Saturday, September 30, 2017

A Romantic Silhouette

I've always loved large, fluffy skirts. I may not be one for trims and frill, but a good, full skirt is always a must.
For the past few years, I've focused my costuming on 18th century clothing and construction. The large skirts, fitted gowns, and pretty caps all call to me.
But as I've grown as a costumer, I realize that I have always loved the Romantic silhouette, and have not done any costuming for this period.
After re-watching the 2011 adaptation of Jane Eyre (for the hundredth time), I realized that this time period was what I had been missing in my costuming wardrobe. 

What is the Romantic Period?


The Romantic Period in literature, music, and general culture dates from about 1820-1850. This is a transition period; we move out of the Federal and Regency periods, and into the the height of the Industrial Revolution around 1850.
I've decided to focus for now on clothing from the year 1837-1845. I like to think of clothing during this period as a transition: sleeves are shrinking, skirts are widening, and though we see the split busk and metal eyelets appear in the 1820's, the inventions of the sewing machine, ready to wear gowns, and the cage crinoline haven't 'industrialized' fashion yet.

Late Romantic Period Features:


There are a few key features of the Romantic Period after 1836:

1. 'Deflated' Sleeves.


Sleeve sizes ballooned in the 1830s, but quickly deflated. The mark of the later Romantic Period is the full, sagging sleeve at the end of the 1830s, later replaced by a slim, fitted sleeve in the 1840s.
As the 1840's continue, we see a cap sleeve for evening wear, and in dinner wear, we even see my favorite of all sleeves: the 3/4 length.



1835-1838 ca. Collection Galleria del Costume di Palazzo Pitti.

Wiener Zeitschrift, July 1840

2. Soft, Belled Skirts.

The slim skirts of the first two decades of the 19th century expanded with the sleeves of the 1830's. These full, buoyant, ankle-length skirts are as important to the '30s as the gigantic sleeves. In the late '30s and '40s, the skirts are still full, but become floor-length. Crinoline petticoats, corded petticoats, and multiple starched petticoats gave skirts the soft, belled look typical of the period.


Fashion print from 1838. Le Follet Courrier de Salons ModeMuseum Provincie Antwerpen

3. Low-set Shoulders.

This style is constant throughout the Romantic Era. In the 1820's, we see the start of a wider shoulder in spencers and pelisses. In the 1830's, huge sleeves necessitated a wider-set sleeve. But when the sleeves shrank, shoulders remained wide, and stayed wide until the 1870s. They balance out the voluminous skirts, and place emphasis on a slim waist. A significant downside to this trend is limited mobility in the arms; a fashionable woman was often unable to lift her arms above her head due to the length of bodice shoulder seams.


1841, Claremont College Digital Library


1841, Claremont College Digital Library


4. Chemisettes and Collars. 

Chemisettes, garments made of fine, white material to fill in a low neckline, were incredibly popular, and often necessary to wear during the day. Chemisettes provided cover to the shoulder areas, and white lace or ruffled collars extended over higher necklines. Small chemisettes, resembling the plastrons of the Medieval Period, were often worn with V-necked bodices. 
Late 1830s, Kyoto Costume Institute

1840-1850, whitework chemisette, laceforstudy.org



1843 - La mode pendant quarante ans de 1830 à 1870 by Louis Colas

5. Curved Darts.

In the 18th century, The tubular body shape created by stays meant that darts were not necessary to fitting. During the Regency Period, soft gathers molded the natural form of the torso and bust. In the 1820's and '30s, darts replace gathers, and the new 'ogee' shape of corsets necessitates darts. In the 1840's, the darts become curved, starting at the bust point, and curving down to meet almost at center front (Waugh, The Cut of Women's Clothes 1600-1930, 139)


1840s, via facesofthevictorianera.tumblr


6. Cartridge Pleating.

One of my favorite elements of the Romantic Period is the cartridge pleating. The controlled fullness of cartridge-pleated skirts are responsible for the soft, dome-like silhouette. The skirt was cartridge pleated directly to the bodice during this period.
1840s gown, via Pinterest

1840s, Georgia Historic Clothing & Textile Collection



7. Fully-Lined.

Unlike the gossamer gowns of the Regency Period, Romantic Era clothing was sturdy and completely lined. The bodice and skirts were usually lined with a glazed cotton, often in a dark brown. The lining supported heavier-weight dress fabrics, and kept the pricey fabrics protected from oils and sweat. 


