Mrs. Claus would wear than something ...

I set about making the pieces for this outfit last summer, determined to take every stitch by hand, and construct it as authentically as possible. Museum Link: http://collections.vam.ac.uk/item/O127162/gown-unknown/ The first step was designing the jacket. I saw this dress on pinterest, and loved the button closure design, but discovering the dress had been altered in the late 1760's and again in the 1950's, I was concerned the style was too late for our 1750's/1760's French and Indian war reenacting. I began scouring the pages of pinterest for more evidence of this style and was rewarded with not one, but two, examples in paintings! I was delighted, and immediately set to designing the "perfect" tab pattern for the front. Portrait of a lady in a blue dress by Léon-Pascal Glain, 1755 Portrait d'une femme en robe de satin bleu, 1760 I could not find the links to the original sources for these two photos, so here's a link to my pinterest board instead: https://www.pinterest.com/EonwetheBlue/pins-for-blog/ I hemmed and hawed, and hemmed some more before finally settling on a gradually decreasing tab width from the top to the bottom. I'm ecstatic with how it turned out and I LOVE how speedily the buttons allow me to dress for a day of reenacting. I found out recently the fascinating information that there is some pictorial evidence for button closures on Dutch and Flemish ladies clothing in the 18th century! (Though the ones I found for this jacket were English and French) I just love the practicality and design elements buttons afford, and the Dutch caps tip the scale in further favor of honing a Dutch impression for future reenactments. I even have a small amount of Dutch heritage to further entice my interest! Much, MUCH more research on the prevalence of buttons is needed before I forge ahead on that venture! It took at least 35 hours to complete the jacket alone. The petticoat was fairly quick, taking a mere 6 hours to complete. I love, love, LOVE this blue color... It's called "Blue Heaven" and I think it's aptly named.😇 I really enjoyed the experience of making an entire ensemble by hand, and I would definitely (and plan to!) make more completely hand stitched garments in the future. The best part of hand stitching was how easy it was to visit with family or friends while doing so, not to mention several delightful hours of musicals and Pride and Prejudice (the one with Jennifer Ehle and Colin Firth of course. 😉 ) I ran short on time with the cap and was forced to do one of the inner seams by machine. 😥 Alas and alack for the woes of the time crunch! I finished the jacket at the Fort Pitt reenactment just in time to wear it for the last day. The cuffs weren't on, and I still had to make the cream stomacher, but it was "finished" at last and I was excited to finally be able to really wear it! I plan to make a new stomacher piece, as at least two folks have been set to giggles upon noticing that the tip of the stomacher looks rather like a tongue sticking out. 😉😛 Photo credit goes to my brother. :)

Here comes the finishing steps of making my yellow Caraco jacket (read Part 1). After the assembling of the bodice, and insertion of the lining to the jacket, it was time for the clouser. Since it …

Step back in time with this custom order 18th century stays! These stays are made with two layers of 10 oz natural colored cotton duck canvas, are boned with 3/8" plastic boning, and lace up with 1/4" metal eyelets. They lace up both the front and the back for optimal fit, and the shoulder straps can be adjusted with a ribbon tie at the front. These stays are great foundation wear for reenactments, highland games, renaissance festivals, and Outlander or pirate themed events. This particular style of stays is one of the most comfortable foundation garments we use in our personal wardrobe, as the boning will mold and conform to your body after a couple of uses. Please compare your measurements to the size chart provided before ordering. If you have any questions about sizing send us a message before ordering and we will point you in the right direction. Don't quite fit into the size chart? Don't worry! We often make stays to our client's specific measurements. Just send us a message and we will give you further directions. We are a smoke free, but pet friendly home. Garments will be laundered before being shipped to you. Thanks for considering our product!

Banyan For us, this is just a robe, but in the 18th century with fashion being so over the top, this was a key garment in a man’s wardrobe: inspired by East Indian style clothing and borrowing its...

