Georgian Pockets Galore!

As autumn is finally here and we are about to spend more time indoors, enjoying our needlework, period movies or a good book over a nice cup of tea, I thought it was time for a picture post. In line with my current project for the HSM “Inspiration” challenge I have put together a little collection of extant Georgian pockets to marvel at.

Now you might say: “Wait, wasn’t she working on a 17th-century costume and what about her usual Regency stuff? Why is she getting side-tracked by pockets?” Well, here is the thing: I am one of those people whose handbag is always full of little bits and bobs in modern life. At events this has proven tricky in the past. No Regency reticule can hold all my stuff. Alternatively I brought along a lidded wicker basket or a nondescript cloth carrier bag.  It worked but was not the most period accurate solution.

Then I remembered Georgian pockets. They were still around in the early Regency era which I love so much. And since my new crossover gown has a drop front with deep plackets, pockets wear easily undeneath. The next consideration was what to do for my 17th-century costume. This was what initially made me research pockets. Sources often say that ladies wore them between the mid-17th and 19th centuries. Since my gown dates earlier than this, I wondered what had gone before pockets as we know them.  And I found the saccoccia, a belt pocket worn in Renaissance Italy. It had roughly the same shape but was worn outside the skirt more often. For more details on the saccoccia, I recommend this in-depth post by Anéa Costume.

For now, Georgian pockets will be my fix-all solution for both periods. Knowing my 17th-century persona, she would be cheeky and inventive enough to stick the pockets under her skirt, even before 1650. But now, I will just stop rambling and show you all these pretty pictures!

When we think of pockets, we often picture those amazing little works of hand embroidery some ladies have put on theirs. Like these ones here:

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Pair of embroidered linen pockets, mid-1700s, Worthing Museum and Art Gallery.

Equally gorgeous is this quilted and embroidered pair, featuring a shepherdess:

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Embroidered and quilted linen pocket, with silk binding, early 18th century, MFA Boston.

To make suck pockets, the design was stitched onto an uncut piece of fabric which was later cut and lined to protect the back of the work. Here is a set of stunning, nearly finished pocket fronts held at the V&A:

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Pair of pocket front, embroidered by Hannah Haines, c. 1718-20, Victoria & Albert Museum.

But, even in the old days, not every lady was a super-skilled embroiderer. Pockets were a welcome canvas to practice not-yet-so-perfect needlework skills. This is why I am in love with this one from the early 1800s.

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Embroidered wool twill pocket, c. 1807-15, Winterthur Museum.

As seen above, another technique used to embellish ladies’ pockets was quilting. Sometimes it was done in white thread on simple white pockets. And, simple as it may sound, the results look absolutely stunning:

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Quilted linen pocket, c. 1760-75, Victoria & Albert Museum.

Also often associated with quilting, is patchwork, which was extremely popular with pockets, too. Examples come in many shapes and sizes. There is patchwork with bigger squares….

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Patchwork pocket from New England, c. 1800-10, Winterthur Museum.

… patchwork with tiny squares…

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Pocket, early or mid-19th century, Royal School of Needlework.

… beautifully designed patchwork…

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Patchwork pocket, New England, 18th century, MFA Boston.

… or patchwork with applique.

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Pieced and appliqued pocket, American, late 18th or early 19th century, auctioned by Crocker Farm.

So pockets were definitely a way to use up all your beautiful fabric leftovers. But sometimes they were also made of one single piece of beautiful fabric, often printed cotton calico:

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Pocket made from block-printed calico, English, c. 1720-30, Winterthur Museum.

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Cotton calico pocket, early 1800s, Manchester City Galleries.

And the print fabrics used were not all white, either. Look at this pink pocket with autumn leaves:

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Cotton pocket, late 18th or early 19th century, private collection.

There are a lot more stunning and intriguing examples out there. This is just a small selection to fire up your pocket imagination. Maybe now you are going to make your own on one of those long evenings to come. I am currently working on my second pocket and have become a tad addicted. :)

Yours,  Nessa

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Pins Pins Pins

Pins are a real sewing staple. We use them very, very often and still hardly talk about them. This why I want to write about them today.
Lately I have been working on a few different sewing projects. And I realized that I have been using many different pins for them. So I thought I would give you a little “tour” of my pin collection and tell you a bit about which ones I use for which sewing tasks. Perhaps you are using you can find a new pinning idea for your sewing in this post. :)

My pin collection (left to right): Standard steel pin, veil pin, glass head pin, fiberglass pin.

Steel pins are my tiny workhorses. I use them to hold together most standard fabrics, such as (poly-)cotton or wool. When in costume, I also use them as dress pins, to secure the layers on top of my stays. Although some people worry that they might prick themselves, I have never had that problem. My trick is to pass them in out of the fabric a few times, as if I was sewing with them. Then I make sure the pointy end comes out on top and everything is fine. The two things that annoy me about steel pins are that they bend easily and that they seem to get dull more quickly than other pins. Of all the pins I use, I have to replace these most often.Glass head pins are my new love. I only bought my first pack last month. Since then, I have mostly used them in stay-making and to fit mock-ups. They stay in place more reliably than average steel pins. I also find that they iron better and I iron over my pins a lot. The only downside I see at the moment is that they do not pick up so easily. Sometimes when I try to pinch the head between my fingers, the pin literally jumps to the other side of the room. Besides, good-quality glass head pins are not really cheap. Which is why I only got mine now… but it was a good investment!