1840's,1850's Ball Gown Bodice, via extantgowns.blogspot.com

8. Shirred Bodice and Sleeves.

Shirring and smocking were incredibly popular during this time. This practice of taking small tucks, pleats, or gathers from shoulder to bottom of bodice adds fullness to the bust area and tapers down to emphasize the small waist of the period. On sleeves, the shoulders or upper arm were often shirred or smocked, releasing into large drooping sleeves at the elbow.
1841-1844, Metropolitan Museum of Art


1840s gown, Via Pinterest


9. Long, Pointed Bodice.

The Romantics took a cue from the late 16th and 17th centuries, and elongated their bodices. A long, slim pointed bodice was a drastic change from the high and round waistlines of the earlier Regency period. The emphasis became a thin, defined waist between wide shoulders and a belled skirt. 


Portrait of Sophia Kushnikova by Pyotr Vasilievich Basin, 1839



1840 evening dress via damesalamode's tumblr


10. Berthas.

The Bertha. I had always thought that these necklines were a bit frumpy when I was younger, but I've come around. They allow for bare shoulders and decolletage, without showing the dreaded upper arm area. They can be pleated, gathered, or smooth. After studying fashion plates from the 'Teens and 'Twenties, it looks as though they may have evolved from the high pleated and gathered bodices of the Regency period.


1841 Queen Victoria from Steve Conrad archive

 
1818 Ackerman's Plate 30 - Dinner Dress

Ball gown of Princess Zinaida Ivanovna Yusupova, Imperial Russia ca. 1826-27

1841, via Pinterest



Those are a few defining features of Romantic Era clothing, and they are elements that I have really come to love. 

Next up: Romantic foundation garments!




Sources:

Arnold, Janet. Patterns of Fashion 1: Englishwomen's Dresses and Their Construction C. 1660-1860. Drama Book Publishers, 2005.


Falken, Linda. 100 Dresses: the Costume Institute, the Metropolitan Museum of Art. Metropolitan Museum of Art, 2011.


Fukai, Akiko. Fashion: a History from the 18th to the 20th Century. Taschen, 2006.


Hollander, Anne. Seeing through Clothes. Univ. of California Press, 2009.


Tortora, Phyllis, and Keith Eubank. Survey of Historic Costume. Fairchild Books, an Inprint of Bloomsbury Publishing, 2015.


Waugh, Norah, and Judith Dolan. Corsets and Crinolines. Routledge, 2017.


Waugh, Norah, and Margaret Woodward. The Cut of Women's Clothes, 1600-1930. Routledge, 2011.

Tuesday, March 15, 2016

1913 Estes Dress Foundations Research

     I thought I would start working on the most time-consuming project first, and the Edwardian ensemble is going to take quite some time. Maybe not in construction, but definitely in research, as I haven’t done anything in this era before.
     The project will be called the "Estes Dress."
     My inspiration is Estes Park, founded in the early twentieth century and located less than an hour from where I live. The Stanley Hotel (yes, that Stanley Hotel) was finished in 1909, and the Estes Park Theatre, the oldest-operating movie theater in the western United States, was completed in 1913. I'm digging the color scheme of these buildings, and will probably replicate the colors and some architectural motifs in my design. 

