Medieval/ Tudor corset

Stuart/Georgian/Coloenal Clothing Construction

Extracts from The Cut of Men's Clothes 1600-1900 by Norah Waugh

"Pleated skirts to a man's silk dress coat of 1740s are stiffened with interlining of woven horsehair and buckram and lined with a further layer of unspun wool. This gives dramatic flare to the skirts causing them to stand out independently. Full skirts have open side seams which are kept in place by stays of chain-stitched thread and several buttons which hold the open seams together, and serve a decorative as well as a practical purpose. When open, the side seams and centre back vent, which had their origins in riding dress allowed the coat to drape comfortably when seated on a horse. stiff interlinings. layers of buckram to stiffen collar. Collars often had a point at the back.   The fronts curve back sharply, the side seams have moved closer to the centre back and pleats are narrow."

1680-1880
"A layer one firm fabric between the lining and top layer to strength the fabric. Very skilful in making his pleat so that there is no gap. The front must then be stiffened with buckram. It is to the reverse side from top to bottom along the edges, four inches broad at the shoulder, widening to within in inches at the armhole, then narrowing to the seventh or eighth buttonhole. Then a strip of straight material is placed all long the edge, pleated to shape where the chest is rounded, and all  three layers of stiffening are then whip-stitched to the edge of the coat. a small plastron of cotton wool is stitched to the buckram on the chest towards the collar-bone to fill in the hollow which is always found here."

"The skirt of the coat used to have a horsehair lining to hold it out, and was called a pannier (some people still like having a small pannier coming half away down the skirt). Work from the skirt opening upwards on jackets to ensure they line up. Pleat numbers four in the front and two and half in the back."

"The waist coat is made is made in the same way but only one buckram interlining which does not go as far as the shoulder.Shoulders of the doublet were set further back."

Pictures taken from  Historical Fashion in Detail The 17th and 18th Centuries by Avril Hart and Susan North and The Cut of Men's Clothes 1600-1900 by Norah Waugh

Tudors Construction Techinques

I decided to start this research at the Tudor ere as it was the first time that there was a noticeable different between the class and between formal and day wear. Different methods were being used and more fabrics were being used. Before Tudors men more oubliettes, breeches or hoses, tunics, cloaks and leather shoes. For formal occasions they would embellish there outfits to an extent with better fabrics and belts but not to the extent the Tudors went.

Garment Details:-

Fabrics used and how they were used:-

Techniques and Methods used:-

• The stitches are all done by hand.
• Basting is often used to keep layers together by hands. Stitches are removed once the garment is finished.
• Binding and facing this is for finishing edges. Binding a strip of fabric encloses the raw edges and is visible from the outside of the garment. A facing is applied to the inside of the garment and is not visible on the right side.
• Whipping This is used on bulky areas of garments. The fabric is whipped together to hold them.
• Working with leather and fur:- thinner layers of leather can be sewn like other fabrics but thicker ones need special treatment. seam allowances are not added and edges are joined with a but stitch. A leather-working tool with a flat spike called an awl is used to make the holes for the stitches.two needles are threaded with waxed linen thread and the stitches are worked in tandem. The tension is pulled up evenly as the stitches progress. fur lining and facings had there edges finished before being inserted into the fabric. The edges were whipped together. Use cotton tape or bias binding for curved edges on the edge to keep strengthened.
• Grading is used where a number of layers of fabric have been sewn together. Bulk is minimized by trimming each of the layers down by slightly different amounts.
• Matching buttons to complete a garment are made by hand. Often using the same or complementing fabric. You can also make thread buttons.
• Boning started to be used for corsets for both men and women.
• Clothes started to be slashed and quilted to give garments texture.

• Buttonholes are made by marking the area with a small box of tight stitches, cut the box and whip stitch the edge so it doesn't fray. Eyelets are made forcing forcing a knitting needle through the fabric without damaging the fibres. The edge of the eyelet is sewn tightly then bound like the button hole.
• Hooks and eyes they sew on to each side of the fastening. Alternate hooks and eyes sewn to the inside edge of a garment. So it goes hook, eyes and hook and the alternative on the other side to stop the garment from coming undone.
• Different types of gathering are used like knife pleats, box pleats and cartridge pleats. All of them used for different things and different looks to a garment.