A lovely colonial dress is a necessity for any theatre production or reenacting for 18th century accuracy. While displaying elegance and the everyday style, this dress features a hand embroidered bodice to give a touch of uniqueness without adding too much extravaganza for the refined lady. Size: Bust - 34" (Measure at the fullest part of bust) Waist - 26" (Measure at the smallest part of the waist) Length of skirt/petticoat - 41 1/2" (please note that the petticoat rests an inch above the belly button) If you have any questions about additional measurements, feel to send me a message. Please note that the model is wearing a period correct corset, chemise and bum roll. If you plan on wearing the correct underthings, please take your measurements accordingly. Without the correct assembly underneath, the look of the dress will change dramatically. Thank you for looking, - Cassaundra (The Tailorette)

Period: 18th Century - Sack dress Material: Embroidered thai silk, dyed lace, decorative flowers

Just Let me Pin on My Flat, Frilly, Fancy Abs… Stomacher and matching Gown, mid 18th century Stomachers were an essential part of a woman’s wardrobe beginning with a rise of pairs of bo…

Today’s post focuses on a project that I did a terrible job of documenting (to be honest, that’s been most of my projects recently). It was also completed more than three months ago, an…

🌸 Our steel blue linen skirt is perfect for all your next medieval reenactment and any Renaissance Faire. This 18th century skirt will combine perfectly with any bodice or jacket in the shop. 🌸 This softened linen petticoat is a must-have piece in your historical wardrobe! This historical skirt is perfect for completing your Outlander Costume! You can also use it for dressing up a medieval peasant or a Renaissance fair maiden. But you can also wear your long linen Skirt daily with a modern jacket or sweater, in a very history-bound spirit. 📌📌 DESIGN 📌📌 - color: STEEL BLUE - 2 panels of linen, patiently pleated according to the 18th-century fashion - 3 m span - long ties on the back and front to attach each panel around your waist - Ankle length: 37,5 inches (95 cm) long - Use a bustle pad to give the skirt its beautiful volume: https://www.etsy.com/listing/1109774117/bustle-pad-in-white-cotton-beautifully 📌📌 SIZES 📌📌 The item comes in 12 sizes: from XS to X4. Please, refer to the item measurements in our Size Guide as the last picture of the listing. 📌📌 FABRICS & CARE 📌📌 - Fabrics: 100% organic mid-weight softened linen (205 gr/m) - Care: Use hand wash or cold machine wash. Do not bleach, soak, rub, or tumble dry. ❤️❤️ Please note that all garments in our workshop are handmade to order with love and care. We use only the best materials in fabrics and haberdashery to obtain excellent results and attire you will keep and cherish for many years.❤️❤️ ❤️ Thank you for visiting our shop!

PRICE SHOWN IS FOR LABOR ONLY! THE COST OF THE FABRIC IS ADDITIONAL! ***This is a CUSTOM order item. The samples shown in the photos are not for sale.*** Aprons, whether utilitarian or fashionable, were ubiquitous accessories throughout the second half of the eighteenth century. Period images and extant examples attest to an incredible variety of fabrics used in their making, from solids to checks to stripes. This listing is for a utilitarian work apron - the must-have accessory for every woman or young girl to wear to help keep her petticoat clean while cooking or doing chores around the house or in a camp setting. Surviving originals and period images show that apron waistbands were finished in one of three ways. They were gathered or pleated either to a self-fabric waistband (as shown in the first two pictures) or to a tape waistband (shown in photos 3-5), or they were simply drawn up over a drawstring to allow for size adjustability. This apron style is appropriate for both women and girls. Your apron is completely customizable and will be made to your exact preferences! To order, please follow the steps below: 1) FABRIC CHOICE This apron will be made in your choice of fabric. The cost of the fabric will be ADDED TO the price shown in this listing (listing price reflects the price of labor ONLY). When you make your purchase, let us know in the comment section whether you would like linen or wool, and whether you prefer the fabric to be a plain solid color, checked, or striped. We'll source some samples to meet your needs and specifications, and send them to you for your approval. Alternatively, you're also welcome to send us your own fabric if you already have it on hand! 2) MEASUREMENTS AND SIZING Please also include the following measurements in the comment section when ordering: - the length you'd like your apron to be - the width of the apron across the FINISHED waistband (generally from one hip, across your front, to the other hip). OR we can simply do the waist on a drawstring so that it remains fully adjustable in width. Just let us know your preference! 3) WAISTBAND FINISHING The apron's style and finishing options are also entirely up to you! The apron's waistband can be either gathered to a tape or self-fabric waistband, OR pleated to a tape or self-fabric waistband, OR gathered on a drawstring (to allow it to be adjustable in width). Please make your selection using the drop-down menus when ordering. If you have any additional questions, please don't hesitate to send us a message! We also offer a set that includes a matching work apron and kerchief: This item arrives to you with detailed period documentation and care instructions.

