Selling Points 1. Characters: Pirate 2. Style: Medieval 3. What's in the box: Pants Specifications Gender: Women's, Types: Pants, Masquerade, Characters: Outlander, Pirate, Material: Polyester, Style: Medieval, 17th Century, Elasticity: Micro-elastic, Look After Me: Washable, Wet and Dry Cleaning, Machine wash, Pattern: Solid Color, Waist (cm): S:64;M:67;L:70;XL:73;XXL:76;3XL:79;4XL:82;5XL:85;6XL:95;7XL:110, Holiday: Masquerade, Occasion: Casual Daily, Age Group: Adults, What's in the box: Pants, Photos Size Chart Inches Centimeters Size Height Clothing Length Waist S 155-160 70 64 M 160-165 70 67 L 165-170 70 70 XL 168-178 78 73 XXL 175-185 78 76 3XL 175-185 78 79 4XL 175-185 78 82 5XL 175-185 78 85 6XL 175-185 85 95 7XL 175-185 85 110
Addicted to Trim: 17th Century Ribbon Loops If you could describe the 17th century in one word, “swag” probably wouldn’t be the first to come to mind, but the term– which is…
By Pauline Weston Thomas for Fashion-Era.com After the fall of the Roman Empire Britain went into the period known as the Dark Ages and the next area of costume is of the Saxon and Frankish fashion era 500 to 599 AD. This page is one of illustrations only and further below these small illustrations are …
At The SCA 50 Year War, a couple of women from Drachenwald (Sweden) were wearing Landsknecht Short Hosen. Several ladies here in Meridies (Tennessee/Alabama/Georgia) expressed an interest in makin…
After two quick afternoons of sewing, I'm proud to say that my Curtain-Along contribution is complete! (If you're not familiar with the Curtain-Along, click here.) Everyone is making gowns, which I admire and all look great, but I wanted to do something different. "Sew" I chose to create an embroidered under petticoat. Crewel embroidered petticoat, 18th century August Auctions Mid-18th century petticoat, Vermont, linen plain weave with wool embroidery MFA Accession Number 38.79 Mid-18th century New England petticoat, linen and cotton ground with wool embroidery. MFA Accession Number 50.3175 Knowing that there are oodles of examples of beautifully embroidered under petticoat borders such as.... Crewel work petticoat border, 18th century New England. Linen ground with wool embroidery and worsted wool tape. MFA Accession Number 50.3123 Petticoat border, New England 1758. Linen plain weave with wool embroidery. MFA Accession Number 40.571 Petticoat border, 1758, Ipswich, MA. Linen plain weave with wool embroidery. MFA Accession Number 61.158 ...I used these as inspiration when curtain shopping. I searched online and found beautifully embroidered fabrics curtains like: Pottery Barn Margarite Embroidered Drape, starts at $129 a panel. Ballard Designs Crewel Embroidered Drape. This is no longer available but the sale/clearance price was $100 per panel. I wasn't willing to pay anything close to that amount. It seems to defeat the purposes of Jen's initial inspiration of the curtain fabric being similar to the reproduction fabric, yet much cheaper. Thanks to Etsy I eventually found a vintage pair of valences. Made from, most likely, a polyester yarn, the embroidery is done in chain stitches, which is accurate, and the design seems relatively 18th century in inspiration. The fabric on a Joann's-type osnaburg. At $25 it's a good fit. A detail of the embroidery. There's a great embroidered under petticoat from the UK National Trust that's all pieced together, which I used as my curtain-along inspiration / documentation: Petticoat 1740-1760, linen and cotton National Trust Collections Inventory Number 814614.8 Initially I thought I would unpick all the machine stitching and sew the whole thing by hand. Given the time consuming nature of unpicking machine stitches, I bagged that. I sewed the valences together; and then I sewed the valences to three pieces of a beige linen fabric--all on the sewing machine. (This is a big accomplishment for me as I'm much better versed in hand sewing.) Since this project is more costume-like than reproduction-like, I decided to keep the rod pocket seams so the valences retain their "curtainness". I pleated the waist and whip stitched the tape in place... ...and before I knew it, it was done! A peek at the inside. Some day I'll make a reproduction embroidered under petticoat with beautiful images. In the mean time, since students often ask about the many layers of 18th century clothing, this makes a great talking point.
