This embroidery set is for the HARDCORE embroiderer- someone who wants to tackle a project that will take weeks - nay months - but will result in a truly fabulous product. This set is meant to be sewn on a Brother PR1000e or any other equivalent with a 14"x 7.75" hoop. I have included two other versions, meant for an 11x8 multineedle and 11x8 single needle. This includes about 20+ files, each with anywhere from 1500 to 75,000 stitches. This will give you the files to make: - The full redingote gown - The full redingote petticoat - Basic instructions on aligning the files. Please note that these files are designed to fit together exactly; please print each piece as stated. When hooping the next hoop, please make sure that the last line that you printed is as horizontal as possible on your hoop, and the next file should line up. Due to the incredibly difficult nature of this project, I am happy to offer suggestions but will not be providing lessons on how to make this. Again, this is for the experienced seamstress and embroiderer. If for some reason you need these files edited, please PM me and I may be able to offer that service for a fee. These files are in PES format. Converting with an online converter tends to work very welol, but I do not take responsibility for any damage to the file as you do so. Please note that due to the digital nature of this product, refunds can not be given.

This is a DIGITAL sewing pattern for a Georgian dress worn about 1780. Sewing patterns for split bum, pockets and fichu are included. Please scroll down for yardage and pattern information. The Redingote developed from the men´s Great Coat (a long woolen Coat with a cape, worn as outmost layer) and became popular about 1780. A Redingote is worn over a visible petticoat. This petticoat can be embroidered, decorated with ruffles or can be left plain. The product pictures show a steampunk interpretation of the dress, but as well a mostly historicaly accurate dress can be sewn with that pattern. Fitted to be worn over stays or a corset. Also suitable for cosplay costumes. →→WHAT YOU RECEIVE←← This is a DIGITAL pattern (PDF), you can download both size ranges and languages after payment has been confirmed. The pattern comes with detailed and illustrated sewing instructions in English and German. It is a multi-size sewing pattern, you can choose between Sizes US 8-18 (EU 34-44) and Sizes US 20-30 (EU 46-56). A seam allowance of 5/8" (1,5cm) is included in my patterns. The pattern is ready to be printed out on DIN A4 or US Letter. Format DIN A0 to be printed at a plotter / copy-shop comes with a second email at no additional costs. →→HOW MANY PATTERN PAGES TO PRINT←← The sewing pattern itself consists of: Size US 8-18 (EU 34-44): 45 pages A4/US letter or 3 A0 Size US 20-30 (EU 46-56): 54 pages A4/US letter or 3 A0 →→PATTERN INFORMATION←← Recommended fabrics: Fashion fabric: silk taffeta or lightweight wool cloth Petticoat: light to middleweight cotton fabrics Lining + split bum + pockets: (glazed) cotton or linen fabric Fichu: cotton lawn or voile Fabric required: US 8-18 (EU 34-44): Redingote: 5.5 yds. (5m) with a width of 55“ (140cm) Petticoat: 3 yds. (2,5m) with a width of 55“ (140cm) Lining: 3 yds. (2,5m) with a width of 55“ (140cm) Fichu: 1.1 yds. (1m) with a width of 55“ (140cm) buttons or wooden disks: Ø 1“-1 3/8“ (2,5-3cm): 12 pcs. buttons or wooden disks: Ø 3/8“ - 1/2“ (1-1,5cm): 10 pcs. Hooks and eyes, cotton tape 3/8“ and 1“(1cm and 2,5cm) wide plastic boning about 1/4“ wide, wadding and stuffing US 20-30 (EU 46-56): Redingote: 6yds. (5.3m) with a width of 55“ (140cm) + 1.3yds from size 26/52 Petticoat: 3 yds. (2,5m) with a width of 55“ (140cm) Lining: 3 yds. (2,5m) with a width of 55“ (140cm) Fichu: 1.1 yds. (1m) with a width of 55“ (140cm) buttons or wooden disks: Ø 1“-1 3/8“ (2,5-3cm): 12 pcs. buttons or wooden disks: Ø 3/8“ - 1/2“ (1-1,5cm): 10 pcs. Hooks and eyes, cotton tape 3/8“ and 1“(1cm and 2,5cm) wide plastic boning about 1/4“ wide, wadding and stuffing

As promised, a post outlining the construction of the 1780s mint wool redingote I made at the end of last year.

