manteau-or not (inc patterns)

We tend to think of all open robes of the 1680s to early eighteenth century as “mantua” or “manteau.” However there are at least two documentable pattern types to over gowns of this era.

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.

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.

Most garments with a straight front and back seam allow for narrower extensions on the front and back of the skirts, and this is true from the sixteenth century to modern times. The four gore skirt is built on this basic shape.

This distinction does seem to be borne out by Holme who wrote of garments made by a tailor and does differentiate between a gown and a mantua, later explaining that they are equally diverse:

“Of the Taylor, with the parts of the Doublet, Coat, Breeches, Cloak, Womens Gowns, Mantues, Wastcoats, and Petticoats… Of the Semster, Laundress, Needle-work Mistress, with the severall terms of Needle-work.

The academy of armory, or, A storehouse of armory and blazon containing the several variety of created beings, and how born in coats of arms, both foreign and domestick : with the instruments used in all trades and sciences, together with their their terms of art : also the etymologies, definitions, and historical observations on the same, explicated and explained according to our modern language : very usefel [sic] for all gentlemen, scholars, divines, and all such as desire any knowledge in arts and sciencesHolme, Randle, 1627-1699. https://quod.lib.umich.edu/e/eebo/A44230.0001.001/1:7.3.3?rgn=div3;view=fulltext

This more traditional and sustained pattern type 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.”

edited from: Geometria y trazas pertenecientes al oficio de sastres donde se contiene el modo y orden de cortar todo genero de vestidos españoles, y algunos Estrangeros, sacandolos de qualquier ancharia de tela, por la Vara de Aragon y explicada esta con todas las de estos Reynos, y las medidas que usan en otras Provincias estrangeras
Front Cover
Juan Albayzeta
por Francisco Revilla, 1720 – 95 pages

https://books.google.co.nz/books?id=LOPc3rKe1-gC

This pattern appears to be for a garment with a very long train, though there seems to also be 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. This garment has not been digitised and is not currently on display.

Moden i 1700-årene
Author: Ellen Andersen
Publisher: [København] : Nationalmuseet, cop. 1977.
Series: Danske dragter

https://www.worldcat.org/title/moden-i-1700-arene/oclc/835178454?referer=di&ht=edition

It is possible to see the seam lines in the first photo that confirms the pattern draft that puts narrow wedges on both the side front and side back seams.

(ETA photos of details:)

My redrawing after a pattern in Moden i 1700-årene by Ellen Andersen

Moden i 1700-årene
Author: Ellen Andersen
Publisher: [København] : Nationalmuseet, cop. 1977.
Series: Danske dragter

https://www.worldcat.org/title/moden-i-1700-arene/oclc/835178454?referer=di&ht=edition

This also seems to be the construction of a Norwegian garment that shares the same heavily pleated sleeve shape.

There is an open robe in Norway’s National Museum that seems to be of the same construction but is in fact a single wedge each side but it is in line with the back panel.

Datering: Ca. 1720
Betegnelse: Drakt
Inventarnr.: OK-dep-01160
Eier og samling: Nasjonalmuseet, Designsamlingene
Foto: Nasjonalmuseet / Larsen, Frode Last ned.

http://samling.nasjonalmuseet.no/no/object/OK-dep-01160

It seems to be fairly unique to this garment to align the single wedges to the back. Could this be a mistake- many dresses of the nineteenth century have the gores reversed at the sides- or deliberate. 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.

(ETA: detail photos of the grainlines)

Of the mantua type we are left with several garments in both English and American museums.

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

https://www.metmuseum.org/art/collection/search/81718

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.

The cut of women’s clothes, 1600-1930
Author: Norah Waugh; Margaret Woodward
Publisher: New York : Routledge : Theatre Arts Books, [1968] ©1968

https://www.worldcat.org/title/cut-of-womens-clothes-1600-1930/oclc/250274
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]

https://www.worldcat.org/title/history-of-costume-from-the-ancient-egyptians-to-the-twentieth-century-drawings-by-elizabeth-curtis/oclc/1086817570&referer=brief_results

The next garment that has been patterned is from Shrewsbury c1710.

Mantua.18th century (1710). Shrewsbury Museums Service (SHYMS: T/1973/6/1). Image sy14193

http://www.darwincountry.org/explore/022360.html?ImageID=22370&Page=42#Gallery

This was patterned by Janet Arnold (Patterns of Fashion 1: Englishwomen’s Dresses and Their Construction C. 1660-1860).

This garment also uses widths of fabric to create a single wedge extension each side and in line with the front panels.

