Yep, the stand is padded because I want the idealised figure and while I am from the neck up and the ribs down, it’s that middle section that needs period accurate help 😉
Yes. This is good. Might not work with the princesse as I hoped but well it was probably a bit much to hope for too many multi-purpose uses out of a thing with a train!
So nice to get back to this era 🙂
2008? (not even going to say how old the other one is)
Spot the totally ridiculous mistake(s) to have made on the Sunburst. 2009 and I was a bit heartbroken so it got put away. I have salvaged a lot of the silk though. It’s still quite gold but not much can be changed about that 🙂
This section of my portfolio is lacking as I really need to find the original photos and tweak them to look good and in higher res.
It’s not surprise I am obsessed with the style. I have been for more than a decade but never found a fabric I thought would do the style justice. Well now I do have a fabric! And thanks to an online friend sharing images from her own research that connection was sparked and the final push to actually make one inspired!
Many moons ago a very well respected costumier who creates the most amazing 18thC gowns gave me information on a few mantua especially one of my favourite gowns ever, he shared privately but there is now an official source:
National Museets Samlinger Online Kjole med slæb, grøn silke
Kjole med slæb. Af grøn silke med broderet guldmønster, antagelig 1740erne. Fra Valdemar Slot, Tåsinge. (I have a pattern for this)
National Museum Wales:
Silver embroidered blue damask court mantua (an open fronted gown with an elaborate train), (mix of suggested dates, 1720-1740) Tredegar Collection
Date: late 17th century
Medium: wool, metal thread
Credit Line: Rogers Fund, 1933 Accession Number: 33.54a, b (I have two patterns for this)
Metropolitan Museum of Art: Mantua (note the skirt is a series of reverse flounces!)
Date: ca. 1708
Medium: silk, metal
Credit Line: Purchase, Rogers Fund, Isabel Shults Fund and Irene Lewisohn Bequest, 1991 Accession Number: 1991.6.1a, b
Los Angeles County Museum of Art
Woman’s Mantua with Stomacher and Petticoat
Italy, circa 1700
Costumes; principal attire (entire body)
Silk satin with gold- and silver-metallic thread embroidery
a) Dress: Center back length: 56 in. (142.2 cm); b) Petticoat: Center front length: 35 in. (88.9 cm) Costume Council Fund (M.88.39a-c)
Collections of the Lincoln Museums:
Usher Gallery, The Lincolnshire mantua
(There is a pattern to a similar garment in the first PDF, also a skirt layout and layout of the train. All three documents are available to download and are incredibly fascinating!)
I have another favourite from the Museum of London but there is no link online.
I will share a thumbnail though and hopefully in time the museum will have this on their site:
Museum of London
Dress 1720-30 (no. 2) front view, with added STOMACHER, 1720-1730 (no.39) (I have a pattern for this)
This does not appear to in their collections, I will update as soon as I know more. I much prefer to link to the collections rather than take from a book, but I can at least, hopefully, generate interest in this garment!)
So I have a fantastic start, a nice range of extant garments to look at trends and to decide on particular style.
150cmwide (60″) cotton twill- approximately 3yards or just shy of 3m or more
115cm (45″) wide rayon crepe- approx 4 1/2 yards or just shy of 4m or more
long glass headed quilting pins (any pills but these are the easiest for this yardage)
shears or scissors (able to cut through two layers of fabric at least)
tape measure (optional)
Cutting 60″ fabric
Start with the fabric laid out folded in half, selvage to selvage
If you prefer an intuitive method start by holding the fabric to your waist and let it hand to floor unimpeeded and mark the hem- add a comfortable seam allowance to both waist and hem.
If you prefer use a tape measure to mark the length you desire for the side gores. This will be the length from where the waist sits, over the hip and down the side. Include shoe height plus an inch or two at hem and waist depending on your comfort. There are many ways to hem a skirt that is too short or too long.
I used 115cm (45″.)
Cats make excellent weights until they decide to play.
Cut across the fabric through both layers.