Questo è un cartamodello DIGITALE per un abito rococò indossato intorno al 1780. Sono inclusi anche i modelli per il cuscino per il sedere, le borse e la sciarpa. Scorri verso il basso per l'utilizzo del tessuto e ulteriori informazioni sul modello. Derivato dal cappotto del "grande" uomo, il redingote divenne popolare a partire dal 1780. L'abito è indossato sopra una sottoveste a vista, che può essere ricamata, ornata di balze o essere completamente disadorna. Le immagini mostrano un'interpretazione steampunk della Redingote, ma il modello può essere utilizzato anche per cucire un capo di abbigliamento in gran parte storicamente corretto. La vestibilità è progettata per essere indossata sopra un petto/corsetto allacciato. Adatto anche per cosplay o steampunk. →→COSA OTTIENI←← Trattasi di un prodotto digitale (sezione download PDF/e-book), sia i formati che le lingue sono scaricabili subito dopo aver completato la procedura di pagamento. Il modello include dettagliate istruzioni di cucito illustrate in tedesco e inglese. Nei miei modelli è incluso un margine di cucitura di 1,5 cm. È un taglio multitaglia, puoi scegliere tra le taglie EU 34-44 e EU 46-56. La stampa può essere eseguita su una stampante domestica standard in formato Din A4 o US Letter senza ulteriore preparazione (scala 100%). Il formato A0 per la stampa su plotter/fotocopiatrice arriva tramite una seconda email senza costi aggiuntivi. →→QUANTI LATI HA IL MIO MODELLO←← Il modello stesso è composto da: Formato EU 34-44: 45 pagine A4 o 3 fogli A0 Formato EU 46-56: 54 pagine A4 o 3 fogli A0 →→ULTERIORI INFORMAZIONI SUL MODELLO DI CUCITO←← Raccomandazione sul tessuto Tessuto esterno: taffetà (di seta), panno di lana leggero Sottogonna: taffetà (seta), tessuti di cotone da leggeri a medi Fodera, fondelli, tasche: cotone (cerato) o lino Fichu: cambrico, voile Consumo di materiale: Taglia UE 34-44: Redingote: 5 m con una larghezza di 140 cm Sottogonna: 2,5 m con una larghezza di 140 cm Fodera: 2,5 m con una larghezza di 140 cm Fichu: 1 m con una larghezza di 140 cm Bottoni o dischi di legno Ø 2,5-3 cm: 12 pz. Bottoni o dischi di legno Ø 1-1,5 cm: 10 pz. Gancio e occhiello, nastro di cotone largo 1 cm + 2,5 cm Osso di balena in plastica 5-6 mm, imbottitura in fibra e pile Taglia UE 46-56: Redingote: 5,3 m con una larghezza di 140 cm + 1,2 m dalla taglia EU 52 Sottoveste: 3,6 m con una larghezza di 140 cm Fodera: 3 m con una larghezza di 140 cm Fichu: 1 m con una larghezza di 140 cm Bottoni o dischi di legno Ø 2,5-3 cm: 12 pz. Bottoni o dischi di legno Ø 1-1,5 cm: 10 pz. Gancio e occhiello, nastro di cotone largo 1 cm + 2,5 cm Osso di balena in plastica 5-6 mm, imbottitura in fibra e pile

This time of year we start to dream about spring, but until then we all need something to keep us warm. And whats better then some nice woolen overdresses and redingotes.

As promised, a post outlining the construction of the 1780s mint wool redingote I made at the end of last year.