I think anyone who look at clothes on the Net finds them, these odd or mysterious items that doesn't look quite like anything else. Or when the photos are so bad and the information so scant that you are just dying to know more about them. Here are my favourites. Nordiska museet in Stockholm have long been my favourite culprit when it comes to teasing us costume nerds with bad information. Nordiska's collections are huge and they have very little money, so one can understand why just about 1/3 of their collection have found their way into the online database and not all of them have photos. It's very annoying nevertheless, especially as Nordiska has some clothes that seem to be pretty unique and really should be shown off for the world. A gown from the 1690's in white, embrodered silk and black lace, stomacher in white embrodiered silk and petticoat in black lace. What is going on here? Carolina Brown in the book Mode, Kädedräktens historia i fem sekler, calls this a mantilj (mantilla) and it is really shaped like a shawl. there are no sewn sleeves, for example. Nordiska gives no information at all about this gown, and if it is dated correctly and hasn't been re-made later, (impssoble to say from a black-and-white photo) then it is something unique. I have never seen anything like it. Have you? I think this is a mantua, dated to the early 18th century. It's in silk, but what about colour and, a picture of the front! Embrodeired jacket, waistcoat and petticoat from the 18th century. The only information is that teh jacket has been shortened. But wh want to know more, don't we? A childs gown from the 1660's. It can actually be found in the online database, but with no more information. Not to mention that that they have another 17th century child's gown, without a picture. NM.0024965 LACMA has this 17th century ecclesiastical lay figure costume. And that is all they let us know. Source Here the Museum of Fins Arts Boston (which also have a terrible search function ion their database, delights us with this description of a gown from around 1700: "Blue silk damask brocaded with polychrome silks and metallic yarns in stylized floral motifs. High round neckline with small rounded wrap collar. Coat closure with two welted pockets; vertical and horizonal darts in bodice; metallic fringe at front line. Full-length sleeves with metallic cording ruching bands at elbows, asymmetrical slit cuffs. Skirt fullness gathered by deep inverted gore at dropped waistline. Cording ribbon randomly applied at side seams." And annoys us with not showing any pictures of the front. Source This picture is said to be a 17th century dressing gown. I would love it to be that way. However, it seems to originate from this page and as you can see it shares room with clothes that looks like they are modern reproduction with a mantua from the Metropolitan. None of the pictures are sourced properly. My gut feeling is that this is a not from the 17th century. I would also love to know more about the 17th century clothes found in graves in Turku in Finland, especially a really lovely striped gown. Go and read the whole article for photos! In general costumes preserved at small museums with a limited budget gets very little attention. I am sure that there are a lot of costume treasures all over Europe that are just waiting to be discovered!

