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She wore blue velvet......and purple, and red, and green, and black velvet, too! Our Iris Victorian velvet military-style jacket works as part of your modern wardrobe, too! Pair it with the skirt in a 30" length for a modern look or go to the floor for classic historical style. Love the lace at the neckline and cuffs! You choose black, white, or ivory lace to complement your favorite color. Feel the velvety goodness from top to bottom! Victorian styled short jacket has fitted sleeves, round neckline and closes in the front with beautiful filigree buttons. A bias cuff in velvet and rich lace finishes the sleeve; the bias cut peplum curves from the center front to a longer length in the back. The matching skirt is 3-gored and graceful. In cotton velvet. Dry clean. Designed and made proudly by Recollections in America by American women! The look is completed with a crinoline, boots, jewelry and they are available priced separately. The following are approximate finished measurements and include room for ease of movement. Bust Waist (in inches) XS 36 28.5 S 38 32 M 41 35.5 L 44 38 XL 48 42 XXL 52 46.5 3XL 56 50.5 4XL 60 54.5
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Lately I've been working on a waistcoat to go under my Snowshill riding habit. I really love the look of this menswear inspired style, but before jumping in, I needed to take a closer look at the evolution of the waistcoat throughout the 18th century. Lancret,
Woman's riding habit of coat, waistcoat and petticoat of red woollen broadcloth, British, 1770-75.
I began this project sometime in the early summer and have been working on it on and off until November. I got the riding habit bug from Sanna of the Rococo Atelier and by some bizarre lucky alignment of stars I even managed to find fabric in the exact colour I had envisioned (when does that EVER happen??). For some reason, yellow has become one of my go-to colours and what better time period for it than the 18th century. From what little research I've done, yellow seems to have been the height of fashion throughout the 18th century, owing to the popularity of all things Oriental during that time (yellow, after all was the colour exclusively reserved for the emperor of China, among other things). Riitta Pylkkänen's Dress of Gentlewomen in Finland in the 18th Century mentions yellow as the most fashionable colour. Annoyingly, I can't give the exact quote because I don't own a copy of the book (it's fiendishly difficult to find, having been published in the 1980s) and the city library is closed for the whole of December. Also, The Diary of Mantua Maker writes about the popularity of yellow in her posts about 18th century colours. As many others before me, I used the riding habit jacket pattern in Janet Arnold's Patterns of Fashion. I had to alter the pattern to fit me (obviously); for example I drastically shortened the bodice and the sleeves. The finished garment is OK, but I would do things differently if I ever used the same pattern again. I think I maybe cut the jacket hem piece slightly too narrow, and the pleats aren't exactly as I'd want them to be. I think the habit fabric is very nice, it's medium thick cotton twill that feels almost woolly and it's very hard wearing and was generally nice to work with. I pad stitched pieces of sturdy cotton on the insides of the front pieces and lined the whole jacket with cotton. the jacket fronts became very sturdy due to the interlining, lining and lastly all that trim I stitched on. The inside front edges, the sleeves and the jacket skirts are lined with taffeta. I'll maybe finish a waistcoat of that same taffeta at some later date. It doesn't really show unless you look very closely, but to add a little variation I used the reverse side of the habit fabric on the collar and the cuffs because it's the teeniest bit darker and the weave of the fabric looks different on the reverse side. I trimmed the jacket with antique gold coloured gimp trim and some antique gold coloured buttons. I might change the buttons later, either to metal or deathshead, depending which comes my way first. The riding habit petticoat is your standard petticoat, with pocket hoops. I debated for a long time whether or not to cut the petticoat to accommodate the hoops because I think they're ridiculous, but in the end I decided to go for it and now I kind of like the look. The habit fabric is fairly heavy so towards the end of the day it was hard work to wear the whole get-up with the heavy skirts pulling at the paniers (and my hips and waist), walking around the fortress islands on original cobblestones... I also made a tricorne hat out of a floppy 70s-esque felt hat, trimmed it with petersham ribbon and a cockade. I wore the habit a couple of weeks ago in Suomenlinna