The Stanley Hotel via enjoyestespark.com

Estes Park Theatre via historicparktheatre.com

 I’m aiming for a 1913 silhouette, and need to make an entire set of foundation garments, a dress, a hat, and need to find suitable shoes.
Loving the far right silhouette (via tuppencehapenny.co.uk)

Foundation silhouettes by year (via dentellesetmacramees.wordpress.com)

     First, I’ll start on my foundation garments, of which I am a little intimidated. I have two corset patterns at my disposal: the 1911 corset on page 86 of Waugh’s Corsets and Crinolines, and the 1914 corset on page 87 of Salen’s Corsets. The 1917 Austerity corset on page 91 of Salen’s book is also very similar in silhouette to both of the earlier examples, so that may be an option as well. The desired shape (though there were slight modifications year by year) was a svelte, willowy figure with a minimized waist to hip ratio. As I am super hippy (13" w/h difference), I hope I don't end up looking boxy and/or like a sausage. Fingers crossed on this, guys. 

1911 corset via Corsets and Crinolines page 86


1914 corset via Corsets page 86
1917 corset via Corsets page 91


     For the chemise, I may augment the Edwardian Underthings pattern from Folkwear Patterns, or I may just fudge one from scratch. 

image via pinterest
     I am quite hesitant to venture into this time period, as the fashion called for underbust corsets, and that freaks me out for some reason. I think I would feel awkward even with several layers over my chemise, though a bust improver or early brassiere might help. 
     
     Until next time!

     Meg

Monday, February 22, 2016

New Year, New State, New Projects

     So many things have happened in this new year, and I'm only now starting to get myself sorted. I've moved from sunny Southern California to equally-sunny, but a mite colder, Boulder, Colorado. I'm still a barista, so the caffeine consumption has not changed, and the coffee scene here is fantastic.
     Alex has brought his great-grandmother's industrial Singer (which we have yet to name) with us, so I've said 'so long' to Gunther the Pfaff. We just recently inherited a baby lock, and Wee Clara is still churning right along. Needless to say, our home will be overrun with sewing machines. 
     The only problem: they're all still in storage. 
     With pre-leasing season in full-swing here, we had to search high and low for an available place we really liked. But we found it! And now all I have to do is wait until our move-in date. And wring my hands, and think about all of the progress I could be making for upcoming events. 
     I've decided to take this time, and my nervous energy, and put it to good use: project planning.
     I will definitely be going to Costume College '16, and I think I may have talked a couple of people into trying it for the first time! So that is on the front burner. 

     Costume Ideas for CoCo'16:

Thursday-Night: Incroyable in Mustard

     For the Pool Party, I want to be comfortable, yet super historically-hip. I've been dying to make an ornate, over-the-top spencer with a mustard-striped velveteen that I have a ton of. The theme for the party is "mod," and I figure that Incroyables et Merveilleuses were pretty 'hip,' so I'll go with it. I'm making a matching shako or bonnet, and I've already painted some shoes to match. 

via chertseymuseum.org
via objektkatalog.gnm.de



Friday-Day: Wartime Dress

     Last year I took a class at Costume College about British fashion during WWII, and it was so fascinating. I want to recreate a Wartime dress, and have even been on the lookout for glow-in-the-dark buttons! I'll be using Decades of Style's New England Dress as a guide, though I'll have to cut out some fullness and length in the skirt and sleeves, as the yardage limits for a dress at the time were 2.5 yards. 
via decadesofstyle.com


Friday-Night: Night Circus Air Walker
     
     The Friday Night Social has a circus theme, so a few friends of mine are going to go as characters from The Night Circus. We were going to go as a group last year, but other costumes got in the way, and I was only able to get the bodice half-finished. The Night Circus colors are black, white, silver, and grey, so I'm really excited about this costume. As the Night Circus is magical, I'll be going as a tightrope-walker with a twist: an air-walker. I want to incorporate plumage and bird imagery, and am using this image as my inspiration:

via VintageVenus.com.au


Saturday: 1885 Walking Gown

     I've learned to really appreciate the late Bustle Era and the neat, almost severe look of walking outfits of the period. I love the fact that I don't need a ton of embellishment, as I feel it distracts from the fit and silhouette. I have some heavier weight cotton in a black and olive check, which I feel would look great as a walking gown. The local fabric store, Elfriede's Fine Fabrics has a great selection of worsted wools (and even wool flannel!). I think I'll make a black wool petticoat with a deep pleated hem, and make the apron and bodice out of the check. I want to keep the petticoat a solid black, as I would like it to serve double duty for a later project.