Otto-Heinrich, Elector Palatine of the Rhine, after a 1535 painting by Barthel Beham
18thcenturyfop: Nicolas de Largillière, Portrait d’un jeune Noble. Detail. c.1730 (via adonis-seralis-nors-blog)
I am helping a friend think about 6thc clothing for Crown List, and thought it'd be nice to collect some research images, with my thoughts about how they might be put together. Aillegan is focused on Merovingian - that'd be...
Would Marie Antoinette be comfortable in modern day-to-day situations? I'm a French, Montreal-based photographer, and when my friend Marie-Astrid Berry approached me with her idea to create an anachronistic series mixing day-to-day situations with an 18th century character, I was immediately drawn to the project. In one chilly afternoon, we went from her place to the grocery store, the metro station, the fast food restaurant, etc. creating new situations for our Marie-Antoinette, taking spontaneous advantage of our environnement (the car at the gas station belonged to a total stranger who was too intrigued and amused by the situation not to let us use it for the shoot).
By Pauline Weston Thomas for Fashion-Era.com After the fall of the Roman Empire Britain went into the period known as the Dark Ages and the next area of costume is of the Saxon and Frankish fashion era 500 to 599 AD. This page is one of illustrations only and further below these small illustrations are …
Elizabeth Wakou is a NY-based classically trained artist. With a style that is distinctively historical and vintage, evoking a sense of grandeur and glamour.
So I have spoken about my new 16th century German chemise/shirt, and I have also documented the whole process of making it so that I can show you how it is made. This hemd goes under the name of …
Hairstyle of the traditional fallera costume, Valencia, Spain. Traditionally, a lace veil headdress is worn by falleras as they offer flowers to Our Lady of the Forsaken during the annual Fallas...
See how trends in lingerie and undergarments have changed and evolved over the years.
Source Source Probably a waistcoat worn over a petticoat. Source Although the garment has been finished for over a week, I've been putting off writing this post because there is SO much to say! Support garments in the 16th (and early 17th; to the 1620s for my purposes) century are a very complex, tricky subject. Part of the problem is that there are so few extant garments, compared to the 18th century for example, to work from. Elizabethans also weren't always clear in some of their terminology, much to the frustration of clothing historians! One thing that is clear--or I should say, has become clear in the past few years--is that most women in the Elizabethan period probably did not wear a separate boned garment under their gowns, at least until the very end of the century (and then by mainly fashionable women--well get into that later!). I know, I know. If you made an outfit for a Renaissance faire in the past 20... 30 years, you probably made a boned corset for your outfit. I did! But current research now suggests that this probably was not the most likely garment for women to be wearing in this period. It's probably more common for a woman to wear a petticoat and/or kirtle consisting of a bodice attached to a skirt (we'll get into petticoat vs. kirtle later as well!). The bodice--often called "upperbodies" or "bodies" in period document--most likely did not rely on boning for support and shape in the way that boning is used later in the 17th century and on into the 18th and 19th centuries. Instead, layers of padstitched canvas and buckram and a proper fit could provide support for the female figure. It's certainly possible that other forms of stiffening were being used, perhaps bents (dried sea grass), pasteboard, or cording, since we see them in other applications like whalebone and bents in the large "farthingale" sleeves of the 1590s. Today we associate "petticoat" with just a skirt, but for Elizabethan women it most likely had an attached bodice. In the written record, authors specifically mention when petticoats are "without bodies" instead of the other way around. Even though the bodies and skirt were attached, wardrobe accounts and tailors bills often talk about making the pieces separately, or enlarging or making new bodies as a woman's body changed. Bodies and skirt did not have to be of the same fabric. For example, clothing was provided for the poor of Ipswich, and this entry mentions canvas for the bodies of petticoats: "More, payde for ii yardes iii qtrs. of canves for iii upper bodies for iii of the grete wenches' petticottes and for the strengthening of ther wastcottes, at xd. per yarde iis iiid" The woman in the middle of the painting with her back to us wear a petticoat with a brown bodice and red skirt. Red was an extremely common color for petticoats (but that's a discussion for another day!). Kirtles could also feature expensive fabric for the parts that would show and cheaper fabric for those that would not. Now let's discuss petticoat vs. kirtle. They both seem to consist of a bodice and skirt. The bodices may or may not have been the support layer. I mean to say that if you had a supportive petticoat, your kirtle didn't need to be supportive as well--or vice versa. If your kirtle bodies are