Fun fact:- Boys wore skirts instead of breeches right up until they were 7 years old.

References:-
The Tudor Tailor by Ninya Mikhaila and Jane Malcolm-Davies
http://mens-fashion.lovetoknow.com/16th_Century_Fashion
http://www.renaissancetailor.com/demos_handtech.htm

Notes from Ultimate Guide to sewing Tailored Jackets

Standards of A Well-Tailored Jacket or Coat:-

• Garment has straight, thin edges, sharp corners, smooth curves and all handwork is inconspicuous.
• Front edges, well finished edges on the vents, pocket flaps, lapels, collar points rolled in towards the body ( never outwards).
• Seams and darts are smooth and straight with no crooks or puckers.
• Facing and hem edges are attached so they don't show from the right side.
• Sleeves hang straight without diagonal wrinkles in the sleeve cap.
• Lining has enough wearing ease so movement does not cause strain on the fabric.
• Buttons fit buttonholes easily and lifted away by shanks to prevent wear and strain.
• Pockets lie flat and fit the curve of the body.

Tailoring Method see pages 65
Custom:- Traditional methods of tailoring but time consuming.

• Hand Padstitching is used to attach the interfacing and to shape the garment.
• Hair Canvas sew-in interfacing is used to shape the garment front, under collar and hems.
• Taping the lapel roll line and front edges with stay tape is done by hand.
• Lining is inserted by hand.

Fusible:- Fusible interfacing does not require pad stitching and is made up by machine apart from setting in the lining sleeves and sewing the hems.

• Fusible interfacing is used to shape the garment front, front facing, upper collar, undercollar and hems.
• Taping the lapel roll line by machine may be done but taping the front edges is not necessary.
• Lining is inserted by machine, except for the sleeve lining which is attached by hand.

Machine:- Made up entirely by machine apart from setting in the lining sleeves and sewing the hems.

• Machine Pad stitching is used to apply interfacing and to shape the under collar: lapels may also be pad stitched by machine.
• Hair canvas sew-in interfacing is used to shape the garment front, undercollar and hems.
• Taping the lapel roll line is done by machine and taping the front edges is not necessary.
• Lining is inserted by machine, except for the sleeve lining which is attached by hand.

Combination:- Made up of different combinations of tailoring methods. Made up of any of the previous methods.

Selecting A Pattern page 14:-Research everywhere to key shapes and details. Go to shops to try them on and see what lengths, fabrics and details suit your figure. Try to pick a shape that is timeless so it will never go out for fashion as they are very expensive when made well. Make sure it will complement your wardrobe.

Time Savers:-
- When time is limited opt for a shawl collar to save time.
- Dolman or raglan sleeve styles also offer easier construction.
- Patch pockets are easier than welt pockets. Welt need careful cutting/stitching and take practise to get right.


Selecting the Right Fabric:- page 16
For first projects wool is recommended as it presses and shapes very easily. Stitching is hidden easily by texture. However hard-surfaced wool worsteds are bad for tailoring. Avoid patterns for first projects because they are complicated.
Three tests for selecting a tailoring fabric:-

• Crush the fabric in your hands to check resilience. If it creases the fabric will be more difficult to tailor.
• Push fabric with your thumbs to check durability. If yarns separate and it doesn't recover it's shape it will stretch out of shape when sewing.
• Test fabric drape by placing fabric over bust line. If fabric doesn't fall into folds it will be difficult to tailor.

 Remember if you use a patterned fabric to line up the pattern so they run and lie properly.
Interfacing page 20:-

• Sew-in  interfacing:- Use hair canvas for shaping the under collar, lapel and hems. A lightweight woven interfacing or broadcloth are used for back stay like muslin. Lambswool may be used where soft padding is desired such as sleeve heads or to add warmth to the jacket.
• Fusible interfacing:- different weights will vary the softness of the interfacing allowing for a sharp or soft look. fusible fabric is not suitable for fabric that becomes damaged by prolonged exposure to heat or heavily textured fabrics as it will come off after awhile. Do not use it on fabrics which are treated for water repellent or stain resistant.