via VictorianKat


Sunday: Edwardian Ensemble

     I have a confession to make: I've always been a bit bewildered and intimidated by Edwardian fashion. The posture, the silhouette, the snag-prone fabric. It makes me shudder a bit, and I have no idea where to start. But I want to conquer my fear, and make a simple outfit. Alex has recently given in and has started Downton Abbey (for some reason, though his entire family and mine love this show, he was a bit reluctant to start), and I've found a few outfits and pieces that look so simple to make. So I'll be jumping in at the shallow end this year. 

via Museo de la Moda


via August Acutions

    Good luck to everyone's projects; I can't wait to see the beautiful creations in August!

     Until next time!
      -Meg



Friday, March 13, 2015

I Think I'm Obsessed . . . .

I have a fever. And the only cure --apparently-- is staymaking.
It's getting ridiculous at this point, because that's really all I do have. Aside from my Kaprifol Jacket and a couple of petticoats, my only quality garments should really be worn underneath other garments. 
I am in the process of making a Regency gown and a natural form walking outfit, but for now, I can't really wear my hard work outside.
Anyway, I'm in the midst of stash-busting, and I found a yard of this really pretty cinnamon worsted that I had picked up at B&T forever ago. What to do with a scant yard of fabric? Make a pair of stays!!!

I'm using a pattern drafted from Corsets and Crinolines (page 40), and am going to try my darndest at making these shoulder straps fit. The part I like most about this pattern is that there are only two pieces for the body; the shaping is created by the boning pattern. 



I'll be posting on my progress as I go. I am currently saving up for an adorable printed cotton from B&T, and plan on making an open gown once these stays are done!

Thanks for reading!
Meg


Sunday, February 15, 2015

A 1770's Kaprifol Jacket

Hey!
So I'm finally posting on the Kaprifol Jacket I made for class last semester. This is one of my favorite pieces, which is strange, because I don't normally go for floral prints. I was going through some patterning books for a garment I could whip up easily for my project (I had three other finals, so I didn't want to go too crazy). The one garment I had come back to time and again, but never made, was the ubiquitous floral swallow-tail jacket from the Colonial Williamsburg Collection in Costume Close-Up (Baumgarten, 39). The silhouette is flattering and fun, while the construction is straightforward and easy to replicate. There is also the added benefit of Linda Baumgarten documenting the construction steps in her book.

Swallow-Tail Jacket from Colonial Williamsburg Collection

I first wanted to make the garment out of a solid tropical weight wool, as I have two striped linen petticoats that I use most often, and wanted something I could use with both. But as I scoured reproduction fabric sites online, I fell in love with a floral print from Wm. Booth, Draper . This textile, called “Kaprifol,” is a hand block-printed reproduction cotton from a jacket lining in the Kallfors Manor Collection in Sweden. It has the same proportion, fiber content, color palette, and basic shapes as the Williamsburg jacket. I was blown away by the similarities in the fabrics, so I decided to do a modified reproduction.