Christmas event, which consisted of a day event for the general public, with 18th century military and gentlefolk re-enactors and of a private ball in the evening for re-enactors and other properly attired people. The photos of the riding habit were taken by Sanna and Mia. I had a curled pigtail, but the sleet and rain took care of that... No, those are not THE cobblestones that I mention above... They're round, uneven and cover all the roads on the main island. Can't even begin to imagine what it must have felt like to drive a horse-drawn wagon or cart on them. At the Ehrensvärd Museum. They had just closed for the day when we got there, but kindly let us take a couple of photos in the yellow room. I really, REALLY can't pose. Whenever anyone takes out a camera and proposes to photograph me, my face does weird things. I look like I had a lazy eye in nearly all of the photos taken in the museum... With Ehrensvärd, and Sanna of Rococo Atelier; she's wearing her gorgeous new anglaise. Soldiers who took part to the Christmas opening event, practicing their drill. King Gustav III, I think. He was very strange. The soldiers, doing their drill Mia and Sanna checking over some photos at the Ehrensvärd museum. Mia borrowed my flowery anglaise and red petticoat for the event. The evening ball venue, Tenalji von Fersen, which used to be a bakery in the old days. Pretty much the only picture of me in my ball do. I did a separate post of this gown. Oh, and that's Merja aka. the Aristocat in black and white :)
A fashion look from November 2013 featuring the north face jacket, zipper boots and Burberry. Browse and shop related looks.
They were surprisingly well done, if all over the pre-1600 map. Kind of like going to a Society for Creative Anachronism event where everyone was working with a decent budget. To recap: Galavant wa…
For a while I have wanted to make a new dancing skirt. I have loved dancing in my Victorian Fan Skirt and I really love this style of skirt prominent in the late Victorian and early Edwardian perio…
Woman's riding habit of coat, waistcoat and petticoat of red woollen broadcloth, British, 1770-75.
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Pattern: Norah Waugh diagram XXXI, "Riding Coat 1750-70. Victoria & Albert Museum." Fabric: Wool, medium coat weight. Color best described as a heather lavender? Lavender shot through with gray. Black cotton poplin for petticoat. White heavy weight linen for lining. Black cotton crochet thread for Dorset buttons. Available on Etsy HERE Available on ebay HERE Alterations: I added mariner's cuffs, which are not part of the Waugh pattern but are part of one of the suspected extant coats (see below) I also brought up the waist by eliminating the "dropped waist" angle that lets it curve out over the hips a bit before reaching the horizontal seam. I'll tell you why I did that further down. Measurements: *unaltered from pattern. As is. Chest: 39" Waist: 32" Hip: Free Back width (arm socket to arm socket, across shoulder blades): 13" Torso (bottom of armhole to natural waist): 9.5" Upper sleeve circumference: 15" Petticoat hem: 40" at center front and back. 18th century stays often had the effect of increasing the wearer's final waist size rather than reducing it, depending on the style(and especially if the stays had an inflexible busk at the front). A flat barrel or V below the bustline were the desired shapes, not the hourglass of the 19th century. =) Construction Note: I did all the topstitching/visible stitching by hand. The coat has edge stitching on almost the entire garment, minus the collar, which I also did by hand. The buttonholes are hand worked and the buttons are handmade. I only used machine stitching where it would never be visible during wear. ~The Confusion Over the Museum Garment~ As I always do when I use a pattern derived from an extant piece, I tried to find images and information on the actual garment. Most of the patterns in the Waugh book feature inventory numbers on the items (not always useful, as some of the museums have altered their cataloging methods over the years, or sold off the pieces). This riding habit, however, has no inventory number. When I tried to find the coat in the Victoria & Albert digital archives, I was unable to find anything that actually matched the pattern. I did, however, find two jackets that, when combined, have all the features of the Waugh pattern. *See V&A info. on blue coat HERE................................................................on brown coat, HERE So, long story short, I think the pattern in the Waugh book is actually a combination of features from two different coats. The Waugh description has it as a "brown camlet", but the camlet coat in the V&A archive is blue, and the brown one is linen. The Waugh pattern shows a very short