This is a DIGITAL sewing pattern for a Georgian dress worn about 1780. Sewing patterns for split bum, pockets and fichu are included. Please scroll down for yardage and pattern information. The Redingote developed from the men´s Great Coat (a long woolen Coat with a cape, worn as outmost layer) and became popular about 1780. A Redingote is worn over a visible petticoat. This petticoat can be embroidered, decorated with ruffles or can be left plain. The product pictures show a steampunk interpretation of the dress, but as well a mostly historicaly accurate dress can be sewn with that pattern. Fitted to be worn over stays or a corset. Also suitable for cosplay costumes. →→WHAT YOU RECEIVE←← This is a DIGITAL pattern (PDF), you can download both size ranges and languages after payment has been confirmed. The pattern comes with detailed and illustrated sewing instructions in English and German. It is a multi-size sewing pattern, you can choose between Sizes US 8-18 (EU 34-44) and Sizes US 20-30 (EU 46-56). A seam allowance of 5/8" (1,5cm) is included in my patterns. The pattern is ready to be printed out on DIN A4 or US Letter. Format DIN A0 to be printed at a plotter / copy-shop comes with a second email at no additional costs. →→HOW MANY PATTERN PAGES TO PRINT←← The sewing pattern itself consists of: Size US 8-18 (EU 34-44): 45 pages A4/US letter or 3 A0 Size US 20-30 (EU 46-56): 54 pages A4/US letter or 3 A0 →→PATTERN INFORMATION←← Recommended fabrics: Fashion fabric: silk taffeta or lightweight wool cloth Petticoat: light to middleweight cotton fabrics Lining + split bum + pockets: (glazed) cotton or linen fabric Fichu: cotton lawn or voile Fabric required: US 8-18 (EU 34-44): Redingote: 5.5 yds. (5m) with a width of 55“ (140cm) Petticoat: 3 yds. (2,5m) with a width of 55“ (140cm) Lining: 3 yds. (2,5m) with a width of 55“ (140cm) Fichu: 1.1 yds. (1m) with a width of 55“ (140cm) buttons or wooden disks: Ø 1“-1 3/8“ (2,5-3cm): 12 pcs. buttons or wooden disks: Ø 3/8“ - 1/2“ (1-1,5cm): 10 pcs. Hooks and eyes, cotton tape 3/8“ and 1“(1cm and 2,5cm) wide plastic boning about 1/4“ wide, wadding and stuffing US 20-30 (EU 46-56): Redingote: 6yds. (5.3m) with a width of 55“ (140cm) + 1.3yds from size 26/52 Petticoat: 3 yds. (2,5m) with a width of 55“ (140cm) Lining: 3 yds. (2,5m) with a width of 55“ (140cm) Fichu: 1.1 yds. (1m) with a width of 55“ (140cm) buttons or wooden disks: Ø 1“-1 3/8“ (2,5-3cm): 12 pcs. buttons or wooden disks: Ø 3/8“ - 1/2“ (1-1,5cm): 10 pcs. Hooks and eyes, cotton tape 3/8“ and 1“(1cm and 2,5cm) wide plastic boning about 1/4“ wide, wadding and stuffing

This week on Costume Analytics we will take a trip across the Pond and look at a snazzy American fashion, depicted in Ralph Earl's 1791 portrait of Mrs. William Moseley. This is a fascinating portrait because it not only depicts a Not-French and Not-English ensemble, but

Alors, voila, j'ai décider de recréer une robe sur une gravure, avec deux tissus, principalement, un taffetas marron/blanc café et un "soie" vert pistache

