After recuperating from CoCo’14 and the flurry of the
new semester, I noticed that an old pair of pockets I had were chewed up. The pocket slits also hadn’t been the easiest thing
to get into at Costume College, making me have to twist around awkwardly to get
at my wallet and phone. A new pocket was in order.
Research:
I took out my handy
Costume Close-up by Linda Baumgarten, and flipped through to
the construction of the embroidered pockets. I had sort of winged it with my
previous pair, and wanted to get it right this time.
Many extant pockets are a single pocket on a waist tape. I wanted to try this, and decided on tying it to my left side,
so my dominant hand could fish around for my keys or phone.
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| Victoria and Albert Museum |
Reproducing the correct method of construction is what
I find the most interesting and ultimately most rewarding in reconstructing historical
clothing, and to my astonishment, the way I had constructed my previous pockets was
completely incorrect. After searching through several additional images of
extant pockets, realized my mistake: I had topstitched my binding to the edge
of the pocket and pocket slit. On the Costume
Close-up example, and several others, the binding was applied the same way
that stay binding was applied. The right side of the binding was sewn through
both layers of the pocket along the edge, and then flipped over and
slip-stitched to the back.
I decided that
my thrashed, topstitched pockets had to go.
 |
| Museum Wales St Fagan's/Cardiff |
Materials:
I tried to use what I had on hand, which was some
lighter weight white linen, and some indigo linen I had dyed when messing
around with historical dye methods for class. The indigo hadn’t taken evenly,
and looked almost like a batik. Indigo resist prints were extremely popular in
the American Colonies in the mid-18th century, so this was the perfect
opportunity to use a colorful, accurate binding.
The waist tape is white cotton, since Burnley & Trowbridge only has natural
linen tapes in at the moment. Extant examples
of mid-century pockets have cotton waist tapes and cotton binding, so I didn’t
feel that I was taking liberties.
100/3 linen thread was used for all of
the stitching.
The pattern I used was from Costume Close-up.
Construction:
The pocket pattern is fairly standard for extant
examples. I scaled up the drawing to 17” long by proportionate (about 8” across
the top). My previous pockets were tiny,
only about 10” long. I did have two, but they were still a pain to get into and
barely contained my phone and keys and wallet.
A combination of running and backstitches were used for
attaching the binding to the front of the pockets. Backstitches were used for the small reinforcement
diamond beneath the pocket slit. Slipstitches were used for attaching the binding to
the back of the pocket and attaching the waist tape.
The binding was cut on the Straight of Grain, as it
saves fabric and is easily manipulated when hand-sewing. I cut two 1” strips
equaling 75”, and then used my wooden creaser to make a ¼” double fold binding.
I really recommend using a creaser instead of an iron when creating bias or
binding out of natural fabrics; it saves fingers J
On my last pockets, the pocket slits had started to
tear with my fumbling around and the yanking out of my keys and phone. The new
slit is longer with the bigger overall size of the pocket, but I also wanted to
add a reinforcement diamond to the bottom of the slit because the linen is on
the lighter side.
A 2” diamond with a ½” slit down one corner was cut
out and matched to the bottom of the slit on the pocket front. The Seam
Allowance was turned down and backstitched to the wrong side of the pocket
front. Reinforcement pieces beneath slit openings are common on shirts from the
period, though I haven’t seen any on extant pockets. But if it were useful and
saved fabric in the long run, it makes sense that they could have added it.
The binding was then sewn to the pocket slit. Thread
was whipstitched twice over the bottom of the pocket slit before continuing up
the other side. The binding was folded over and slipstitched into place.
The pocket slit process was repeated along the outer
edge of the pocket with the front and back of the pocket treated as one.
The waist tape was slipstitched to the pocket after
finding the most comfortable spot along my side. The ends of the waist tape
were finished, and the pocket was done!
I love this pocket. The contrast of the white and
indigo really pops, and the binding looks really clean. I think I’m going to
make some more indigo-accented accessories, as I have a yard of the indigo linen
left.
I’m actually glad that I had made that construction
mistake. For me, the end garment is never what I love the most about a project; I like to learn about the construction materials and methods while also building up an awesome kit. And I'm trying to keep my eye on the average and mundane (but well-made) silhouettes and materials for my historical wardrobes. I just want to look like a normal person from the time, whether the garments are beautiful
or plain. It would be quite an accomplishment to completely blend in if we ever figure out that whole time
travel thing J
Thoughts:
What is your favorite part about historical costuming?
What costuming mistake have you learned the most from?
Thank you again for reading!
-Meg