My redrawing after a pattern in Patterns of Fashion 1 by Janet Arnold

Patterns of fashion. . 1. : Englishwomen’s dresses and their construction c.1660-1860.
Author: Janet Arnold
Publisher: London : Macmillan, 1977.

https://www.worldcat.org/title/patterns-of-fashion-1-englishwomens-dresses-and-their-construction-c1660-1860/oclc/248594714&referer=brief_results

(ETA: I have divided the pattern so that the shapes can be compared more easily to the other garments- this garment is made in continual lengths from front hem to back hem with the sleeves not cut out but rather shaped by pleating. 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.”

The academy of armory, or, A storehouse of armory and blazon containing the several variety of created beings, and how born in coats of arms, both foreign and domestick : with the instruments used in all trades and sciences, together with their their terms of art : also the etymologies, definitions, and historical observations on the same, explicated and explained according to our modern language : very usefel [sic] for all gentlemen, scholars, divines, and all such as desire any knowledge in arts and sciences Holme, Randle, 1627-1699. https://quod.lib.umich.edu/e/eebo/A44230.0001.001/1:7.3.3?rgn=div3;view=fulltext

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 is made from chartreuse silk and is again of this single wedge each side construction. This garment is not currently digitised or on display.

Women’s costumes 1600-1750,
Author: Zillah Halls; London Museum.
Publisher: London, H.M.S.O., 1969.

https://www.worldcat.org/title/womens-costumes-1600-1750/oclc/49093
My redrawing after a pattern in Women’s Costume 1600-1750 by Zillah Halls

Women’s costumes 1600-1750,
Author: Zillah Halls; London Museum.
Publisher: London, H.M.S.O., 1969.

https://www.worldcat.org/title/womens-costumes-1600-1750/oclc/49093

This mantua is again shorter than a matching petticoat would be (see image

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.

The cut of women’s clothes, 1600-1930
Author: Norah Waugh; Taylor & Francis.
Publisher: Boca Raton, FL : Routledge, an imprint of Taylor and Francis, [2013]. ©1987.

https://www.worldcat.org/title/cut-of-womens-clothes-1600-1930/oclc/1074444804&referer=brief_results
My redrawing after a pattern in Cut of Women’s Clothes, 1600-190 by Norah Waugh

The cut of women’s clothes, 1600-1930
Author: Norah Waugh; Taylor & Francis.
Publisher: Boca Raton, FL : Routledge, an imprint of Taylor and Francis, [2013]. ©1987.


https://www.worldcat.org/title/cut-of-womens-clothes-1600-1930/oclc/1074444804&referer=brief_results

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.

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

https://www.metmuseum.org/art/collection/search/81809

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

http://collections.vam.ac.uk/item/O71872/mantua-unknown/

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.

The Lincoln Mantua

https://www.lincolnshirelife.co.uk/posts/view/the-mystery-of-the-mantua

Mantua from 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

http://collections.vam.ac.uk/item/O13810/mantua-unknown/

A brown broacaded 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

http://collections.vam.ac.uk/item/O71535/mantua-unknown/

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)

https://collections.lacma.org/node/170609

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

https://museum.wales/collections/online/object/e2ce99c3-462b-3da3-af0a-953e4f94008d/Dress/?field0=string&value0=Tredegar&field1=with_images&value1=on&field2=string&value2=Dress&index=6

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.

mantua dress
Acknowledgement: © Manchester
City Galleries
Created by:
Created: 1740-1742

http://manchesterartgallery.org/collections/search/collection/?id=1989.220

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

https://www.kci.or.jp/en/archives/digital_archives/1700s_1750s/KCI_007

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

https://www.christies.com/lotfinder/Lot/a-court-mantua-of-chinese-imperial-yellow-5018370-details.aspx

finally printing Mcdowell!

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…..

books galore and well..

So my books are already winging their way from Central Basement (where all the cool books live.) and I did fond at least one maybe two online references from the Worth bibliography.

Still no sign of The cloud pattern nor The ray pattern. There are stars though (yuss!!) but the clouds prove elusive.

And then I saw an ad on facebook.

How To DIY a Balloon Garland

And this is lovely, I’ve seen them before and like the idea of one like this with pastels and…..oh dear.

I can no longer unsee.
 

No but seriously the cloud patterns used on other garments use tapering scrolling shapes. So the hunt for the original design continues!

ooooh sunburst beading

So obviously one uses silver lined glass beads and the other uses pearls. Of note, fake pearls. Which is very exciting. Beacuse I have vintage fake glass pearls so I suspect they are made the same way- I think it’s an enamel paint over glass.

Anyway notice the other big thing.

