A Chemise, or Shift, Under All Layers Layers, layers, layers. . .That’s what it takes to interpret the clothing of the working class. . .While I am not a stickler to 100% authenticity, there are certain guidelines that should be addressed if a person wishes to display a visual language to the 18th century onlookers. . .It is a facet of interpreting any century that will be much appreciated by those who want to see history come alive. For years I visited Colonial Williamsburg, knowing that what I saw there. . .be it clothing. . .wares. . .or buildings. . .I could depend on the fact that it was as authentic as possible in our era of time. . . Then a dream came true and I found myself employed there. My greatest joy was being able to dress in authentic reproductions of 18th century English colony clothing. I appreciated even more the hard work that the Costume Design Center went to in order to provide period clothing that was as accurate as possible and still be worn each day by the interpreters. Their standards of appearance were well set. Many did not like having to measure up to those standards each day, but I knew that when I was a visitor, it made all the difference. “Visitors to Colonial Williamsburg receive a lasting and important visual image of life in Colonial America from the clothing worn by our employees. Costumes represent period clothing. When worn correctly, the costume is an important interpretive tool helping to convey an accurate picture of the eighteenth century. Therefore, employees must pay particular attention to the regulations concerning the proper way to appear in costume before the public.” Standards of Appearance, Costume Design Center While I worked in the Mary Dickinson shop (based on that of a milliner’s establishment) I learned a few of the ways that research was done on the period clothing. Art of the 18th century played a huge part in their decisions. What better way than studying the paintings and prints of the 18th century to base a costume on? It’s true that they didn’t get it totally right in the beginning, when there wasn’t enough time to do extensive research, but throughout the years, better choices have been made. The research is on-going to this day. As more is learned, changes are made. So when I decided to study and make period clothing that might have been worn in New France, I began looking at French art and sketches of the people who worked and lived here. There isn’t a lot to go on, so it has taken much time with only a little insight. I have found some striking lap-overs between the French and English dress, but there seems to be a few distinctions, too. The English working class stuck closer to subdued colors, often weaving and dying their own cloth. While the higher class of the British colonies did wear fine silks that were bright and exciting, the common woman rarely had this choice. On the other hand, the French loved color in bright prints and stripes in every class, often combining different prints together. The ladies of New France were not allowed to weave their own cloth. It had to come from the King’s storehouses, thus offering a better fabric from many parts of the world to the working woman. Blues, yellow or golds, reds seem to be popular and suitable for short gowns, jackets and petticoats. Older women wore more subdued colors but the prints available for them were in the same style. Stripes, in a ticking type of weave, were also popular paired with the prints. Petticoats (skirts) were shorter than the English and shoes were often Indian moccasins instead of stiff leather shoes. Aprons might be of white muslin but more often than not, they were of checks or stripes in various colors. Under it all, the chemise (shift as the English call it) was worn. The French corset was the same as the English stays, just a different word. A cap might be worn on her head, but often a blue (most popular) scarf was tied over the hair bandana style. I have noticed that in some sketches, when a cap is worn, a ribbon of blue (most popular) might be tied around it. Nothing that I have found about their clothing is the least bit somber. I’ve included a few of the sketches that I found for a visual view of the French clothing probably suitable as period clothing of those living west of the Mississippi River in the 18th century. The people of New France enjoyed Life and they let their clothing speak of their happy-go-lucky attitude with their clothing. . .just as interpreters of the time period will hopefully do in this present day. source unknown/pinterest