This is a DIGITAL sewing pattern for a Georgian dress worn about 1780. Sewing patterns for split bum, pockets and fichu are included. Please scroll down for yardage and pattern information. The Redingote developed from the men´s Great Coat (a long woolen Coat with a cape, worn as outmost layer) and became popular about 1780. A Redingote is worn over a visible petticoat. This petticoat can be embroidered, decorated with ruffles or can be left plain. The product pictures show a steampunk interpretation of the dress, but as well a mostly historicaly accurate dress can be sewn with that pattern. Fitted to be worn over stays or a corset. Also suitable for cosplay costumes. →→WHAT YOU RECEIVE←← This is a DIGITAL pattern (PDF), you can download both size ranges and languages after payment has been confirmed. The pattern comes with detailed and illustrated sewing instructions in English and German. It is a multi-size sewing pattern, you can choose between Sizes US 8-18 (EU 34-44) and Sizes US 20-30 (EU 46-56). A seam allowance of 5/8" (1,5cm) is included in my patterns. The pattern is ready to be printed out on DIN A4 or US Letter. Format DIN A0 to be printed at a plotter / copy-shop comes with a second email at no additional costs. →→HOW MANY PATTERN PAGES TO PRINT←← The sewing pattern itself consists of: Size US 8-18 (EU 34-44): 45 pages A4/US letter or 3 A0 Size US 20-30 (EU 46-56): 54 pages A4/US letter or 3 A0 →→PATTERN INFORMATION←← Recommended fabrics: Fashion fabric: silk taffeta or lightweight wool cloth Petticoat: light to middleweight cotton fabrics Lining + split bum + pockets: (glazed) cotton or linen fabric Fichu: cotton lawn or voile Fabric required: US 8-18 (EU 34-44): Redingote: 5.5 yds. (5m) with a width of 55“ (140cm) Petticoat: 3 yds. (2,5m) with a width of 55“ (140cm) Lining: 3 yds. (2,5m) with a width of 55“ (140cm) Fichu: 1.1 yds. (1m) with a width of 55“ (140cm) buttons or wooden disks: Ø 1“-1 3/8“ (2,5-3cm): 12 pcs. buttons or wooden disks: Ø 3/8“ - 1/2“ (1-1,5cm): 10 pcs. Hooks and eyes, cotton tape 3/8“ and 1“(1cm and 2,5cm) wide plastic boning about 1/4“ wide, wadding and stuffing US 20-30 (EU 46-56): Redingote: 6yds. (5.3m) with a width of 55“ (140cm) + 1.3yds from size 26/52 Petticoat: 3 yds. (2,5m) with a width of 55“ (140cm) Lining: 3 yds. (2,5m) with a width of 55“ (140cm) Fichu: 1.1 yds. (1m) with a width of 55“ (140cm) buttons or wooden disks: Ø 1“-1 3/8“ (2,5-3cm): 12 pcs. buttons or wooden disks: Ø 3/8“ - 1/2“ (1-1,5cm): 10 pcs. Hooks and eyes, cotton tape 3/8“ and 1“(1cm and 2,5cm) wide plastic boning about 1/4“ wide, wadding and stuffing

.: Avant :. Beaucoup de préparations pour cette nouvelle journée Grand Siècle : pour une fois il m’a été possible d’attirer mon cher époux parmi

Pour ce projet j’ai longuement réfléchis à mes bases. C’est essentiel de bien choisir les sous vêtements. Si l’on veut respecter la structure du vêtement, il faut utiliser les bon…

This time of year we start to dream about spring, but until then we all need something to keep us warm. And whats better then some nice woolen overdresses and redingotes.

Young Lady ready to ride horseback: she is dressed in a great redingote à l'Allemande* with a galant hat . (1787) "We have ...

