Right now I don’t have access to the printed materials so I’m mostly inspired by the over all effect, and as my lace has a very uneven but scalloped hem I’m using this to help with what to do with it. I wish I had noticed the hem protection earlier as I am going to want that, and I can do that by machine. If the machine work is over in my lace I’m going to reserve my hand sewing for where it will have impact.
I did manage to cut my fabric panels for my mantua, it really is pretty darm easy as it is all on the grain rectangles. It is pretty much exactly what I expect from a pre-1920s measure, cut, fit process. It looks a bit different but ultimately it’s a case of wait to floor, shoulders to waist and that’s it. Everything else is adjustable to suit.
I knew I wanted my side extensions to be only one full width of fabric (so two widths of a more in era width. I cut (tore) one width from waist to floor plus a hand width for turnings. Then folded on the diagonal to form the two side extensions.
The underskirt is cut from three drops of fabric as these tend to be between 5-7 widths of in era fabric widths. I will wind up with side openings which will allow me to wear pockets underneath. The Henri Bonnart illustrations show a lot of openings for pockets.
The front of the robe was cut from one full width of fabric as long as from my shoulder to floor plus two hand widths. One hand width is to extend the fronts over the shoulder, the other is for turning.
To cut the back panel I laid the extensions next to the front panels and lined up the remaining fabric from top of the front panel down to waist and then followed the diagonal of the side extensions.
I didn’t want a very long train so I cut a curve about 3-4 hand widths.
The rest of the fabric will be used for sleeves and facings.
Since these I have machine stitched the joins and pressed them back ready for stitching. I haven’t yet done so as I need to really look through the Diderot stitches. Okay. Not totally clear but:
Fig, 1. 2. & 3. Elévation & places de dessus & de dessous du point de devanten piquant les deux étoffes de haut-en-bas & de bas-en-haut. Fig, 4. 5. & 6. Point de côté ramenant le fil en-deffous par-dehors après avoir piqué les deux étoffes. Fig, 7. 8. & 9. Point-arriere ou arriere-point, repiquant de haut-en-bas au milieu du point-arriere après avoir piqué de bas-en-haut. Fig, 10. 11. & 11. Point lacé comme le point-arriere, lieu qu’il fe fait au- en deux tems, revenu en-hauton ferre le point, & retournant l’aiguille on repique en-arriere commeau précédent. Fig, 13. 14. & 15. Point à rabattre fur la main piquant le haut-en-bas & de bas-en-hauten-avant les points drus espacés & également. Fig, 16. 17. & 18. Point à rabattre fous la main commele dernier au-lieu qu’ayant percé l’étoffe supérieure on pique-l’étoffe inférieure par-dehors, ensuite on pique les deux en remontant. Fig, 19. 20. & 21. Point à rentraire comme le point à rabattre fur la main se faisant en deux tems en retournant l’aiguille avant tout il faut joindre à point fimple les deux envers l’étoffe retournée on ferre de ce point les deux retours il faut pour cela très-peu d’étoffe &les points très-courts. Le point perdu n’eft qu’un point-arriere ajouté au precédent. Fig, 22. 23.& Point traversé, couture à deux fils croisés. Fig, 25. A, premiere opération; point coulé ou la passe, c’eft la boutonniere tracée de deux fils. B, la passe fermée du point de boutonniere. C, la passe achevée & terminée de deux brides à chaque bout quel’on enferme de deux rangs de points noués
Google translated:
BOARD IX. Sewing stitches. Fig, 1. 2. & 3. Elevation & places from above & from the fronten point pricking the two fabrics from top-to-bottom & bottom-to-top. Fig, 4. 5. & 6. Side point bringing the wire in-bursts from outside after stitching the two fabrics. Fig, 7. 8. & 9. Point-back or back-point, pushing up and down in the middle of the back-stitch after dipping from below upwards. Fig, 10. 11. & 11. Point laced like the point-back, place which it is made in two tenses, returned to the top, turns the point, and turning the needle backwards. Fig, 13. 14. & 15. Point to be folded on the hand, stitching up-down and down-up in front of the thick points spaced & equally. Fig, 16. 17. & 18. Point to be folded in the hand as the last one instead of having pierced the upper stuff, the lower stuff is thrown out, then the two are stitched upwards. Fig, 19. 20. & 21. Point to point as the point to be folded on the hand being done in two times by turning the needle before all must be joined at the same time the two to the returned fabric we iron this point both returns require very little material and very short points. The lost point is only a back-point added to the previous one. Fig. 22. 23. & Crossed point, cross-stitched seam. Fig, 25. A, first operation; cast point or the pass, it is the buttonhole traced two sons. B, the closed pass of the boutonniere point. C, the pass is completed & completed with two straps at each end which enclose two rows of knotted stitches
Figures 13. 14. and 15. Overhand hem stitch piercing from top-to-bottom and from bottom-to-top in front, the stitches densely spaced and even. Figures 16. 17. and 18. Underhand hem stitch [is] like the last, except that having pierced the upper fabric one pierces the lower fabric at the outside, one pierces the two together fortifying.