The pearls do not have a shadow line. I was originally working from The Opulent Era which includes a close up of the pink gown that shares photo space with the yellow sunburst. And in that the beads are outlined with fine seed beads. But that is not what is going on!

The yellow sunburst apparently has a silver cord laid down and the silver lined beads sewn around that. You can see the couched threads once you look for them but especially on the cloud circle to the inside of the furthermost star. Also metal would explain how the cord stays so crisp as opposed to a silk over cotton core. Compare how firm they appear compared to the known beads and thread. The gown has a lot of shattering of the silk but how soon did the silver corrode? Was it a factor calculated into the making? Or did the gown get stored in a way that wasn’t completely optimised?

So I suspect the same rational I used to decide the pearls were the better option for me played a part in the original. I think the beads alone were not going to give enough definition so the couched silver does that.

I however love the effect of the the corroded metal! I love how it outlines in such a sharp graphic line. So I am really really torn as to just how “accurate” I want to go. I should only couch cord iff I use rocailles but it should also be silver. Also the rocailles are one size while the pearls graduate… will going for a single sized pearl and dark silver cord work? As somthing that could have been done?

But the same can be said of the sequins. I will likely use modern non tarnishing sequins so will that affect how this changes over time?

 

And now I am remembering why I stalled the last time! My historic gear is rarely a copy. I much prefer to do as was done which is to take a fashion plate or photo of a celebrity and say “I like this, but do this” as is how the pink version came about anyway! But I love so much about the yellow (with hints of pink and green and bright yellow).

CF Worth disposition gowns

Help. Obsessed. There may have been a Pinterest board created and it may be strictly properly sourced and maybe just updated with a gown that is included in one of the few Lafayette photos to have lots of close views. Such bliss.

I know a lot of people have been inspired by RedThreaded’s Worth gown, but there may be some weird web archiving glitch so here it is for anyone not yet seen! Cynthia’s gown next to the originals!

Garment entirely created by Cynthia Settje of red threaded.

Date:1898–1900 Culture:French Medium:silk Credit Line:Gift of Miss Eva Drexel Dahlgren, 1976 Accession Number:1976.258.1a, b

Date:1898–1900 Culture:French Medium:(a, b) silk Credit Line:Gift of Mrs. C. Phillip Miller, 1957 Accession Number:C.I.57.17.8a–d

 

 

 

 

 

 

 

 

 

 

 

 

 

So while looking for themes and understanding my favourite gowns in context the velvet and satin gowns came up over and over again. So I shall add to this blog post as more pop up, and I wrestle with WP layouts.

First one that I adore:

Sitter: Lillie Langtry (stage name) Lady De Bathe, née Emilie Charlotte Le Breton (1853-1929).

LANGTRY, MRS
Neg. No: 2194
Neg. Size: 15″X12″
Neg. Date: 10-11-1899

I think this may be my favourite of all the gowns Worth produced like this. Though that may be because it’s Lily Langtry!

Yes, I often combine my interest in theatre, costume, and stage so of course I have a lovely file archive of Mrs Langrty.

 

I think my other favourites would have to be these

Date:1899 Culture:French Medium:silk Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of Edith Gardiner, 1926 Accession Number:2009.300.2981a, b

Date:1898–1900 Culture:French Medium:silk, cotton Credit Line:Gift of Miss Eva Drexel Dahlgren, 1976 Accession Number:1976.258.4a, b

Date:1898–1900 Culture:French Medium:silk, glass Credit Line:Gift of Miss Eva Drexel Dahlgren, 1976 Accession Number:1976.258.5a–c

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

These next three fascinate me, the high neck of two and the delicate butterflies of the third.

Palais Galliera Worth, Tea gown, 1895 © Photograph rights reserved / Mairie de Paris

Date:1896 Culture:French Medium:silk, pearl Credit Line:Gift of Miss Agnes Miles Carpenter, 1941 Accession Number:C.I.41.14.1

Date:1898 Culture:French Medium:silk, Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Paul Pennoyer, 1965 Accession Number:2009.300.1324a, b

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This first one has horizontal bust darts! As well as curved bust seams and a waist seam to get that beautiful shaping of the velvet.

Date:1889 Culture:French Medium:silk Credit Line:Gift of Mrs. James G. Flockhart, 1968 Accession Number:C.I.68.53.11a, b

Bunka Gakuen Costume Museum

 

 

 

 

 

 

 

 

 

 

 

 

 

And finally we have the gowns for those slightly more conservative. Which is nice- obviously the gowns caught the eye of many and they wanted a part of what made these gowns so special. No less care, just a slightly less start style!