I love vintage fashion plates; however I have a special fondness for those that are in something other than the traditional frontal view. Previously I've shown many that exhibit the "back side" of the garment or the character is in motion such as pulling up one's stockings. Occasionally, I come across a fashion plate where the figure is sitting down and comes with a complete set of accompanying furnishings. Sadly many of the vintage fashion plates I have that show a seated figure only shows part of the furniture; which limits how that image can be used in a new digital scene. Today I get to showcase a piece of digital art using one of the rarer "furniture intact" seated, fashion plate images along; with a nice variety of French fashion plates from the years 1784-1787. These plates recap many of the styles I've previously posted about as well as one new one "The Pierrot"; and then at the end of the post I have a lovely assortment of PNG for the "Tea Lady". Enjoy! "Taking Time for Tea" - using an altered French fashion plate lady from 1784 It is so much fun to create digitally when using a furniture intact, fashion image; and I've created a "Tea Time" vignette using one such French fashion plate from the 1780's. The original version of this image had her in a very lovely pink ensemble; however I choose to use one of my color adaptations for my finished scene. This spring green gown gave the final scene a peaceful appearance as it coordinated so well with the greenery seen through the windows. French Fashion Plates from 1783-1787 1783 Grand Domino French Fashion Plate from the 1912 re printed edition of Galleria des Modes French fashion plates known as the Galleria des Modes collection have been printed and re-printed several times over their history. There are even black and white uncolored versions of these plates. The above fashion plate #170 is from a 1912 reprinted version of the original plate where the below plate 252 is an earlier printing from the 1700's showing the original color scheme. To find out more about duplicate versions see my post on fashion plates with different looks 1783 Grand Domino French Fashion plate from Galleria des Modes Personally I prefer this older version when comparing the two but it is interesting to see how much the colors on the fashion plate were altered in the later 1912 rendition. Considering it is unusual to come across a fashion plate of a Domino; I wanted to show both versions here. Another "Domino" can be seen HERE (she is the seated lady in yellow). A Domino was a large hooded cloak worn with an eye masque. This allowed a person's identity to remain private and were often worn to masquerades or any place a lady would not wish to be recognized. 1783 Grand Robe a la Francoise - French Fashion Plate In the style of "Robe à la Française" or Sack-Back dress. (Francaise = French version with the wide Pannier hoops and the long draped back) This particular fashion plate states it is "Grand" so this would be a more elaborate version of this style For more on 18th century fashion styles - click HERE 1784 Robe a l'Anglaise - French Fashion Plate This dress is in the style of "Robe à l'Anglaise" (Anglaise = English/American version with a bustle rather than pannier hoops and a draped back that begins at the lower "v" portion on the back of the bodice where the skirt begins ) The a l'Anglaise style was rarely worn with pannier hoops; however I believe this fashion plate may be an exception to that rule based on how wide it is. For more information on this and other late 18th century styles click HERE 1784 Robe a l'Anglaise - French Fashion Plate (Back and side view) This dress is in the style of "Robe à l'Anglaise" as seen from the side and back. (Anglaise = English/American version with a bustle rather than pannier hoops and a draped back that begins at the lower "v" portion on the back of the bodice where the skirt begins ) I like this fashion plate since we get to see the garment from the back and we get the added interest of the model holding her dog. How cute is that? 1785 Walking Dress and Siberian Sheepskin Muff - French Fashion Plate - 1912 version This is another example of two fashion plates printed at different times. The above plate is a 1912 reprint version from Galleria des modes and the below plate is a much earlier 1700 version of the same. 1785 Walking Dress and Siberian Sheepskin