A Chemise, or Shift, Under All Layers Layers, layers, layers. . .That’s what it takes to interpret the clothing of the working class. . .While I am not a stickler to 100% authenticity, there are certain guidelines that should be addressed if a person wishes to display a visual language to the 18th century onlookers. . .It is a facet of interpreting any century that will be much appreciated by those who want to see history come alive. For years I visited Colonial Williamsburg, knowing that what I saw there. . .be it clothing. . .wares. . .or buildings. . .I could depend on the fact that it was as authentic as possible in our era of time. . . Then a dream came true and I found myself employed there. My greatest joy was being able to dress in authentic reproductions of 18th century English colony clothing. I appreciated even more the hard work that the Costume Design Center went to in order to provide period clothing that was as accurate as possible and still be worn each day by the interpreters. Their standards of appearance were well set. Many did not like having to measure up to those standards each day, but I knew that when I was a visitor, it made all the difference. “Visitors to Colonial Williamsburg receive a lasting and important visual image of life in Colonial America from the clothing worn by our employees. Costumes represent period clothing. When worn correctly, the costume is an important interpretive tool helping to convey an accurate picture of the eighteenth century. Therefore, employees must pay particular attention to the regulations concerning the proper way to appear in costume before the public.” Standards of Appearance, Costume Design Center While I worked in the Mary Dickinson shop (based on that of a milliner’s establishment) I learned a few of the ways that research was done on the period clothing. Art of the 18th century played a huge part in their decisions. What better way than studying the paintings and prints of the 18th century to base a costume on? It’s true that they didn’t get it totally right in the beginning, when there wasn’t enough time to do extensive research, but throughout the years, better choices have been made. The research is on-going to this day. As more is learned, changes are made. So when I decided to study and make period clothing that might have been worn in New France, I began looking at French art and sketches of the people who worked and lived here. There isn’t a lot to go on, so it has taken much time with only a little insight. I have found some striking lap-overs between the French and English dress, but there seems to be a few distinctions, too. The English working class stuck closer to subdued colors, often weaving and dying their own cloth. While the higher class of the British colonies did wear fine silks that were bright and exciting, the common woman rarely had this choice. On the other hand, the French loved color in bright prints and stripes in every class, often combining different prints together. The ladies of New France were not allowed to weave their own cloth. It had to come from the King’s storehouses, thus offering a better fabric from many parts of the world to the working woman. Blues, yellow or golds, reds seem to be popular and suitable for short gowns, jackets and petticoats. Older women wore more subdued colors but the prints available for them were in the same style. Stripes, in a ticking type of weave, were also popular paired with the prints. Petticoats (skirts) were shorter than the English and shoes were often Indian moccasins instead of stiff leather shoes. Aprons might be of white muslin but more often than not, they were of checks or stripes in various colors. Under it all, the chemise (shift as the English call it) was worn. The French corset was the same as the English stays, just a different word. A cap might be worn on her head, but often a blue (most popular) scarf was tied over the hair bandana style. I have noticed that in some sketches, when a cap is worn, a ribbon of blue (most popular) might be tied around it. Nothing that I have found about their clothing is the least bit somber. I’ve included a few of the sketches that I found for a visual view of the French clothing probably suitable as period clothing of those living west of the Mississippi River in the 18th century. The people of New France enjoyed Life and they let their clothing speak of their happy-go-lucky attitude with their clothing. . .just as interpreters of the time period will hopefully do in this present day. source unknown/pinterest

I realized today with the 18th century gowns I have made I have only scratched the surface of how many different types there were. It's easy to fall into the idea that it was all Robe a la Francaise, Robe a l'Anglaise, Robe a la

. 1770s chintz dress (2017) 1790s accessories (2016) 1770s cross barred dress (2016) c...

After much deliberation and many very helpful comments, I revised my Colonial Williamsburg mix n' match plans: Now the two jackets will be in prints, and the two skirts and gown will be solid colors. I'm still bent on blue and yellow, so I've collected some