Next mark the width of the upper portion of the panels on opposite corners of the fabric (I place one at upper right along the cut across the fabric, and one at lower left ditto.) Then fold the fabric from mark to mark, making sure to keep all layers smooth and aligned.
I used 8″ or 20cm as I will be added pleats at the waist of these panels.
Regency (1810s): waist; flat in front panel, lightly pleated/eased at side panels, gathered or pleated at CB panel. Gore angles steep. Cut waist and hem curves after trying on. The deeper the dip at the CF waist the straighter the side seams will fall.
Romantic (1820s-30s): lower waist slightly for 1820s and add ease to CF and side gores. Lower waist further for 1830s and gather/pleat from CF through all side panels while directing CB panel gathers/pleats towards the back.
No pattern, straight widths:
Mid century (1840s-50s): waist; increasingly gathered all around evenly. Panels become straight with little or no shaping. Gauging is most common though pleats and reverse pleats can be found.
Pattern B: Heavily gored skirts:
First Bustle (early 1870s): waist is flat at CF panel, eased at side panels, gathered/pleated in CB panel.
Crinoline (1860s): widen tops of each skirt panel to allow for more ease at the front and sides, this will straighten the side gores somewhat. Allow for some ease towards the sides and front, or create inverse pleats at each seam.
End of century (1890s): narrow tops as much as possible and replace straight CB panel with a panel cut like the CF panel and either slashed for the CB closure or cut straight down the CB. Towards 1900 cut the diagonals in curves (this will create a narrow ellipse shaped scrap on each diagonal) to create a trumpet hem.
Pattern C: Natural Form
Natural form (late 1870s-early 1880s): waist; flat all around front and sides, narrow gathered section at the very centre back. Front can be cut as a complete tube, back gores cut in steep angles.
Second bustle (mid to late 1880s): cut the side gores wider in general with similar angles, this may mean cutting only two gores where there are four above and using the blue area for the other side gores. make note which sides have been cut.
I basically used the 1870s and 1890s pattern but with straighter diagnonals as this skirt is fairly straight up and down.
Oh I used my Phantom of the Opera wedding dress fabrics 🙂 I’ve actually started to tackle my wall of projects! It only took about.. 9 months to actually do this! I was supposed to take my step down as a chance to make stuff for me, but I mostly wound up spending the year recovering from the last eight! So, a delay is understandable!
Anyway so the lace is all back in a box of lace trimmings but now that I’ve put scissors to fabric I’ll be able to take it out and get it all sorted again. I have a ridiculous amount of vintage lace so I really wanted a good fabric foundation. And now I have.
the Australian wedding dresses had a crepey texture when I saw them in person so this is perfect 🙂 just have to iron it all a few times while handling.
And then, or at the same time, I’ll start work on.. THE SUNBURST GOWN!!!!!! I have to stop waiting for an event to wear it to and just make it. So that is what I’m doing 🙂
I’m surprised this got even one note 😉 Seriously, I’m flattered as this is a style that doesn’t really fit in with the modern aesthetic 🙂 It’s accurate, right down to pinned on sleeves (okay that is my conjecture based on woodcuts of the time as well as written documents of the time) and silly cloak hanging from the head.
The cloak is a heuke and it is about 2kg, maybe three (more than five pounds) and is carefully held in place using mainly a little engineering trickery:
Hair is plaited and pinned (bobby pins) around the crown.
A fitted cap (guldhaube) is pinned (sewing pins) to the hair in front and behind the plaits with florists pins.
A shaped cap (sticklechen) is pinned over the cap and pinned also just in front of the plaits. There is a velvet lappet pinned around the front on the underside which adds tension to hold it balanced at the back of the head.
Then the heuke collar is pinned to the fitted cap (guldhaube) and the fabric hangs over the back.
My original stickelchen had pearls and goldtone bezants all over it but the sequins were ruined by a house fire and I have never managed to redo the base frame to fit. The base is buckram and felt steamed to shape.