standing collar, but the two riding habits in the V&A have no collar and a very tall collar, respectively. One has the right cuffs, but the wrong pockets. The other has the pockets and totally different cuffs, and so on and so on. This might explain the absence of an inventory number, since this pattern doesn't really exist as a single garment. (I'm sure all of this is already known in corners of the costuming world, but it's news to me, LOL). ~The Cursed Dropped Waist~ The Waugh pattern has a torso that is cut with a dropped waist, meaning the bodice extends further down that the natural waist and begins in an outward curve over the hips for about 3 inches. I don't like it. I made up the bodice as was, even attached the skirt panels, and when it was all placed on the form it looked terrible. The dropped waist had the effect of elongating the torso and making the legs look short and stumpy. This style works if the skirt is going to go all the way down (a la 1840s wasp waist), but not with a coat like this. Not flatting to practically any figure. Plus, that shaping interfered with the placement of any foundation garment (hoops, bum roll, pads, etc.). I wish I had taken a pic of the unflattering "original" , but I didn't. I took the skirt panels off and cut away the bottom 3 inches of the bodice, bringing it up to natural waist, and attached the skirt panels again. Problem solved. =) **Note that this is not 'shortening the torso' as a fit alteration. That involved actually moving the natural waist. All I did was remove the material below the natural waist** ~The Pockets~ The original pattern and description don't say anything about the pockets on the coat skirt. For all I know, the pocket flaps are just for decoration, but I went ahead and made two functioning pockets to be covered by the flaps. As you can see, the buttons don't actually button down the flaps. They are positioned below the reach of the buttonholes and are purely for looks. I think that's kind of silly, but who am I to argue with the long dead? LOL I also wanted to stay true to the pattern look, so I went ahead and placed my Dorset buttons as they appear on the pattern (see pattern illustration at top of page). Stitch on the line on the outside, then turn the whole pocket in to be on the back side of the skirt panel. As with all of the top stitching on the garment, the stitching on the pocket flaps is done by hand. ~The Dorset Buttons~ This coat has 19 handmade Dorset buttons in all. I made them myself using black cotton crochet thread (size 3). I neglected to take pictures of the process, but it's just a manner of weaving/wrapping/knotting thread around a solid ring. You can see a very good description of the process here at Threads Magazine, "Get Creative with Heirloom Buttons." There are many types of Dorset buttons, but I made just the standard cross-wheel pattern on 7/8" cabone rings (which are becoming harder and harder to purchase, by the way!). Each button takes about 15 minutes to make up. Before I learned to make my own, I used to purchase them from an indie fabric shop in St. Petersburg and always used to balk at the $3 each price tag. I now realize I was getting off light! ~The Mariner's Cuffs~ The original pattern has wide, folding cuffs of a contrasting fabric, but I have always preferred the Mariner's cuff. Easy to make, functional, and looks pretty damn snazzy ;). I whipped mine up following the very useful construction tips from The Fashionable Past blog, Riding Habit Mariner's Cuffs. I altered the shape of my tab, but the process is essentially the same. Note that these cuffs are made into a slit on the outer-sleeve, not built into the sleeve seams. ~Finished~ And just as a final note, I did struggle to decide how I want the silhouette of this coat to go in the final ensemble. I could have done pocket hoops, bum roll, pads. The final shape determined how I would cut the petticoat, so I had to choose. I decided to go with wide and narrow: pocket hoops. Now, I have no idea if ladies actually road horseback while wearing pocket hoops. I somehow doubt it, but I do know that women often worse sport "looking" clothes as every day casual wear (sort of like us buying yoga pants to go shopping in, right? LOL). I also found images of very ornate, obviously non-functional riding habits
moja ocena 2/5 Portret jednego z najsłynniejszych i najbardziej wpływowych rodów wszech czasów. Nieokiełznana żądza władzy kazała sięgać kolejnym pokoleniom Borgiów po wszelkie dostępne metody osiągania celów ? od intryg, wiarołomstwa i przekupstwa po akty kazirodztwa i zabójstwa. Szczyt ich potęgi przypadł na przełom XV i XVI w., kiedy to papieżem został Rodrigo Borgia, ojciec czworga dzieci, w tym słynnej mistrzyni sztuki trucicielskiej Lukrecji Borgii. GALERIA cinemotions.com mariavalverde.com.br