Men's 18th Century, 1780s French Court Ensemble - Made To Order SIZES 34 to 56 FABRICS SUPPLIED BY CLIENT - NOT INCLUDED IN THE LISTING DESCRIPTION: LIMITED SIZES AVAILABLE - See "Big & Tall" below Made to your measurements, Custom, Bespoke 18th Century 1780s EMBROIDERED TAILCOAT AND WAISTCOAT. Fully Tailored and Lined. Authentically styled, QUALITY made, bespoke reproduction of a museum piece. Limited to the sizes outlined below. Comes complete with the authentic embroidery pattern reproduced by ArtEmbroidery. OTHER EMBROIDERY PATTERNS AVAILABLE but will effect the cost. BIG & TALL: The patterns we use are historical and come in very limited sizes. For men who are Big or Tall, a live fitting in my Washington State studio for custom draping a pattern is necessary and will require additional labor charges of $20 per hour. If you carry weight in the belly, specific alterations and a live fitting needs to be done in person. CONSTRUCTION TIME: Allow at least 3 to 4 months for construction, AND two weeks for shipping. Please check my availability before ordering. I am often booked out up to a year in advance, therefore I recommend planning well in advance of your event. Secure your reservation with a 20% non-refundable deposit. NEW REQUIREMENTS FOR CLIENTS: I am consistently booked out 12 to 15+ months at a time. Please contact me to check my availability before ordering. To be added to my schedule, I now require a 30% non-refundable deposit to hold a reservation. Client MUST choose their fabrics THREE months prior to their reservation date to allow for the purchase of swatches and to order fabric. If fabric is not included in your purchase, client will be responsible for their purchase and must be shipped to me and received no LESS than TWO months in advance of your reservation. Upper body cast is required wearing the appropriate corset. Tutorial will be provided. Cast must be received TWO months prior to your reservation. DO NOT use Duct tape. If you do, you will be required to create another one at your expense. if client has not complied with these requirements as specified, your reservation can be cancelled, and you will lose your deposit. Rescheduling is no longer guaranteed, due to abuses of my time and clients ghosting on their reservation. If a client has paid in full, rather than placed a deposit, and they do not follow the above guidelines or fail to respond to my messages in a timely fashion, their order will be placed on a permanent hold until requirements have been met. No refunds will be issued. Store credit only. To be rescheduled, client will be required to pay an additional 30% non-refundable deposit to compensate for my loss. Any client that ghosts on their reservation and is subsequently cancelled, future reservations with Designs From Time will not be accepted. COST BREAKDOWN: Includes the following specialty tailoring materials. Silk Fabrics Provided by Client Up 50 Embroidery Patterns on cuffs, collar, pocket flat, front of coat, and waistcoat: Embroidery Thread: 8 spools $8 each ($64) 4 yard Fabric Stabilizer - Fusible linen Batiste - for embroidery ($35) 1/2 yard Heavy Weight Hair Canvas Interfacing- Tailoring ($10) 16 - 20 Covered Buttons - (#2500) Specialty Tailoring Materials $134.00 Construction Labor (frock, waistcoat, trousers) $1120 Embroidery Labor: 80 hours of Embroidery $698 _______________________ $1,952 ONLINE ORDERS AVAILABLE IN THE FOLLOWING SIZES AND MEASUREMENTS ONLY: Big and Tall, or customized sizes require LIVE fittings and cannot be ordered on line. No exceptions. USA: (Measured in "Inches" PLEASE DO NOT SEND US CONVERTED MEASUREMENTS from centimeters. They do NOT convert to an exact inch. SIZE 34 Neck: 14" Chest: 34" Waist: 28" Hip: 35" SIZE 36 Neck: 14.5" Chest: 36" Waist: 30" Hip: 37" SIZE 38 Neck: 15" Chest: 38" Waist: 32" Hip: 39" SIZE 40 Neck: 15-1/2" Chest: 40" Waist: 34" Hip: 41" SIZE 42 Neck: 16" Chest: 42" Waist: 36" Hip: 43" SIZE 44 Neck: 16-1/2" Chest: 44" Waist: 38" Hip: 45" SIZE 46 Neck: 17" Chest: 46" Waist: 40" Hip: 47" SIZE 48 Neck 17-1/2" Chest: 48" Waist: 42" Hip: 49" SIZE 50 Neck: 18" Chest: 50" Waist: 44" Hip: 51" SIZE 52 Neck: 18.5" Chest: 52" Waist: 46" Hip: 53" SIZE 54: Neck: 19" Chest: 54" Waist: 48" Hip: 55" SIZE 56: Neck: 19.5" Chest: 56" Waist: 50" Hip: 57" **Handmade items will have small imperfections. **No refunds. All Sales are final. QUALITY STANDARDS: Each Designs From Time ensemble is created to meet my exacting standards, and I am a perfectionist! All my bodices - whether working class or noble - are CUSTOM DRAFTED to fit each individual client. My bodices are not cookie-cut patterns, nor do I approach my designs with a "one size fits most" concept using a commercial pattern source that you HOPE will fit. Rather than trying to make your body fit into a commercial pattern, I take the time and added effort to custom drape and draft a pattern to fit YOUR unique body. You may find reproduction clothing that is cheaper, but a bargain isn't a bargain if what you're buying is substandard workmanship. My designs are clothing NOT costume. They are among the sturdiest your money can buy. The quality you see pictured is the quality that you receive. ******************* IMPLIED AGREEMENT: ~ COMMUNICATION: Buyer agrees and acknowledges by the remittance of their 30% Non-Refundable Deposit, or payment in full at the time of purchase, that ALL communication with DFT, hereafter known as Seller, must remain through Etsy in order to abide by Etsy’s policies for Sellers. Buyer further agrees that once their order has been placed with DFT, a.k.a. Seller, Buyer will maintain REGULAR contact with DFT, i.e., including but not limited to, checking their Etsy messages on a regular basis throughout the duration their commission is listed on DFT’s schedule until such time as their commission has been completed, the balance paid, and the item(s) shipped. ~ UPPER BODY CASTS/MOCK-UPS: Buyer agrees and acknowledges by the remittance of their 30% Non-refundable deposit, or their Payment in full at the time of purchase, that they are responsible for creating an upper body cast from cellophane wrap and “Painter’s Tape” (NOT DUCT TAPE), which shall meet ALL the specifications in the instructional video and the PDF handout. Buyer agrees and understands that if their cast is NOT made correctly the fit of their garment CANNOT be guaranteed, and DFT will not be held liable. Furthermore, in the event that a muslin mock-up of the garment is necessary, the Buyer MUST have someone who is knowledgeable in fitting a toile (mock-up). If the mock-up is not correctly fitted, again, DFT, a.k.a. Seller, CANNOT guarantee a correct fit of the finished garment, and the Seller shall not be held liable by the Buyer.