The Encyclopedia of Diderot & d’Alembert Collaborative Translation Project.
Fig, 1. 2. & 3. Points noués simples de neuf différentes formes. Fig, 4. Points noués doubles de trois différentes sortes. Fig, 6. & 7. Points croisés de simples & doubles de neuf différentes sortes.
Google translation:
Fig, 1. 2. & 3. Simple knotted stitches of nine different shapes. Fig, 4. Double knotted stitches of three different kinds. Fig, 5. 6. & 7. Cross points of single & double of nine different kinds.
To be honest it is the section on linen items that has nice clear hemming illustrated.
FIGURES Fig, 1. Le point de surjet. Fig, 2. Le point de côté. Fig, 3. Le point-arriere ou arriere-point: Fig, 4. Le point devant. Fig, 5. La couture rabattue. Fig, 6. Le point noué ou point de boutonniere. Fig, 7. Le point de chaînette. Fig, S. Le point croisê. Fig, 9. Peignoir en pagode: Fig, 10. Bonnet piqué. Fig, 11. Coëffure de dentelle. Fig, 12. Coëffure à deux rangs ou à bavolet. Fig, 13. Grande coëffe en mousèline. A coëffure en papillon sur une tête de carton.
Google translation:
FIGURES Fig, 1. The overlock stitch. Fig, 2. The side point. Fig, 3. The rear-end or back-point: Fig, 4. The point in front. Fig, 5. The seam folded. Fig, 6. The lockstitch or boutonniere. Fig, 7. The chain stitch. Fig, S. The point crossed. Fig, 9. Bathrobe in pagoda: Fig, 10. Quilted hat. Fig, 11. Scallop Coif of lace. Fig, 12. Coeffure Coif with two rows or bolster. Fig, 13. Large mussel cockerel mouseline coif. A butterfly coif on a cardboard head.
(Update June 2024: I have written and visual evidence that neccesitates reworking all these images and text. The update will be on my research site soon.)
The mantua as often described is a garment with a very unique construction. It puts all the side skirt shaping on a single wedge of fabric, made of several widths of fabric, entirely in line with the front panels. The angled top edge lined up with the side of the back, the short piece (with the grain) in line with the front. This leaves the bottom of the piece to the hem that keeps the grain perpendicular to the floor no matter how long the train becomes.
To create my own pattern I collected and redrew every pattern of an extant garment published and redrew them to the same scale (1/4) and overlaid them to understand the interplay between each pattern piece. I ignored facings, cuffs, and petticoats and focused on the over garments.
All current “mantua” patterns overlaid to show the proportions of each.
Pattern type 1
A traditional method of dividing the side fullness between the front and back can be seen in the patterns of Albayzeta from 1720. Included are several “ropa de levantar.” The
edited from: Geometria y trazas pertenecientes al oficio de sastres …. Juan Albayzeta por Francisco Revilla, 1720 – 95 pages
This pattern is for a garment with a very long train, though there is also a secondary hemline drawn where the skirt back would just touch the ground- most of the patterns for “rope de levantar of this book are of the shorter type.
Of the extant garments that have been patterned the Danish gown most closely resembles this. It’s possible to find the parallel seams joining fabric widths as well as a seam between the two diagonal sides.
Moden i 1700-årene Author: Ellen Andersen Publisher: [København] : Nationalmuseet, cop. 1977. Series: Danske dragter
The skirt is narrow and is worn with a very solid and full underskirt. This arrangement could mean the best display of the brocade pattern was at the side back.