supportive, your petticoat doesn't need a supportive bodice. The Tudor Tailor by Jane Malcolm-Davies and Ninya Mikhaila puts the issue of petticoat vs. kirtle better than I ever could, so I will quote from them directly: "A woman's outer clothes consisted of various combinations of petticoat, kirtle, gown, and jacket. Which of these she wore, and how many of them at one time, depended on her rank, the weather, the occasion, and the gradual evolution of fahsion through the century." (Mikhaila and Malcom-Davies, pg. 20) "The garment worn by all women over the smock consisted of a fitted bodice with attached skirt. In the early Tudor period, this was called a kirtle. By the 1550s, the word 'petticoat' was being used to describe this item of clohthing and 'kirtle' referred to a garment that was worn over, or instead of, a petticoat by wealthier, more fashionable women."(Mikhaila and Malcolm-Davies, pg 64) The last page of Kimiko's article quotes an online discussion with Ninya Mikhaila further elaborating the evolution of petticoat and kirtle terminology. So what about the Elizabeth I "effigy" bodies, or the Pzalgrafin bodies in Patterns of Fashion? Yes, boned support garments did exist. But you'll notice that both of those garments come from the very end of the 16th century and beginning of the 17th century, and they belonged to royal women. The Tudor Tailor notes that in their survey of Essex wills, only four pairs of bodies are mentioned in the last quarter of the 16th century, almost all of them belonging to women of the upper classes (Mikhaila and Malcolm-Davies, pg. 23). At that time period, boned bodies are becoming fashionable among the elite and working their way down through society. Those bodies could be tied or "pointed" to a skirt-only petticoat (also becoming more fashionable in this period). If you zoom in on the portrait of Elizabeth Vernon en dishabille, you'll be able to make out the pretty matching pink points tying her bodies to her gorgeous petticoat. It's a bit tricky because she has a sheer apron tied around her waist, but they're there! I did this on my silk bodies and scarlet broadcloth petticoat, which will be the foundation garments for the silk 1610s gown I have fabric for... There are paintings of women in the early 17th century, just about all Flemish, working in kitchens with bodies that clearly have stitching lines to possibly hold some kind of boning. It's been pointed out in discussions in the Elizabethan Costuming group on Facebook (a really excellent community, by the way! Lots of very knowledgeable and kind folks) that these are often allegorical paintings. And many of the women are also wearing pretty fashionable neckwear which doesn't seem terribly practical for doing kitchen work! I do want to acknowledge those images, although I don't feel they are the norm for common women of the period. That is of course not to say that lower and middle class women couldn't have had such a garment, but it seems less likely than their having a petticoat or kirtle. Other lovely folks have written some great stuff on this subject, so I will post links to their work at this time: http://www.elizabethancostume.net/petticoat.html https://www.facebook.com/media/set/?set=a.953475971345501.1073741850.697208360305598&type=3 If you want more primary accounts describing petticoats, search "petticoat bodies" in the killer Elizabethan wardrobe account database! And please check out the amazing people at The Tudor Tailor for books, patterns, supplies, information, and inspiration! Petticoats didn't disappear with the new century, though. They were definitely worn into the first few decades 17th century by common women. The women who came to Jamestown in Virginia in 1621 were provided some clothing by the Virginia Company, including one petticoat, one waistcoat, and two smocks. There is no mention of a separate pair of bodies, though, so it's my belief that they were given typical petticoats with attached supportive upperbodies. So of course I had to have one! This will serve as my supportive layer for my forthcoming 1560s ensemble, and for a set of common woman's clothing for my interpretive work at early 17th century Virignia sites like Henricus and Jamestown. I have a 17th century event coming up next month, and I hope to have a low-neck smock, partlet, and waistcoat finished for that! Easy, right? ;-) My petticoat is made of wool and has two layers of heavyweight, coarse linen padstitched together for the bodies, then lined in linen--no boning! Skirt was squeezed out of two yards of red wool flannel (yay piecing!) and bound in black wool tape. Eyelets and skirt opening. The skirt top edge is folded over and whipped to the bottom edge of the bodies, which have been completely finished by stitching the lining in. More eyelets :) A bit of the piecing, and the wool tape binding. I purposefully chose to do all of the stitching in unbleached linen thread. A shot of the "guts". The seam allowance is stitched down with a herringbone stitch. I only did padstitching on the fronts, and then only on half of each side. I could have done more, but... meh!
The great Nordic war is full of heroes. But few where so spectacular as Stefan Löfving. A swashbuckling bravado of special warfare, freebooter and army intelligence. Stefan Löfving, or ‘the L…