I decided to have a bit of fun and create PNGs of some of the previously posted Men's French fashions from the late 18th century. (These are from the time of Marie Antoinette c 1780's) aka Georgian England & Colonial American Period. If you are like me you never know what color combination you might need for a project and since I know some of you do not have an editing program that allows you to alter colors; I've created an assortment of options for your crafting pleasure. Enjoy! A fun little digital artscene I created using one of the fashion plates and an EKD created background. PNGs are a quick and easy way to create digital scenes like the one above. I find it useful to create an assortment of colors at the time I turn an image into a png so I have a variety to choose from later on. The background was created using photographs of a cobblestone street and an old stone staircase. Via the magic of Photoshop - several filters and texture layers were used to create a ghost like background for my dapper gent. This is the original Fashion plate for the above gentleman The original 1779 fashion plate I started with Here are the PNGs of the above image. I created in a variety of color combinations for the giggles of it. EKD PNG in the original colors EKD Mauve and Black Version EKD Brown Version EKD Green and Brown Version EKD Sable and Plum Version EKD Teal and Midnight Version EKD Grey and Midnight Version EKD Blue Version I used this blue version to create the scene at the top of the post ***** Next up is this dashing gent from the back view. I like to have images in a variety poses and love the fact that some of these old fashion plates give us side or back views. This is the original 1779 fashion plate I started with I wonder if this gent had these great calves or if this was a case of fashionable padding at work? (It was not uncommon during this time period and into the Regency for men to use inserts in their stocking to give the appearance of shapely calves.) EKD PNG of the original image EKD Brown Version EKD Plum Version EKD Olive and Blue Version EKD Slate and Wine Version ***** This Next one reminds me of Paul Revere and has that Colonial American look, even though it is a French Fashion Plate. The Original Fashion plate I started with EKD PNG of the original image EKD Brown Version EKD Onyx Version EKD Blue Version You can see a few more men's fashion PNGs from this series on previous posts HERE and HERE I enjoy seeing what color combos I can create in Photoshop and how it changes the look of a character; so I hope you do too. Next time I'll bring you more ladies fashions from the time of Marie Antoinette. I still have several batches to go and then I'll wrap it up with a fun new project with a very practical 21st century application. till next time...