Part 1 can be found here. Stays after 1650 Source Salmon pink stays, 1660-1680 at V&A. Made out of ten pattern pieces, giving it a slightly more curvaceous shape than earlier stays and making the waist more round rather than oval. One layer of watered silk and one layer herringbone weave linen, possibly ticking, bound with silk grosgrain ribbon. Laced in front over a boned, T-shaped stomacher. The boning channels are stitched with silk and boned with whalebones. Ten skirts with six gores inserted between the front ones. The gores are not boned. The stays are not lined, but the seams are covered on the inside with silk grosgrain ribbon. 3/4 -length sleeves are attached with ribbons to the shoulder straps. Though they are more advanced in cut than previous stays and probably also made in a different country, they still have similar construction method. Silk and wool stays, dated 1671-1680. The front is covered with silk brocade and decorated with silver gilt braid and spangles. The back is covered with blue wool and it is lined with linen. Source Yellow silk stays, either late 17th century or early 18th century. The cut of stays didn’t change abruptly at the turning of the century and it is difficult to say exactly on which side of 1700 they were made. These are covered in silk, making the boning channels invisiböe and is decorated with silver lace. Source Boned bodices The 1630´s ivory silk slashed bodice in V&A has a boned lining, but it is different from other extant bodices. It is open in the front it is probably that there was originally a stomacher as well. The foundation is built from several layers of buckram and linen canvas, reinforced, not fully boned, with whalebones. The boning is wider than in other extant stays and bodices, about 12 mm and in the back the boning is put in horizontally. It also differs from other bodices in that it cut above the waist and has no tabs, which is in keeping with the current fashion which had a raised waist. Source Pale-coloured silk satin bodice, 1660-1669, V&A. Decorated with parchment lace. The boned foundations is made from twelve pattern pieces, reinforced at places with up to three extra layers of linen. The middle side panel is unboned but stiffened with buckram and wool and may be a later addition to increase the size. The foundation is made by two layers of linen and has ten skirts. Boned with whalebone, at the back are four horizontal bones placed on top of the vertical ones. A pocket for a busk is placed at the center front. Lined with ikat woven silk. Source Green silk bodice, Museum of London, 1650-1670. Decorated with silver bobbin lace and silver alloy spangles and heavily boned. Source Silver tissue gown with a boned bodice from the 1660’s, Fashion Museum, Bath. Photo by Ludi Ling Iron stays Several iron stays have been preserved, most of them dating to the decades before and after 1600. They are usually rather elaborate and elegant in shape, the metal perforated in patterns and the shape follow the form a fashionable female torso should possess; a cone. When worn they would have been padded on the inside and covered with fabric, making them a bit more comfortable than they look at the first glance. Their purpose is not completely clear though and there are more than one theory to their function. Iron corset, 1580-1599, York Castle Museum The rigidity of their shape could have served a medical purpose, like correcting scoliosis. Children were certainly fitted with stays to correct mis-happen body’s and it is not impossible that grown women could be in need of corrective help as well. It is also known that Eleonora of Toledo, who suffered from rheumatism and tuberculosis, had metal stays made for her, They were not listed among her clothes, which indicate that they were used for medical purposes. They could also have been worn as an expression of piety, an unyielding sister to the hair shirt, that a noble woman could wear for religious reasons while at the same time retaining a fashionable shape. It is also possible that the extreme rigidity could be something sought after for the most ceremonial and formal occasions. A woman in full court wear was a display, an ornament or a showcase of wealth and then iron stays may have provided the perfect frame for it. They must have been quite heavy to wear but considering the weight of a farthingale, several petticoats and a heavily decorated gown, perhaps the extra weight of a metal corset wasn’t too much of a burden, especially if they were just worn for special occasions. Anonymous, Elizabeth Vernon, Countess of Southampton, c. 1600 Conclusion Despite the small sample material and the difficulty in finding information, some conclusions about stays and boned bodices can be drawn. Hopefully there will one day be more in-depth research on the subject which undoubtedly would provide more and better information than this short article can provide. Stays and boned bodices in the 17th century moulded the figure. The pattern pieces fit like a jigsaw puzzle, making the stays two-dimensional. Later, in the 18th century seams started to curve on each other, creating a garment that to some extent adapted to the female body’s natural curves. In the 17th century it was the body which had to adapt to the stays, pushing the breast up and stomach down. Stays and boned bodices were always fully boned and the boning channels, when they can be seen, are vertical. There is one exception to this; the ivory, slashed satin bodice in V&A. Apart from this example, stays and bodices both from the early and the late 17th century are heavily boned. The shoulder straps on the stays are placed in correspondence to how the fashionable neckline was cut. The Effigy stays have shoulder straps that cover the shoulders as fashion dictated in 1603, later stays have straps that are off the shoulders. Stays from the first half of the 17th century are front-laced, both with or without a separate stomacher. They have few pattern pieces. Stays from the second half are a bit more varied. There are the front-laced stays from V&A, which has a stomacher and attached sleeves. Most of the extant stays are back-laced, however, and they are covered so the boning channels are invisible. The front are decorated and sometimes the fabric that covers the front is more expensive than the fabric in the back. Stays are made of several pattern pieces. All extant boned bodices, apart from the slashed satin one, are back-laced. They too are constructed from several pattern pieces. Most of the extant stays are decorated and/or covered with expensive fabric, indicating that they were meant to be visible and not solely regarded as foundations underwear. Stays with attachable sleeves further blur the line between stays and bodice. Gerard ter Borch, The Concert, 1655 Literature Anonymous An account of charity-schools in Great Britain and Ireland: with the benefactions thereto; and of the methods whereby they were set up, and are governed. Also a proposal for adding some work to the childrens learning. And an appendix, containing certain forms and directions relating to these schools, J. Downing, 1712 Arnold, Janet Patterns of Fashion: Englishwomen's Dresses & Their Construction, London: MacMillan, 1977 Arnold, Janet Patterns of Fashion: The Cut and Construction of Clothes For Men and Women c1560-1620, London: Macmillan, 1985 Arnold, Janet “The ‘pair of straight bodies’ and ‘a pair of drawers’ dating from 1603 which Clothe the Effigy of Queen Elizabeth I in Westminster Abbey”, Costume, vol 41, 2007 Hammar, Britta & Rasmussen, Pernilla Underkläder: En kulturhistoria, Stockholm, Signum, 2008 Kunzle, David Fashion and Fetishism: Corset, Tight-lacing and Other Forms of Body-sculpture, New ed., Stroud : Sutton, 2004 North, Susan & Tiramani, Jenny (ed.) Seventeenth-century women's dress patterns. Book 1, London : V & A Publishing, 2011 North, Susan & Tiramani, Jenny (ed.) Seventeenth-century women's dress patterns. Book 2, London : V & A Publishing, 2012 Pietsch, Johannes Die Kostümsammlung Hüpsch im Hessischen Landesmuseum Darmstadt, Bestandskatalog der Männer- und Frauenkleidungsstücke; Studien zu Material, Technik und Geschichte der Bekleidung im 17. Jahrhundert, The Hüpsch Costume Collection in the Hessisches Landesmuseum Darmstadt, 2008 Ribeiro, Aileen Fashion and fiction: Dress In Art and Literature in Stuart England, New Haven: Yale University Press, 2005 Sorge-English, Lynn Stays and Body Image In London: The Staymaking Trade, 1680-1810, London: Pickering & Chatto, 2011. Steele, Valerie The Corset: A Cultural History, New Haven; Yale University Press, 2001 Wiseman, Richard Several chirurgical treatises, London, Flesher, 1676 Online sources Old Bailey Sittingbourne Cache, Deliberatly Concealed Garment Project Sittingbourne Stays, Ready To Wear (1640s Style) To Stay or Not to Stay..., Anèa Costume