Pattern type 3
Of the mantua type we are left with several garments in both English and American museums all with the wedge shaped piece matched to the front..
The earliest example appears to be the Kimberley gown held at the Metropolitan Museum in New York. The earliest date appears to be 1695.
Mantua Date: late 17th century Culture: British Medium: wool, metal thread Credit Line: Rogers Fund, 1933 Accession Number:33.54a, b
This garment has been pattern by both Nora Waugh and Blanche Payne, they differ slightly but the principle is the same and in both patterns the side fullness is entirely in line with the front panel.
My redrawing after a pattern in The Cut of Women’s Clothes, 1600-1930 by Norah Waugh- note there is no join line in this draft.
My redrawing after a pattern in History of Costume by Blanche Payne-note this join line is in the original draft.
History of costume, from the ancient Egyptians to the twentieth century. Drawings by Elizabeth Curtis. Author: Blanche Payne Publisher: New York, Harper & Row [1965]
I have divided the pattern so that the shapes can be compared more easily to the other garments- this garment has the sleeves cut with the body. The pattern can be easily put back as the dividing lines are the only diagonal lines in the draft.
Of special interest is the length of the front of the mantua. It is quite short (see image of overlaid pattern drafts.). Holme confirms that this is a common feature of mantua.
“A mantua is a kind of loose Coat without stayes [sic] in it, the Body part and Sleeves are of many fashions as i have mentioned in the Gown Body; but the skirt is sometimes no longer than the Knees, others have them down to the Heels. The short skirt is open before, and behind to the middle.”
This next garment from 1720-1730 and is housed at the Museum of London and patterned by Zillah Halls in Women’s Costumes 1600-1750: London Museum. This garment is not currently digitised or on display.
Another garment at the Museum of London was patterned by Nora Waugh, but not photographed. It is from 1735-1745 and uses the same construction. The train has been pinned up to the waist in the illustration but the pattern does not indicate any change in the construction.
And again this mantua is shorter at the front than the anticipated petticoat hemline (see image of overlaid pattern drafts.)
These are unfortunately the only garments with patterns I have been able to find but there are several more that have been catalogued and the skirt layout captured in photographs.
Manteau without patterns
The Metropolitan Museum has another early mantua example and the photographs do suggest the construction is of a kind- comparing the alignment of the pattern to the outside of the side back join in fabric shows it is in line with the hem not the seam.
Mantua Date: ca. 1708 Culture: British Medium: silk, metal Credit Line: Purchase, Rogers Fund, Isabel Shults Fund and Irene Lewisohn Bequest, 1991 Accession Number:1991.6.1a, b
A mantua in the Victoria & Albert Museum in London has been dated to 1733-1740 based on fabric (earlier date) and cut (later date). This gown has been photographed to show the construction of the skirt. This photo shows the brocade has been reversed from below hip level of the back panels and most of the side panels. This is so that only the face of the brocade is seen when worn and pinned in place.
Mantua Place of origin: Spitalfields (probably, woven) Great Britain (made) Date: 1733-1734 (woven) 1735-1740 (made) Artist/Maker: Unknown Materials and Techniques: Brocaded silk, hand-sewn with spun silk and spun threads, lined with linen, brown paper lining for cuffs, brass, canvas and pleated silk Credit Line: Given by Gladys Windsor Fry Museum number: T.324&A-1985
The Lincolnshire Mantua has been dated to 1735 based on the fabric and over all pattern pieces. This particular mantua has the train and most side panels reversed so that when pinned for display only the face of the brocade is seen.
Mantua dated after these examples can be recognised by the folding of the train which follows the folding of the Lincoln mantua and the floral brocades mantua in the V&A as above.
One of the earliest is a blue silk mantua at the Victoria and Albert museum. From the 1720s it retains the extra length in the train despite being pinned up.
Place of origin: Spitalfields (textile, weaving) England (mantua, sewing) Date: ca. 1720 (weaving) 1720-1730 (sewing) Artist/Maker: Unknown Materials and Techniques: Silk, silk thread, silver-gilt thread; hand-woven brocading, hand-sewn. Museum number: T.88 to C-19788
A brown brocaded silk mantua is also of this earlier type and is dated to 1732-1740.