Muff - French Fashion Plate - Original It's just fun to compare different versions of the same fashion plate when available. Once again, I believe I like this older version of this Galleria des Modes fashion plate. This style also depicts a shorter hemline with a bit of ankles showing. Another of my posts with other shorter skirts can be seen HERE and my post on Stockings can be seen HERE 1786 Robe a l'Anglaise - French Fashion Plate with an extremely low bodice Yes, your eyes do not deceive you; this lady's "charms" are on display with this gown. Many fashionable women of this time period wore dresses that exposed a great deal of their breasts up to and including their nipples. Some women even had their portraits painted wearing such attire. If you find this style "titillating" I have a whole post dedicated to them - HERE 1786 1786 Robe a l'Anglaise - French Fashion Plate (back view) I thought this plate was interesting in that we see a dress from the back but in a seated position and since the furniture piece appears in its entirety this image would be a good candidate for becoming a PNG to use in a scene. 1786 French Fashion Plate I choose to show this plate since I loved the funky shoes she is wearing. It's a bit of an odd outfit as if dutch girl meets peasant Irish lass; however I believe she is wearing a "caraco". Caraco - A bodice style with the look of a fitted jacket that has a peplum skirting effect to it. Visit - American Duchess blog HERE to see a few examples of this style and if you notice one of them is so low a ladies breasts would have been exposed, as some like to do during this time. (this blog is also a great place to visit and see all the historical costume posts) 1787 Pierrot French Fashion Plate - back view The Pierrot style has a shaped bodice/jacket with a flared peplum or ruffled "tail". This style of jacket became popular in the 1780's and 1790's. I loved the whimsy of this garment and since it is a back view that was just a bonus for me. 1787 Pierrot French Fashion Plate - front and side view Another look at the Pierrot style from the front with a cat and dog bonus. An example of this style can be seen at the Met - HERE The Dreamstress has a nice article on the Pierrot at her blog that can be seen HERE Her blog looks quite interesting and I look forward to "browsing around" it when I get the chance. 1784 Robe a l'Anglaise - French Fashion Plate (front/side seated view) Robe a l'Anglaise - (English/American version with a bustle rather than pannier hoops and a draped back that begins at the lower "v" portion on the back of the bodice where the skirt begins ) For more information on this style click HERE ********** This "Tea Time Lady" is the image I used to create the PNG for my artpiece at the beginning of the post. I've created her in several color combinations for your crafting pleasure. Tea Lady PNGs PNG in the original color scheme Lilac Version Periwinkle Version Green Version - used in artpiece Aqua Version Gold Version Rose Version It must have been something to sit around in a pretty frock enjoying a cup of tea. For a lady of quality "Tea Time" was an event unlike today where we grab a cup on the run. How much more relaxing and enjoyable not to mention elegant was having tea years ago. I wonder what she might be thinking about as she enjoys her tea? I know it's not about the state of the economy or finding a job. Maybe she is trying to figure out what new fashion fun Marie Antoinette will be up to next. What to you think she is contemplating over her perfect brew? "Taking Time for Tea" - using an altered French fashion plate lady from 1784 I used my altered "green" version of the pretty lady for this Photoshop created scene. The background was created by inserting a few interesting photos. (a wall of windows in an old house showing a wooded lot and another photo of an oriental carpet). I liked the reflection that was in the "window photo" I used; and by adjusting the opacity just right in Photoshop I was able to get the dappled sunlight to appear on the carpet. This was a really fun project for me and I love the way it came out. *********** I've got a high tech project using some of my "framed scenes" coming up next time; so I hope you'll drop back by and see what I've been up too. I get to enjoy the results every day and I hope some of you will be able to enjoy using them too. till next time...