“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 […]

Early 18th century castle cabinet made of ash and curved ash loupe on the front and sides. The cocked hat cornice is surmounted on the central part of a large shell which is followed by a smaller one on the top transom. Carved and fretwork doors with molded sides with three panels. The interior of

A reproduction of an 18th century ladies' riding habit suit, to be made to the buyers measurements. Consisting of 3 parts: Jacket, Waistcoat, and Petticoat. All visible stitching and top work will be done by hand. Buttonholes to be done by hand or machine (see purchase options). I have red linen and blue linen shown, but fabric options can be discussed =) The habit shown in the images is one I finished for another customer. To see many more photos and construction details, please visit the blog post here: https://antiquesewist.blogspot.com/2018/12/jp-ryan-riding-habit-red-linen.html JACKET: Includes 30 decorative buttons and decorative buttonholes. The closure at the center front is with hooks and eyes. The coat looks very well fully closed or left open over the waistcoat. The collar, cuffs, and front edges are interfaced with linen buckram. the pockets are functional and are about 5" deep. WAISTCOAT: Ends just past the natural waist. The front closure is with 10 buttons. The fronts are interfaced along the edge with linen buckram. The back is done with natural color linen and has lacing eyelets to adjust fit. PETTICOAT: The hem and the visible stitching along the side openings is done by hand. This petticoat is cut in the standard 18th century style, with a separate back and front waistband, opens at the sides. The back is cut 3" longer than the front to fit over a rump pad or bumroll, but that can be changed to whatever undergarments you plan to wear Buttonholes: There are two purchase options. One for machine made buttonholes, and another for handmade buttonholes. Making buttonholes by hand is very labor intensive, and for this riding habit represents almost 10 hours of work alone. This is why I now offer a separate price option for them. Since the buttonholes are all decorative, several past customers have expressed an interest in machined buttonholes for a reduced price :)

During the Costume Design course I took at ifs Cologne in 2014/2015, probably my favourite class was the costume reproduction class. My 8 classmates and me each picked a (historical) movie that centered around the topic of love triangles and chose a costume from it to reproduce. The movie I ended up choosing was "The Duchess", directed by Saul Dibb and starring Keira Knightley in the lead. I chose it for one because I LOVE 18th century fashion, that has been my favourite silhouette for...