Place of origin: Spitalfields (textile, weaving) Great Britain (ensemble, sewing) Date: ca. 1732 (weaving) 1735-1740 (sewing) 1870 – 1910 (altered) Artist/Maker: Unknown Materials and Techniques: Silk, silk thread; hand-woven brocade, hand sewn Museum number: T.9&A-1971
Other garments described as mantua are harder to confirm from the photos.
The earliest is held at the Los Angeles County Museum of Art with a date of 1700. It is perhaps the most stunning example of its kind. A deep rich blue silk satin, the petticoat completely covered in metal embroidery, the sleeves and stomacher ditto, only the train seems to be more sparsely covered.
Woman’s Dress (Mantua) with Stomacher and Petticoat Italy, circa 1700 Costumes; principal attire (entire body) Silk satin with metallic-thread embroidery Center back length (Dress): 67 in. (170.18 cm) Length (Stomacher): 16 1/4 in. (41.28 cm) Center back length (Petticoat): 41 3/4 in. (106.05 cm) Costume Council Fund (M.88.39a-c)
A stunning embroidered mantua is held at the National Museum of Wales, dated to the 1720s though much of the train has been removed during the nineteenth century.
COLLECTION AREA mwl ITEM NUMBER 23.189.1 ACQUISITION Donation MEASUREMENTS height (mm):1400 width (mm):2000 (max) depth (mm):1500 (max) TECHNIQUES metal thread embroidery hand sewn weaving MATERIAL damask (silk) metal thread silver parchment flax (spun and twisted) silk (spun and twisted) LOCATION In store CATEGORIES Court
A pale blue damask(?) mantua is held at the Manchester Art Gallery and appears to also be sewn so as to allow the face of the brocade to always be arranged outwards.
Another blue and silver mantua is held at the Kyoto Costume Institute and again has skirt panels reversed so as to always display the face of the brocade.
Dress (Mantua) 1740-50s – England Material Blue silk taffeta brocade with botanical pattern, buttons to tack train; matching petticoat. Dimension Length from the hips 183cm (Train) Inventory Number(s) AC10788 2002-29AB
While this garment has been dated to the 1750s i believe it is somewhat earlier. The skirt as displayed does not fit well suggesting it was not worn over wide hoops. The train has been folded and appears to show the fabric has been reversed in a similar manner to the above folded mantua trains. So it could be 1720-1740.
A COURT MANTUA OF CHINESE IMPERIAL YELLOW SILK DAMASK, THE SILK CIRCA 1740, THE MANTUA 1750S the bodice with long sweeping train of elaborately folded damask buttoning in swags onto two silk covered buttons at the small of the back, the bodice re pleated as a closed robe, the petticoats re-strung, shown here worn with a stomacher which is part of lot 141
So I have been as obsessed by the sunburst gown longer than the electric light gown but hey are in fact really interlinked!
After a little clarification that yes there were two Caroline Schermerhorn Astors. One Mrs one Miss and it is Miss Caroline Astor who wore the sunburst probably post marriage to Mr Orme Wilson.
Weirdly despite both ladies being the center of the very richest people at the time there are remarkably few pictures to be found of either.
But some brute searches in google after detangling the two has brought a very few written descriptions of the gowns of both.
So. The 1883 Vanderbilt ball. Ava Vanderbilt got to wear her electric light gown with working battery.
Exactly how true the whole “I can’t invite you as you haven’t visited me” thing actually was is a bit obscured by lots of colourful retellings.
It is hard to believe though that a formal part of the ball was unplanned. the quadrilles are a part of that formal element and the star quadrille was apparently devised by the hostess herself.
While a lovely friend was working out her costume inspiration, I went looking for decent resolution of images and woah! This did not come up in my google search, and it should, but rather another portrait with a link to the other works by the artist.
I think most historic costumers know this one already, this though is delicious in being able to see stitches. It’s actrually inspiring me to get back to Elizabethan as I could transfer that design almost exactly.
However I already have the Worth skirt I have had to set aside for hand health- not aside aside. Working out a safe way to store it between stitching. Also it is ivory silk satin. I have a dendency to get so far and then get something on projects made of pale silk. And my skin snags it, so basically still working out a Me safe storage and working space.