"Kaprifol" hand-printed cotton from Wm. Booth, Draper


            After studying the image of the jacket, I realized that it would be simple to recreate. The floral pattern of the fabric is the majority of the decoration, so I didn't have to worry about purchasing and making yards and yards of trim. There is blue silk box-pleated trim around the bottom of each sleeve, about 1” wide, but other than that, the fabric and the fit really make the jacket.
            There were some changes I made to the jacket, so it cannot be a faithful reproduction: I made the jacket close edge to edge, as opposed to it lacing closed over a stomacher, and combined two front bodice pieces into one. I don’t like the look of visible lacing, so I used another authentic method of finishing the jacket, and lengthened the center front edges so that they met with a bit of overlap so I could pin them shut.
            The practice of pinning shut a gown or jacket front was very common among women of the time. Robings and center front trims on gowns and jackets hid closing pins, as well as providing decoration. It was a simple way of closing a gown, and allowed the wearer to adjust the way her gown closed due to weight gain and loss, or pregnancy (What Clothes Reveal, Baumgarten). I have had experience with weight gain-- or a new pair of stays that changes my measurements-- ruining the fit of a gown or jacket. Because this jacket is a garment I want to use for a long time, I made the center front length overlap enough to make sure that didn't happen.

            Fabric and Prep:
            I first scaled up the pattern that Baumgarten gives in her book, and made a mock-up. I wanted to do this before purchasing the fabric, as I didn't have a yardage guide. The fabric was also on the expensive side ($40.00/yd. Ouch.), so I wanted to get the smallest yardage I could, and piece pattern pieces together if I had to. I decided on 1 ½ yards of 52” fabric, enough for the jacket, and a little left over for some self-trim if I ever decided to change the jacket decoration.
            For the lining, I had some lightweight linen, a little thinner than the lining in the original jacket, but already in my sewing stash. For the shoulder straps, I decided to use some heavier weight unbleached linen, since I ran out of the lighter weight fabric. Using different fabrics for lining was very common during the time, and was necessary, since fabric was often sent away for, not purchased at a local fabric store (What Clothes Reveal, 40).
            For the sleeve trim, I decided to use a slate blue silk dupioni that I had in the stash from a previous project. I decided on 1 ½” trim around the sleeve edge, a little larger than the original, but more proportionate to my sleeve length. The silk is much lighter than the blue in the Kaprifol fabric, but has the same tone, and I like the little bit of contrast. I may replace it with some silk taffeta, since I'm not too sure about the slubbiness of the dupioni I have. 
            The linen and silk were ready to sew, and I threw the Kaprifol fabric into the wash with some synthrapol. The cotton was much thicker than I thought it would be, so I was less worried about the thin linen I was going to use for the lining. After washing the fabric and sending it through the dryer to shrink, I ironed it and traced out the pattern onto the Kaprifol and linen fabric. I used a water-erase pen, which made my life a whole lot easier. I marked out the pieces, and eyeballed a ¾” seam allowance. For the center front I measured a 1” seam allowance so the jacket could be let out if my proportions grew. After cutting, I started to sew the sleeves.

            Construction:
            18th century construction methods are much different than ours. Their primary goal was to make clothing modifications easy in order to reuse the fabric as many times as they could. The seams were strong, but able to be pulled out quickly if need be (Costume Close-Up, 7-8). This jacket is mainly constructed with lapped seams, which are strong, and hide the raw edges, but can be easily snipped out. First, I sewed the sides of the sleeve together, with only one side of the lining and both edges of the Kaprifol fabric with right sides together. I sewed small backstitches with bleached linen thread, and left the bottom ½” unsewn, so I could turn it under for the hem. I pressed the seam allowance to the edge of the lining that was not sewn. I turned under the seam allowance of the free lining and laid it over the pressed seam. I used a slipstitch to sew both sides of the lining together. I repeated the process with the elbow dart and the second sleeve.

Sleeves. Done.