I made a new 18th century jacket this week, mainly because I wanted to have something new to wear at Isokyrö 18th century fair. I finished the piece just in time (read: stayed up until 3 a.m. on Friday night to put last stitches on it...) and it was a joy to wear. There were plenty of good reenactor photographers at the fair yesterday so I expect to get some nice pics of the whole get-up in action soonish, but meanwhile here are some I took today. The jacket is a modified version of my earlier black swallowtail jacket. I made the petticoat this week too. I might embroider the hem later. I changed the shape of the hem for this one, making it round rather than pointy The fabric is the same Ikea bed sheet I used for my flowery anglaise. I still have heaps of it left... The jacket is pinned close and it has a separate stomacher with ribbon decoration. Since I dressed up for photos of the jacket I wanted to try some different styles with it. Here's what I came up with: My Parisian chic Party version of the anglaise The anglaise doesn't have proper ribbons to pull the hem up, here it's just pinned and looks a bit strange. Don't look at the hair too closely. I just threw some pins and hair rats at it and didn't style it properly.

Step back in time with our LOUISE, 18th-Century Dress in Toffee Linen, a beautifully crafted historical garment that brings the elegance and sophistication of the 18th-century fashion to your wardrobe. This one-piece dress, inspired by the "English dress" or "Round Gown" worn in Western Europe and America between 1770-1785, is steeped in history and designed for the modern woman who appreciates timeless style.The dress is made with high-quality linen in a rich toffee shade that is both elegant and versatile. Each dress is handcrafted with meticulous attention to detail, reflecting the handcrafted quality, creativity, and authenticity that our store stand for. This dress is more than just a garment; it's a piece of wearable history, an expression of a love for vintage style and a testament to the timeless appeal of well-crafted, beautiful clothing. Make a statement with the LOUISE, 18th-Century Dress in Toffee Linen, and wear a piece of history. Design Features of our 18th-Century Dress in Toffee Linen Introducing our meticulously reproduced "English dresses" from the late 18th century, exuding grace and style with their precise tailoring and design details. These one-piece dresses are crafted from high-quality linen, showcasing a tight bodice and a pleated skirt spanning an impressive 4.5 meters with a 37,5 inches / 95 cm length. Designed to flatter, they feature synthetic boning, preformed elbow sleeves adorned with delicate lace ribbon, and a pleated front panel with long cotton ties. Embracing tradition, these dresses also include a large train. Experience the timeless beauty of history with our collection of "English dresses" from Atelier Serraspina. Fabrics and Care Outer Fabric of the 18th-Century Dress in Toffee Linen: 100% European medium weight linen - 6.05 oz/yd² / 205 g/m² Color: Toffee Laundered & mechanically softened Bodice Lining: Composition: 100% Raw Cotton (155 gr/m²) Color: Beige Sleeves Lining: Composition: 100% Poplin Cotton (110 gr/m²) Color: White Care Instructions: We kindly recommend dry cleaning only. How to put your 18th-Century Dress in Toffee Linen on After putting on your historical underwear, step into the 18th-century dress by sliding it over your head. Allow the back of the dress to hang behind you, and position the front panel against your abdomen (ensuring the waistband covers the lower ribs). Secure the front panel around your waist with the cotton ties. Finally, put your arms through the sleeves and arrange the train folds. To finish, thread the cord through the eyelets from bottom to top and conceal the knot in the neckline. About Sizing Finding the Right Size for your 18th-Century Dress in Toffee Linen: Please refer to the size chart to select the correct size for your 18th-century dress. Keep in mind that historical costumes don't follow standard sizing, so getting an accurate fit is important for comfort and effectiveness. Here's a complete guide on how to measure yourself. Custom Sizing: If your measurements don't align with the sizes on the chart, we recommend choosing the "custom size" option. After placing your order, submit your measurements through our Custom Sizing Form as soon as possible. Delay in receiving your measurements will also delay your order. Processing Times for a 18th-Century Dress in Toffee Linen All our garments, including the LOUISE 18th-century dresses, 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. The typical production time for an 18th-Century Dress ranges from 4-6 weeks, depending on the current order volume. Keep in mind that the processing time does not include shipping.

Pleated skirt perfect to complete 18th century cosplays. Made to be worn over stays. Tie closure at the front and back. No elastic at the waistband. Access for pockets on either side, hidden so the slits are not visible. Longer at the back to accommodate unpinnings, such as bum roll. Made from 100% cotton flannel, fabric is a bit heavier weight. This item will be made to your specified waist measurement and color preference. All measurements are taken in inches. Skirt length will be made to be 40 inches in the front and 42 inches at the back, unless a different length is specified when purchasing. Since this is a custom garment, processing time is estimated at 3-4 weeks, but may be completed sooner. Pair with a lace up peplum bodice similar to the brown one pictured: www.etsy.com/listing/1172198611