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

A Chemise, or Shift, Under All Layers Layers, layers, layers. . .That’s what it takes to interpret the clothing of the working class. . .While I am not a stickler to 100% authenticity, there are certain guidelines that should be addressed if a person wishes to display a visual language to the 18th century onlookers. . .It is a facet of interpreting any century that will be much appreciated by those who want to see history come alive. For years I visited Colonial Williamsburg, knowing that what I saw there. . .be it clothing. . .wares. . .or buildings. . .I could depend on the fact that it was as authentic as possible in our era of time. . . Then a dream came true and I found myself employed there. My greatest joy was being able to dress in authentic reproductions of 18th century English colony clothing. I appreciated even more the hard work that the Costume Design Center went to in order to provide period clothing that was as accurate as possible and still be worn each day by the interpreters. Their standards of appearance were well set. Many did not like having to measure up to those standards each day, but I knew that when I was a visitor, it made all the difference. “Visitors to Colonial Williamsburg receive a lasting and important visual image of life in Colonial America from the clothing worn by our employees. Costumes represent period clothing. When worn correctly, the costume is an important interpretive tool helping to convey an accurate picture of the eighteenth century. Therefore, employees must pay particular attention to the regulations concerning the proper way to appear in costume before the public.” Standards of Appearance, Costume Design Center While I worked in the Mary Dickinson shop (based on that of a milliner’s establishment) I learned a few of the ways that research was done on the period clothing. Art of the 18th century played a huge part in their decisions. What better way than studying the paintings and prints of the 18th century to base a costume on? It’s true that they didn’t get it totally right in the beginning, when there wasn’t enough time to do extensive research, but throughout the years, better choices have been made. The research is on-going to this day. As more is learned, changes are made. So when I decided to study and make period clothing that might have been worn in New France, I began looking at French art and sketches of the people who worked and lived here. There isn’t a lot to go on, so it has taken much time with only a little insight. I have found some striking lap-overs between the French and English dress, but there seems to be a few distinctions, too. The English working class stuck closer to subdued colors, often weaving and dying their own cloth. While the higher class of the British colonies did wear fine silks that were bright and exciting, the common woman rarely had this choice. On the other hand, the French loved color in bright prints and stripes in every class, often combining different prints together. The ladies of New France were not allowed to weave their own cloth. It had to come from the King’s storehouses, thus offering a better fabric from many parts of the world to the working woman. Blues, yellow or golds, reds seem to be popular and suitable for short gowns, jackets and petticoats. Older women wore more subdued colors but the prints available for them were in the same style. Stripes, in a ticking type of weave, were also popular paired with the prints. Petticoats (skirts) were shorter than the English and shoes were often Indian moccasins instead of stiff leather shoes. Aprons might be of white muslin but more often than not, they were of checks or stripes in various colors. Under it all, the chemise (shift as the English call it) was worn. The French corset was the same as the English stays, just a different word. A cap might be worn on her head, but often a blue (most popular) scarf was tied over the hair bandana style. I have noticed that in some sketches, when a cap is worn, a ribbon of blue (most popular) might be tied around it. Nothing that I have found about their clothing is the least bit somber. I’ve included a few of the sketches that I found for a visual view of the French clothing probably suitable as period clothing of those living west of the Mississippi River in the 18th century. The people of New France enjoyed Life and they let their clothing speak of their happy-go-lucky attitude with their clothing. . .just as interpreters of the time period will hopefully do in this present day. source unknown/pinterest

The Met - Robe a l'Anglaise - 1785-87 When we start out in costuming for a particular era, we think in centuries - the 18th century, the 19th century - and quickly move into thirds. What were fashions like at the beginning, the middle, or the

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