Lining page 24:-
Fabric weave:- Satin feels smooth but has float yarns which snags easily. Twill weaves are stronger than plain and satin weaves.  Some lining fabrics have woven jacquard or dobby designs. If the design has long floats, they may catch on watches and jewellery.

Lining colour:- Choose a solid colour which matches or blends with the fabric. Be careful with patterns as they might clash with other garments you might wear with it.

Outerwear lining:- Special lining fabrics for winter coats are available.  There are different weights and properties depending on the lining.



I need to buy this book as it is so amazing for tailoring advice.

Notes from Couture Sewing Techinques by Claire B. Shaeffer

This book is wonder for the history of couture and a very in-depth study of how to produce a high class garment. I thought this book would have a great list for appropriate techniques that could be used for making a suit. I was amazed by some of the things the book highlighted.

Needles:-
The higher the number the finer and shorter the needle. Use long needles for long stitches like thread tracing, uneven basting and stab stitches. Use shorter needles for general sewing, short basting stitches, hemming and finishing stitches. Use needles with oval or long eyes for coarse threads and easy threading.

Threads:-
Threads numbered with the higher number meaning the finer the thread. Silk is lettered from A to F, the lower the letter the finer the thread.  Pressing thread into bees wax helps thread stop from knotting as easily.

Fabric Handling:-
When sewing white or pastel fabrics, use talcum or drafting powder to keep hands clean and cry. When sewing fragile fabric with rough hands, use a pumice stone or a mixture of cooking oil and sugar to remove hard skin.

Knots:-











Temporary Stitches:-
Even Basting:- Is a running stitch which measures evenly on both sides of the seam. This is used to prevent movement during construction between two or more layers of fabric. This stitch can be doubled up so that one thread runs in between the other.
Top Basting:- This is when an even or uneven basting is applied to the right side of the fabric to make it look top stitched like jeans at the seam.

Lap Basting:- This is used for bias seams that are stretched when stitched. Use an even basting stitch for 6 inches then stop cut the thread leaving a tail and start again from the point of the tail. Keep going all the way along the seam. Fastening with back stitches. (See picture to the left)
Uneven Basting:- Is a running stitch with one side of the seam longer than the other. This is used  for marking garments, basting hems and straight seams when they don't need to be strong. When using this technique make sure you keep the fabric taut.
Diagonal Basting:- This is used to hold pleats, backing and interfacing to the fabric. Hold the fabric vertically and insert the needle horizontally from right to left. Pull thread through and push through either above or below that stitch. On one side of the fabric it will create diagonal lines and on the other it will create columns or dashes.
Cross Stitching:- This is a variation on diagonal basting were two rows of diagonal stitches in opposite directions are places on top of each other. This is used to mark the right side, front of the garment during construction.
Slip Basting:- This is used on the right side of the fabric when matching stripes and plaids. The fabric edges lap each other or fold over one another. Slip basting is the same technique as slip stitch just not permanent. Fold seam over and place it over the edge of the one below. Match any pattern as needed and pin. Work from right to left, taking the thread through the fabric diagonal. where it comes out sew it straight through the other side to make a dash. Continue all the way along. 

Permanent Stitches:-
Running Stitch:- A small even running stitch used for seams which need very little strength such as pockets, lining, setting zips or securing folds of draping.
Slip Stitch:- This is used to attach fabric from the right side of the fabric. Example waistline seam, intricately shaped seam, hems or folded edges of a waist belt. Make sure to use a single thread. Fold the seam allowances back and pin. Catch each side of the seam as you work along the seam until it's closed. It should look like a ladder.
Fell Stitch:- This is similar to slip stitch but used over one folded edge and one raw edge. This is used to set in an under collar, waistband or sleeve. Used for flat-felled seams, finishing narrow and rolled hems.
Whip Stitch:- This is used to finish a hem. It's also used to make narrow seams and join lace. To whip stitch, insert through the back of the fabric through all layers. Draw it back through and keep going all the way along.
Baseball Stitch:- This is used to join two abutted edges without seam allowances. Start with right sides up, insert the thread into the back of the fabric and pull through. Move along a centimetre and push the needle through the wrong side of the fabric. Keep going along.
Stab Stitch:- This stitch is used for binding buttonholes, pockets, setting shoulder pads, zippers and joining especially thick fabric layers. With the garment right side up, stab the through with a small stitch and make the stitch on the other side a little longer. Continue like this all the way along.
Diagonal Stitch:- This is used to shape collars and lapels. This is also known as padstitching, this attaches the padstitch to the chest canvas.