But it is inspiring, If not as a direct copy at least to enjoy my own tasks. I find that by imagining working with the materials above that I can imagine the embrodery as a privilege to work- being able to handle the fabric and threads.
So I just need to apply that inspiration to what I already have. For I have some lovely, lovely fabric and threads to work with as well.
In fact even with my mix of threads for my pink Cleves dress I enjoyed sewing the gown at the event. I may have to undo some (the bodice is a smidge too big- very stretchy fabric- and my sleeves should really go in the other way around.
While looking for WIP photos I’m also finding inspiration photos and now I am really inspired by a few pearled garments.
Finding the original source of this is proving very difficult (the photo owner is in there but where she posted it is not) but there is a great interactive exhibit! Huge photos definitely worth the effort of being stuck in the site and no static pages.
Right click to translate to English (or your own) click Catalogue> Women’s Suit> Court Costume then the dress is after the royal blue velvet. I’ve grabbed info for my favourites after sharing info about this gown 🙂
Dress by the court ceremonial of the Empress Alexandra Fedorovna
Russia, St. Petersburg. The end of XIX – beginning of XX century.
Workshop O. N. Bulbenkova
artificial pearls, silk threads.
Leaf: back length 39.0;
skirt: the length is 103.0;
Train:length 300,0
On the strap of the corsage printed with gold Workshop mark: Mrs. OLGA DRESS
S.-Petersburg Sink No. 8
Post. in 1941 from the GME; earlier: in the dressing room of the Empress Alexandra Feodorovna in the Winter Palace of
Inv. № ЭРТ-13146 а-в
Silver eye, silver thread, silk, beat, sequins, wire, fluff, lace; embroidery Leaf:
back length 33.0; skirt: the length of 169.0;
Train:length 340,0
On the strap of the corsage printed with gold Workshop mark: Mrs. OLGA DRESS
Dress of the court ceremonial Grand Duchess Maria Feodorovna
Russia (?). 1860s
Silk crepe with embossed texture, satin, lace, silk ribbons.
Leaf: back length 37.0; skirt: the length of 180,0; loop: length 440,0
At the corsage printed with gold workshop brand: FASHION AND DRESSES / AT T. IVANOVOY / S. PETERBURGH
Post. in 1941 from the GME; earlier: in the Anichkov Palace
inv. № ERT-9429 а-в
Dress the court ceremonial
Russia, St. Petersburg. The end of XIX – beginning of XX century.
Workshop of Ivanovs
Velvet, satin, metal thread, beat, gimp, silver plates; embroidery
Leaf: back length 34,0; skirt: the length is 150,0; loop:length 330.0
On the tape of the corsage printed with gold the workshop brand: on the sides – an image of two exhibition medals, a shield of arms
and an inscription – Supplier / courtyard of His
Imperial Majesty Ivanovs / Fashion
and dresses. Saint-Petersburg / Fontanka
at Chernyshova Bridge # 68-7, sq. M. 16. Phone K-2234
Post. in 1941 from the GME
Inv. № ЭРТ-13132 а-в
but yes, photo sorting because there is quite a backlog of photos to sort and lots more to try and locate.
I am not sure if the petticoat and front are original, if they are it’s a lovely example of a non matching set. There are a handful of these early mantua that are extant. The very delicate colour choices of pale blue and silver would have made this stand out in candlelight.
I have foam core board to make a test run of the McDowll cutting system 🙂 So I may be able to get a third tool printed off tonight too 🙂
Oky, since posting that I actually have. My firt prints were twice the size, then 1/4.. now I think I have it. It looks right. I have them in light card and paper for cardstock so I’ll cut the card tonight and see if it looks right!
This system is mentioned in Cutting a Fashionable Fit and there have been a few examples up for sale:
OMG!!!!! $US80?!?!?! That’s less than my ink. So and an ebay search…..
I decided that I have wanted an authentic pattern drafting machine but I’ll never be able to afford one, so I’ve got a nice clear copy of a few originals and now with the power of image editing software it’s time to make some.
Step one, figure out where to scale.
Done and done 🙂 By the end of the day there should be a copy ready for any other drafting nerds 🙂
Also these might just be inspiring enough to hunt down originals 🙂