Redingote ca. 1786 From the Palazzo Mocenigo via the Google Art Project

Woman's riding coat of green broadcloth, 1790s, British

Say that 10x fast! Lol.

I have developed quite a love for this style of gown and am contemplating giving it a try. I have made several gowns around this era but not in this exact style! I love the fit of the bodice and the way the fabric hangs down in a very firm yet graceful line. Hmmmmm.....

This post focuses on construction of the hat I made to wear with my mint wool 1780s redingote. For the post on construction of the redingote itself, click here. I should begin by noting that I have…

When I had the amazing opportunity to attend my friend Jenny-Rose's 18th century birthday house party, I knew it was finally time to make the redingote that didn't get made for 2013's Williamsburg trip. I turned to Pinterest and decided on this style of redingote. I very happily found an extant redingote in this style, which clearly showed a waist seam and a separate collar. The separate collar was perfect--no figuring out lapels? Excellent! The redingote is made of wool from William Booth, Draper,, lined with linen from Burnley and Trowbridge, trimmed with silk taffeta from Pure Silks and worn with a petticoat of striped cotton voile, also from Pure Silks. It's worn over a shift, stays, split bumroll based on Aubry of A Fractured Fairytale's bumroll. Kendra of Demode has also done a redingote tutorial and approached it differently than I did mine, of course ending up with fabulous results! But, onto construction! As with my other 18th century dresses, I started with a fitted lining and a mostly me sized dressform. I raised the back neckline of my basic 18c bodice to match the style of collar on this dress. I topstitched the silk for the stomacher to the lining. I folded up the bottom edge of the lining to make waist finishing easier. The backs of redingotes were somewhat en fourreau--they had two back panels that extended into the skirt with a box pleat in between them and a pleat on either side. It can be seen in this dress from the Fashioning Fashion exhibition. It's rather similar to the back pleats on an 1880s bustle bodice. To cut these pleats, I took my pattern piece and placed it in a little way from the center back fold. I then cut the rest of the skirt. I then sewed the center back seam. It extends into the skirt. I actually didn't sew it far enough into the skirt. Once it was mostly constructed, I had to sew it down about another two inches, which was a lesson in awkwardness! Next, I pinned the wool to the lining. I matched center back seams, side seams, and shoulder seams. The center back seam was easy to shape into an inverted box pleat. I pinned it to the lining, then pleated the other half of the back into a box pleat. The next few steps are easily done off the dressform. I turned it to the wrong side and pinned the skirt to the lining. I then pleated the rest of the skirt. The pleats end at the front stomacher. From the wrong side, I whipstiched all of the pleats into place. Here's what it looks like back on the dress form. I find the next steps easier this way. To prepare the center front, I cut out a curved shape based on the fashion plates and extant dress. I then faced the front edge with linen. To attach the bodice fronts, I used the same technique as my en fourreau gown. You fold the seam allowances under, position them, and sew them using a spaced backstitch. It's important to not sew the top inch or so to the lining so that you can insert the collar. The collar is straightforward. I traced the shape of the neckline, drew a partial circle shape around it, and played with it until I liked the shape. I lined it in lightweight linen and bound it with a straight strip of silk taffeta. I then pinned the collar to the wool neckline of the dress, the right side of dress to the wrong side of the collar. The collar is sewn with a running stitch. Here you can see that the lining is loose. The bodice neckline seam allowance is folded in, and the seam allowance of the lining is then folded in and pinned to the neckline. This is based on the construction of my original 1790s bodice. The entire neckline of the dress is treated this way. I left out the silk stomacher, but that could just as easily be hemmed as part of the neckline. Once it was pinned, I just whipstitched the lining to the collar. And that's basically it! I have left off sleeves, but they're set quite normally, just like a modern sleeve. The shape is basically the same as the sleeve for my brown jacket, which is pictured below. It's just longer and has a smoother cap, without the corner. The redingote pins shut at center front, first the silk stomacher, and then the wool. It has three silk covered false buttons on the wool portion of the dress. Buttonholes are accurate as well, but I rarely make those if there's any other option!

Woman's riding coat of green broadcloth, 1790s, British

Je projette de faire une polonaise pour Vaux-le-Vicomte, mais ce n'est pas gagné ! Je vais quand même poster une partie de mes photos de...

Portrait of a young lady, c. 1780s

This time of year we start to dream about spring, but until then we all need something to keep us warm. And whats better then some nice woolen overdresses and redingotes.

Avant qu'elle devienne "commode", ainsi que le soulignait la chanson, il en a fallu des kilomètres de tissu, des épaisseurs de jupons, des laçages de corsets, des baleines, des cerceaux, des carcans plus ou moins rigides et pesants, fameux faux-culs...