Catch Stitch:- It looks like a row of Xs on the right side of the fabric and looks like two rows of parallel dashes on the wrong side. This stitch is very elastic, this is used to make casings for elastic and tapes. This it also used to tack pleats.






Over-catching Stitch:- This works with the whipstitch which crosses over it to create an X. Stitches are small. This helps with seams not ravelling.
Backstitch:- a sturdy hand stitch for seams and decoration. It's often used for setting sleeves. On one side it creates a join line of stitching and on the other a line of over lapping lines.

Hemming Stitches:-
Blindstitch:- This is the most frequently used hemming stitching. This hem is hidden between the garment and the hem. Work from right to left, catch each side of the hem with a tiny stitch to create a zig-zag along the seam.
Blind Catch Stitch:- This is a much stronger, durable and more elastic than the blindstitch and is used for hemming heavy fabrics. You work from left to right this time, create the zig-zag again but double back to make it stronger.

Tailors Tacks:- This is used to mark wool fabrics.This is used to mark on pattern markings required to manufacturing the garment much as seams, darts, openings for pockets etc. They will be removed after construction.





Abutted and Butted Seam:- A flat seam joining two plies, edge-to-edge, without overlay
or seam allowance. This is done with a zig-zag stitch, sometimes this has fabric behind to help it hold together.

Stitch images taken from:- http://en.wikipedia.org/wiki/List_of_sewing_stitches

Couture Jacket Breakdown

Taken from Couture Sewing Techniques by Claire B. Shaeffer

Characteristics of a Couture Jacket
taken from page 165

Jacket Front Breakdown

Taken from page 168

First Fitting
Taken from page 169

Check List:-

• Roll line on lapels (should hug shoulder)
• Undercollar (should hug neck and cover CB neckline seam)
• Back armscye (should hug body)
• Button and pocket placement
• Hemline

Taping Front Edge of Jacket
Taken from page 172

Second Fitting
Taken from page 173

Check list:-

• All previous fitting corrections.
• Hang and length of sleeve.
• Garment edges (should hang perpendicular to floor).

Making and Setting Shoulder Pads
 Taken from page 180

Random note but look into stay tapes in the lining of suit jackets.

Corsets

New seams discovered. New ways of doing the same method. Giving you different options depending on the fabric, style of corset and shape.

Step by step Tutu part 4 Bottom Tutu Layer Construction

• Stitch back and gusset together with a French seam. Use pins to hold back layers while trying to sew them together. Put pants elastic through before closing the bias binding edges.

• Stitch layers of toille together for each layer with French seams. Leave the top 3 layers without being sewn together so the dancer can get in. Fold edges in and sew so there are no raw edges.

• Press tutu under a table overnight to flatten the tutu further.

• String layers together 3 at a time with a loose tack to help hold they layers together.

• Make up over lay by drawing round the flat tutu, leaving a hole in the middle with a split. Cut to the right size and make up in the fabric required and add embellishment. Hem the edge Fabric can be attached to the net for extra support if fabric is too soft. Fabric can also be gathered like the tutu layer before it.

• Stitch over lay to the top layer of toille.

• Make up bastque or york from calico if it's not seen and in the same fabric as the bodice if seen. Attach petarsham to the top of the bastque and attach piping to the bottom.

• Attach hanging loops to the top of the bastque.
• Attach piping at the bottom of the bastque to the tutu skirt.

•  Attach bodice to the bastque lining up the front of the york with the bottom of the bodice. Stitch in the line of the pipping. Attach hook and bars to the york waist band as required.
• Thread iron boning or rigilene boning doubled up through the 5th layer channel to make the hoop. Make sure to make the hoop flat with the gathers spread evenly over the hoop. After it's through tape or tack the ends together so there over lapping and seal inside the channel.