REFERENCE46.258.2A-BTECHNICAL DETAILS Black voided velvet with branching floral and foliate motif Label: Worth / Paris; 66271 (handwritten)

Date:1898–1900 Culture:French Medium:silk, cotton Credit Line:Gift of Miss Eva Drexel Dahlgren, 1976 Accession Number:1976.258.3a, b

WORTH EVENING DRESS with COURT TRAIN WORN by FORMER FIRST LADY HARRIET LANE at the COURT of ST. JAMES, c. 1898.

 

 

 

 

 

 

 

 

 

 

 

 

 

But all this has been part of my life tidying that has been happening- organising books, papers, digital files. So this has meant reorganising my patterns and WIP and thus my recent flurry of posts.

 

I’ll be trying to get all my Mina posts from before the website changeover, but that may be a bit difficult!

rock the frock

era: 1870s

Material: silk satin, cotton, baleen

found: possibly ebay 2012

This corset is exactly what I need 🙂 I am truly sorry for not reverse image searching but this corset is so perfect I just want to share it!

And this photo is exactly why I love it!

I am pretty narrow for the Victorian shape, I need very straight up and down support everywhere except my hips and bust. This photo? Wow, it’s flat. I mean flat. This flat profile around the torso with room for hips and bust is exactly what I need to be comfortable and still achieve one of the ideal shapes for the eras I love. Yes, you can often find a range of ideal shapes for any given era with a bit of time to go through all the resources out there.

 

The only aspect of this corset I want to change, as I have already recreated a similar set- is to move the shaping at the frome of the hip (ie over the belly) to the side hip. This is just much more comfortable for me and keeps my hourglass shape that tends to be pushed towards the front in corsets of this era. I’s also avoid boning over the side of the hips as these would be inclined to cause the stays to stick out at the hip not mold around.

And the final image shows the construction is in keeping with the Der Bazar corsets (found in my Antique Fashion sections.)

rock the frock

I reecently shared this image of a test pinning session over my princess dress (well underdress- it’s going to be used under a few gowns.

 

This saree was a chance find in my nearest Save Mart store, I regularly scour them for saree and anything able to be transformed such as shoes, lengths of fabric, but mainly saree!)

 

But I haven’t shared the images that inspired them.

 

Over the years I have hoarded images from eBay sales as often the display does not do justice to the gown but do offer fantastic chances to understand contructions and physical properties.

 

Or sometimes there are amazing finds.

The two overgowns below are from such finds. They have a few things in common- polonaise style with a shorter bustle feature.

 

form and function

Over the years I have come to the conclusion I have a very distinct style, even across multiple eras and genres. There is a very obvious pattern to what appeals when one is a maker first, fan second.

I am a fan of when function meets form. So working out a puzzle of construction is incredibly satisfying. If it has to be draped on the stand all the better. Fabric manipulation for fit especially.

 

Contrast. Big colour and texture blocks. But that can sometimes be subtle, like the seam details on the backs of late 18thC bodices.

I keep flicking between eras/genres and it’s because I want to understand how the very different constructions affect fit and perceptions of ideal body types. The 1920s velvet gowns I’m making superficially look like the bias cut gowns of a decade later but really rely on different fabric use to achieve it.

Right now I’d love to do an essay on how extant items can tell us more about how clothes were made than first appearance. But it is a bit reliant on getting some of my own gear finished. So that is the aim this year. Finish the historic projects to really highlight what I want to say.

Got a lot of writing and sewing to do to actually get there though!

Marie Antoinette Stays

While these stays were worn for a specific scene, it is a really interesting look at how the bodices in general seem to have worked. It’s very modern in some aspects but not in others. So while not historically accurate in any way, it winds up as an interesting insight into Hollywood being creative, and also using the techniques they had.

invaluable, Profiles in History Auction

Lot 293: NORMA SHEARER MARIE ANTOINETTE CORSET

HOLLYWOOD LEGENDS AUCTION –

featuring property from the career of David Hasselhoff Day 1 session 2by Julien’s Auctions

H1088-L52100084 H1088-L52100089

Front and back. The front uses the same seam placement as on the bodices for Norma, with two long lines over the bust,  and straight seams from side around the back. The very large unboned tabs look functionless but have given me an idea- they would help protect pressure from the weight of the skirt around the waist- like real tabs in real stays through the 16th-18thC. I am not sure what kind of stays I do want to wear but I will be wearing something to pad my upper hips as I know too well the pressure of skirts right there.

H1088-L52100090 H1088-L52100094

These details feel modernly vintage- that lovely ruched ribbon work around the edges especially.