            I then turned the raw edges together to form a clean hem and used a stitch that Baumgarten illustrates, but has no name for. In dressmaking manuals of the time, the stitch is called le point a rabattre sous la main (Costume Close-Up, 8). This looks like a running stitch from the outside, but a hemming or slip stitch from the inside. It was actually fun to do, and I will probably start finishing all of my hems this way.

le point a rabattre sous la main
            When that was done, I set the sleeves aside and started on the body of the jacket. The lapped seams are a little different on the body, as the seam allowance on one side of the Kaprifol fabric is folded down and placed on top of the other Kaprifol piece and its lining. A backstitch goes through these three pieces of fabric, leaving about ½” on the top and bottom unsewn so a clean hem could be made. The loose lining seam allowance is then turned down and the lining is slipstitched to the lapped lining. Each seam is completed this way. When done, the hem is turned in and finished with the le point a rabattre sous la main. There is a slit along the front of the bodice that allows the jacket skirt to flare out from the body. I cut this and bound it with self-fabric binding cut on the Straight of Grain. To conserve fabric, 18th century seamstresses and tailors would cut bindings on the Straight of Grain instead of on the bias (Costume Close-Up, 7).
The next part is adding the shoulder piece. The shoulder straps need to be snugly fitted to each individual; since the garment is supported by the torso and stays, the jacket should not hang by the shoulders (40). Asking someone for help was out of the question, so I used my duct tape dress form. I made this while wearing my stays, and it provides the correct shape for fitting the shoulders and setting the sleeve caps. After fitting the shoulder strap lining to the bodice front and back, I folded over the raw edges at the neckline and armscye and pinned them in place.
I then set in the sleeve on the lower half of the armscye, placing right sides of the Kaprifol together. In the extant garment interiors that I have seen, including the Colonial Williamsburg jacket, the seam allowance of the lower half of the sleeve is left raw (26). Whether this was for the ease of taking out the sleeve for remodeling, or because this area saw a lot of wear and needed to be mended often, it is still a mystery to me. I have searched for an explanation of this practice, but haven’t found anything mentioning the reasons for it. I stopped my backstitches at the shoulder strap, and pulled the sleeve cap to sit on top of the shoulder strap lining.
Sleeve caps were fitted to the individual as well, with the cap fullness pleated toward the back of the shoulder. The fashionable look was to have a smooth front cap, but room at the back to allow for movement. This part was the most time consuming and the most frustrating. After finally fitting the caps, I sandwiched them between the shoulder strap lining and a shoulder strap piece in the Kaprifol. I turned raw edges in, hemmed the neckline with the le point a rabattre sous la main, and top stitched the three other sides.
The basic jacket was complete! All I had left to do was add the trim to the sleeve. I cut two 3” x 42” strips of the blue silk, and folded under the raw edges. I box pleated the silk to the sleeve instead of on a flat surface, because the sleeve opening has a distinct angle. I tacked each strip on with silk thread, as extant garment trims were not meant to be permanent, but were accessories to dress up the same garment over and over.

Pardon the mismatched petti and the casio :)



Final Thoughts:

I really enjoyed the process of making this jacket. I feel as though it is mostly accurate in materials and construction methods, and I greatly credit Linda Baumgarten’s description of the construction for my completion of this jacket. I love the fit and the silhouette. The jacket was a ubiquitous garment that was worn by all classes of women during the 18th century, and for good reason. It fits well, goes on easily, and is super cute. I'm in the process of making a coordinating petti for this jacket, as the grey and tan don't really 'go' with it. Hopefully that will be up soon!

Cheers!
Meg

Sunday, February 1, 2015

Mid-Century Stays in Canvas and Leather


I have a new pair of stays!


Slowly but surely, I finished my mid-18th century stays. What started out as a sewing binge of foundation garments I wouldn’t need for Costume College '14 turned into me madly tacking on 300 inches of hand-pinked silk trim, and squeezing myself into some pretty ill-fitting old stays for the event. But c’est la vie. I have a better project list this year.
So the canvas stays were put aside very nearly done until I had recovered from CoCo'14.

            These stays diverge from my previous posts in that the boning channels are machined and boned in zip ties. If I ever make another pair, I’ll sew the channels by hand and use reed boning. The fit,  and overall shape are correct (the canvas is cotton and not quite time appropriate, but it has a great weight and strength in a price range I can afford at the moment), so I’m happy with them for now.