• Tutu Complete!!! :) What an experience. 

• 

Step by step Tutu part 3 Bottom Tutu Layer Construction

•  Attach the two leg ruffles around the edge of the bias with the layer facing up. Trim off any extra ruffles leaving 1.5cm just in case.
• The bottom 4 layers must all be sewn with the layers going up to counter act the rest of the layers which all are all going downwards.
• Pin each layer before you sew them to the pants, following the line marked on. Make sure to keep track or what layer you are on and which type of netting you should be using. This will help you avoid mistakes.Remember to leave 1.5cm at each end for attaching later.

Step by Step Tutu Part 2 Ruffles Preperation

• Cut out all layers using measurements that can be found bellow. More layers can be added. Just use the measurements bellow as a rough guide.You can cut down on layers but the top two have to be stiff net and the leg ruffle has to be soft. Bottom 4 layers have seems going up and the rest go down. To the top two layers add as much ruffle to them as possible.

Cutting Net

The size and shape of the dancer will determine the number of frills and the length of the frills.
The more slender dancer needs less length in her frill. A shorter dancer can accommodate fewer frills.
For dancers whose height is over five foot four inches ten frills works with widths generally no wider than 12.5 to 13 inches:

• 1.5 inches
• 3.5 inches
• 5 inches
• 7.5 inches
• 9.5 inches
• 11 inches
• 12 inches
• 13 inches = this is average
• 14 inches = this is average
• 15 inches = this is tall dancer range.

The 12.5 inch length leaving a twelve inch skirt. However, different roles require different lengths. 12.5 inches is a short tutu.
Remember, it takes 13 inches of net to create a 12.5 inch tutu length. Also remember there will be mistakes and length could come off the ends! Give yourself room for error if you are new to this.
A good example of a character tutu that typically calls for a long skirt is Cinderella’s tutu which is often longer than most though not quite a romantic tutu. This is an example of a bell shaped tutu that often contains a hoop.

Tutu Frill Dimensions

Yards of net required for an average tutu are 14 yards which are cut into the following lengths in inches:

12.5- (cut four lengths of 54 inch fabric)
12.0 -(cut four lengths of 54 inch fabric)
10.5-(cut three lengths of 54 inch fabric)
9.5-(cut three lengths of 54 inch fabric)
8.5 -(cut three lengths of 54 inch fabric)
{the 8.5 layer is the wired layer in which a two inch strips is sewn to insert the wire.}
7.0-(cut three lengths of 54 inch fabric)
6.0-(cut three lengths of 54 inch fabric)
5.0-(cut three lengths of 54 inch fabric)
4.0-(cut three lengths of 54 inch fabric)
3.0-(cut three lengths of 54 inch fabric)
2.0-(cut three lengths of 54 inch fabric)
1.5-(cut three lengths of 54 inch fabric)

• Remember to mark on the strips which layer they are so you don't get mixed up.

• The channel layer must be on the 5 layers ish as long as it's stiff net. For my tutu I have 4 layers of soft and 6 layers of soft. Attach the channel to the 5th layer while it's flat then scallop the edges of the fabric if required. Remember to vary the size of scallop for the best effect.

• Pleat all the layers using a gathering foot or a quick unpick pushing the fabric through. Keep the line of the fabric straight.  
• You'll end up with a row of curls like the picture bellow after there pleated.

Step by step Tutu part 1 Pants Preperation

• Cut out panties pattern in a soft toille or body stocking. With toille use double layers.

• Attach the two pieces together to make one piece. The straight stitch also stops the pieces from stretching out of place while you attach them later.

• Attach fronts leaving the back open for fitting later. French seam the front.

• Mark on the lines for attaching the ruffles from the pattern. In future I think I will photo copy the pattern and sew the lines on for a more accurate line.

• Bias bind the edges of the legs. Insert elastic at this stage so it clings to the legs and will move with the body.

Hat Making Part 3

Spent the day hand sewing the head band and petershum edge onto the hat. It was very relaxing. Enjoyed sitting there hand sewing for the day.

Hat Making Part 2

So much fun. I really enjoy the experience of making a hat because it's so delicate and relaxing. I learned how to stab stitch properly and wire stitch.