For my robe a la piemontaise and redingote, I decided I wanted new stays. I wanted them to be a little different than my other stays, so I decided on front lacing (though this wasn't the most common form of stays) and strapless. I used the 1798 jumps in Corsets by Jill Salen as a starting point. I combined two pattern pieces and made them without the alterations. I wanted them half boned, but used these stays as my main inspiration for boning channels. My stays are made of a layer of purple wool from Burnley and Trowbridge, a gift from a friend (thank you!), two layers of linen buckram from William Booth, Draper, and lined with linen check from Burnley and Trowbridge. They're bound in ultrasuede, which I bought an eighth of a yard of on eBay. They're boned with reed, which I cut in half to make narrower. There are two reeds in most channels. The front and back lacing areas are reinforced with either metal or plastic artificial whalebone. All the sewing is done with linen thread, though I wish I had used silk! I need to thank Nicole, of Diary of a Mantua Maker for not only the ultrasuede suggestion (I was looking for a non leather alternative), but for explaining just how 18th century stays managed to have such a narrow binding--the outer fabric seam allowance was basted over the edges. I was lucky enough to see this on an extant set of stays in Lara Corset's collection. More pictures of the completed stays can be found here. I started by tracing my pattern and boning channel placement onto the wool outer layer. I then basted the pieces to two layers of linen buckram, and cut them leaving a wide allowance. The basting stitches can be seen on the left. After sewing all the channels, I trimmed again, leaving a seam allowance on all edges. After inserting the boning, I trimmed away the linen seam allowance on just the neckline, underarm and waistline. Here are the trimmed pieces. You can see the excess wool on to and bottom. To prepare the pieces for sewing, I basted the seam allowances down to the linen. The pieces are sewn together using a closely spaced whipstitch. Here's what it looks like when it's sewn together. Once all the pieces were sewn, I folded the excess wool over the top and basted it to the linen. This basically binds the stays. Here it is from the inside. You can't wrap the wool perfectly around the tabs because of the way they're cut, but it does help! I lined the tabs separately in ultrasuede based on this example at 18th Century Stays. I cut the ultrasuede to the shape of the tabs, and then trimmed. Before binding, I sewed a 1/8" piece of cotton tape to each seam. This was common on stays. Here they are trimmed. The lining goes all the way to the edge of each tab. Then it was time for binding! The ultrasuede has a firm edge, so you don't need to turn it under. Since it's sewn through the fold of the wool, you can make it very narrow from the outside. Here's the binding partially sewn on. I like the sew the tabs first since they're so annoying :) The binding is turned in, as normal, and whipstitched to the back of the stays. And here it is, half done! Since the tabs are already lined, the lining itself is quite easy. It doesn't need to be seamed--tracing the finished stays works fine! The edges of the lining are turned under, and it's whipstitched in. It doesn't cover the eyelets and it covers the edge of the binding, making it easy to replace if necessary. Completed stays front! And back!

1787 A partir de maintenant je vais mettre des watermarks sur mes images, j’en suis désolée ! Ce n’est absolument pas pour vous empêcher de

Journal des Luxus, January 1788

The Redingote, with its name deriving from the english “Riding Coat”, is a late 18th C. coat-style dress, inspired by menswear of the period. It soon became a favorite walking costume amongst ladies throughout Europe. Our pattern is based on costume studies and period fashion plates. It features a pelerine, two front options and skirt with front opening. The jacket is cut single-breasted, but a decorative second row of buttons lends a double-breasted look. Instructions for a matching petticoat are also included! Full size printed paper pattern with instruction manual. Choose between English or German instructions. Available sizes: German size 38 (= US size 8, UK 10, FR 40 – Bust 88 cm, Waist 70 cm) German size 40 (= US size 10, UK 12, France 42 – B 92 cm, W 74 cm) German size 42 (= US size 12, UK 14, France 44 – B 96 cm, W 78 cm) German size 44 (= US size 14, UK 16, France 46 – B 100 cm, W 81.5 cm) German size 46 (= US size 16, UK 18, France 48 – B 104 cm, W 86 cm) Product code NP E21

One of my favourite things about 18th century fashions are the fabrics, the colours and the prints. There’s a lot of lovely prints in this era, but one of the most common one is a simple stri…