Materials:

I used the pattern in Costume Close-up for strapless stays, as I cannot stand tie-on shoulder straps. They always slip off my shoulders and poke out of necklines.
For the material, I used a rough, sturdy canvas. I had some fetch leather binding from Burnley & Trowbridge in my stash that I ended up using.
I cut out two sets of the pattern with a generous Seam Allowance and sewed the boning channels. I then sewed the panels together and whipstitched the seam allowances down. Once that was done, I used large zip ties and boned the entire thing. The eyelets were worked by hand.
After this, I started on the leather binding. I had read a few blog posts on costumers working with leather binding, and was expecting this to be a frustration-fest. I tested out a few different types of needles on the binding, and ended up using a long, thin millinery needle it passed easily through the leather, but would bend if I held it at the wrong angle. It was time consuming, but really worth it.
There was no way that I was going to cover the seams and then bind the stays, as it would have been incredibly thick, so I tacked them on after the binding was in place. 
                A floating linen layer was tacked on at the end.

End Result:
               

                They fit really well! I like the strapless design, and the overall silhouette achieved. I’m trying to get used to the fit of my jackets and striped gown over these, as they compress my bust by three inches and add an inch or two to my waist, whereas my old half-boned stays re-smooshed my shape, but didn't alter my measurements nearly as much.



Thoughts:

                Have you ever sewn with leather? What were your experiences?
                What are your thoughts on boning with zip-ties?

Thanks for reading!

Cheers!

-Meg

Sunday, January 18, 2015

What I Do Mindlessly While Watcing "Poirot": New Regency Short Stays

Hey, there.
   So, this doesn't technically meet the requirements of HSF'15 projects, as I did not complete it in the past two weeks, but it fits the project theme of "Foundations." I'm going with it.
I haven't been in a sewing mood as of late. But before this handicraft slump, I made something just for the heck of it.
   I know, it's weird. I had no pressing commitments, no event happening the next day. I just wanted something to occupy my hands other than flat patterning for class.
   Here they are: my Regency short stays!!!!





   I used this image as inspiration and a starting off point:

Image from Jane Austen's World


   I really liked the meshing of transitional stays and the ubiquitous short stay used today. I'm not incredibly endowed, and don't really have any figure-smoothing needs that would warrant a long stay (though they do make figures look incredible), so I wanted to go short. But I do have enough bust that I needed something more than a wraparound stay.
   This little guy seemed like the perfect fit. I added tabs to the bottom of the Sense and Sensibility pattern, so that there wouldn't be a hard line under my bust and at the Regency waistline.

Materials:
   I used some bleached linen that was lying around the stash, this super awesome fat quarter that was sort of mid 19th century, but looked a little like an indigo resist popular during the Regency. I used linen thread and some reeds cannibalized from an abandoned pair of late 18th-century prow-front stays.

Construction:
   The construction was similar to that of my 1790's stays, with two layers of linen with a boning between them, and a floating lining added after construction. I did add the lining before adding twill tape binding, just because I didn't have much in the way of lining fabric, and couldn't add SA to turn down the hem.

Thoughts:
   Well. I have recently lost a good deal of weight, and the stays are a little big, as evidenced in the pictures. I'm not swimming in them, but they are a little loose with the lacing edges touching. I may add some padding, or may just deal with the lack of intense lift I was hoping for. I could take them apart, but . . . who am I kidding. these are done; I'm not going to mess with them. And I do love the shape they give me. I'm almost done with a bodiced Regency petticoat, and am extremely excited to make a spencer and a shako. The day gown is necessary, of course, but I have the perfect striped velveteen for the matching spencer/shako combo and can't help but mentally jump ahead. I'm also painting shoes to match.

   Well, that's about it. I'll be posting next week about my bodiced petticoat!

   Cheers!
   Meg