I woke early and put Pride and Prejudice on and sewed. And sewed.
Backtracking a few days: My support bodice has been theorised and made. Basically I went this area has both Dutch and German influences and I really don’t want another sidelacing support so what if…?”
The shoulder is cut separately like in Alcega and other tailors. Because like me those tailors said “man this wastes fabric also I want a stable neckline all on the grain thankyouverymuch.”
I have done this since.. well the Kampfrau at least, but in all the site moves this has been lost. So, that’s the two-fold benefit of cutting shoulders separately. Oh, but the shoulders are a single layer like the Effigy stays because it really is super comfy!
Then I wanted to try to use the overhanded body seams. This was nervewracking! I know the curvy S front seam means that’s where fitting happens, but it is very apparent from extant items that the side back was where the final fitting happens. This is clear when you look at the even seam allowances at the front but uneven allowances at the side back. That can only happen if the fronts were fitted and made up and the side backs done last.
I have managed that through very bad initial fitting stages though…
So here is my cunning method of transferring a seam and also my curvy S front seam. The entire bodice (aside from sloping neckline) is straight from a tailor’s book seen in Kohler’s History of Costume that looked like it was made up but is definitely from an extant manual.
I thought it was in Drei Schnittbucher (which really I hope everyone has) but I think was in another article. I will find it. Meanwhile the Kohler diagrams:
So finally I used twill tape to stabilise where I’ll be poking lacing holes, and bound the entire piece by hand.
Lots of falling in love with all the characters from P&P here and also lots of life lessons between my first viewing and latest!
So that wasn’t enough. I also removed the dye from the brocade for the hem of the gown proper and started putting the stickelchen together properly.
I like making hats, I love millinery. So of course am doing this as complicated as possible. But it’s at least plausible and mimics the structure I know was used for rigid headgear at this time. Oh trust me that documentation is coming but it’s been a slog to reverse image search as my bookmarks are out of control! And because it’s been over a decade since this project started there are broken links to hunt for archival forms 😉
The twill tape is to stabilise the edges.And the front shell is in place and the jeweled band is in progress. Just second guessing a few decisions for that one. I just don’t have the finding I know I want to use. The pretty ones clearly have glued stones and the “aged” gold is just not what you want for period items (you didn’t pretend the bling was dirty or not real, you wanted the bling!.)
Today the carpal tunnel injections have proven their worth 🙂 If I can do this one or two more times before I have to have surgery I’ll be happy. Sounds like I need my ulna’s chopped off sooner, but, maybe?
Also I may have gone through 1/4 of my Hot Cinnamon Sunset tea. Now if I could get a perma-stash of that I’d be happy 😉
Okay so putting fabric away up high just made my radial stuff really make a statement but I am just wandering around with bandages around my wrists not full splints 🙂
But I have cut my Cleves skirt fully, an entirely new kirtle bodice (hey Michaela it’s summer, you do not want linen canvas, cotton twill, and silk underneath those layers for the bodice) from my linen twill.
Just took a break to share this. I usually work with non easy to photograph fabric so this is why I’m sharing now! I usually use a mechanical pencil and draw directly under the pins that emerge from the top but I just had chalk out there today.
I started with taking a copy of my Braunchweig gown and a transfer of my “german” kirtle to make my two bodices.
This is the Braunchweig copy as it is regionally close but also able to swing into the more dutch bodice shape.
I did also keep the Mary of Hungary bodice in mind.
How this works is the edge is on the grain so you have to smooth and stretch the fabric from there under the arm and to the waist. So yes the waist is off the grain. This is how the Mary of Hungary gown works too- if the edge was taken off the grain you get stretch going around the neckline that needs to be stabilised.
The down side to this is it makes fitting the armscye a nightmade.
But I kept going.
Ugh, look at how that now sits. Oh the back fits beautifully but where the excess fabric is moved to shows I needed a longer narrower back to be able to support this open neckline.
So my options were to remake the back panel or put in a seam. I dislike putting seams in the CB of my German gear but I am also running out of this fabric!
But it worked.
Then of course I had to copy the seam placement from one side to the other.
Side back matching, and shoulder matching.
SIde front matching.
The silk has almost no give! So I also also had to do a few tweaks on the form. I smoothed the left shoulder up and pushed the excess to fold over the shoulder seam.
As can be seen the armscye is very tight in the front of the arm, this will be clipped but only after I have properly assembled the kirtle layer and have the support this gown needs.
So I may see if I can get the kirtle underneath already to fit the way I need it!
Love. So in love. My hair has been lost and regained between first making and wearing to now, so I have to do something different with my haube. Right now the back of the one I wear under my pearled Braunchweig haube pushes the back of the stickelsche out of place. This style depends heavily on having braids just so and haube just so. But doesn’t really require much fussing once on. It’s just getting familiar with your hair and fabric properties 🙂
#cleves #stickelchen base made! Felt, two layers of buckram and one of hair canvas. The buckram is water resistant which may be a little over engineering but well.. I have lost as much to water as fire!