Fiberglass pins are what I use to pin silk or other fine fabrics, such as sateen or voile. They slide in and out easily; sometimes even too easily. Also, they never get dull. But you do not usually find these pins in many places. I got mine at a store selling all kinds of novelty items. You might have to search around quite a bit to find a seller that carries them. I really wished more places would sell these cool little things.

Veil pins are basically 3″ long mini hatpins. And that is how I use them. When working on millinery projects, they are great for holding the hat/bonnet base on the styrofoam head. Of course you can also use them as decorative pins on mantles, cloaks or veils, as the name suggests. ;)

Another, amazing, thing I discovered recently are wonder clips. Once upon a time, they were mostly known to quilters. Now more and more sewers are discovering them. It took some time for them to come to Europe, now we can even buy more affordable no-name clips. They work just as well as the Clover ones. Recently I have used them when binding my stays. It was much easier than sticking in a pin every half inch or so.

Binding the 17th-century stays with wonder clips … and pins ;).

And this concludes the brief tour around the pin collection. Now I am curious about your sewing and costuming experiences with different pins. Looking forward to hearing from you!

Love, Nessa

Open Seams with Herringbone Stitch -A Tutorial

While making my herringboned fichu, I realized it was about time to post a new tutorial. So I thought I would show you how I made the open seam at the back.

Open back seam on my fichu.

Open work is something I had always wanted to learn, because it never fails to look delicate, wherever you put it. But, so far, I have not found a go-to tutorial for it. When making the 18th-century baby caps for my cousins, I tried my hand at fagotting. It is very similar to what I did on the fichu, only with a more complicated stitch. I could not really wrap my head around it and eventually opted for a basic whipstitch finish.

Then I remembered that herringbone stitch can also be used for open work. And here we have it, simple and pretty. If you have not seen herringbone stitch before, here is a very good video tutorial. We will be doing just the same to create the open seam. The only difference will be the gap between the two stitch lines.

Now that you have familiarized yourselves with the stitch… off we go!

You will need:

  • The two pieces you want to join.
  • A thread of your choice. You can match it or just go wild with colours. Sewing thread might be too thin. What works well are fillet crochet yarn (no. 80 or 100), silk buttonhole or one to two strands of embroidery floss.
  • A matching needle. For best results, it should be smallish and sharp.
  • A piece or strip of paper as long as your fabric edge. It need not be wider than 1″.
  • A cushion to anchor your work. A small sofa cushion or throw pillow will do.
  • Pins.
  • A ruler and pencil.

How it is done:

  1. Finish your fabric edges. Before you start, the two edges you are stitching over need to be hemmed. Hemming any other edges is advisable, though, especially if your fabric is on the sheer side. Narrow hand-rolled hems work well. You can use them to get some extra stability for your seam (see below).

    Make a paper template for the seam.

  2. Use your paper and pencil to make a template. Basically you draw two parallel lines, each one as long as your fabric edges. The space between the lines should be between 1/4″ to 1/8″. For the tutorial I started with 1/2″, but eventually went with 1/4″ for the fichu.

    Pin the template to the cushion.

  3. Secure the template on the cushion with pins. Make sure it lies flat.

    Pin the fabric pieces on top.

  4. Now pin your fabric pieces onto the cushion. Match the fabric edges you are working on with the lines on the template.

    Bring up the thread and start stitching.

  5. Thread your needle. If you have wax to hand, waxing the thread is a good idea. Now bring your needle underneath the hem on the back of your fabric and bury the knot between the layers. Then bring the needle to the front. It should come up at the top edge of one piece, a little ways away from the working edge.
    NB: If you have a rolled hem, come up right at the inner edge of it. Working the herringbone over the hems will help stabilize the stitch.

    And stitch away!

  6. Work the herringbone stitch between the edges until your seam is done. Try to keep an even tension to avoid puckering or loose stitches.Take the needle to the back to finish off.
  7. When you reach the end of the seam, take your needle to the back, coming up on the hem.

    Knot the thread and bury the tail.

  8. Knot off the thread and bury the tail between the layers at the hem. And, tadah, your open seam is all done!

    Your finished open work seam. Yay!

And that is it already. Easy, right? The next level would be to use a double herringbone stitch instead. Here is a video tutorial for that one. Try not to get dizzy. I still do sometimes! ;) 

I hope you found this brief tutorial useful. If you have any questions, do not hesitate to let me know. I cannot wait to see your own, beautiful open work creations!

Nessa

A Herringbone Fichu

After the stays, I was itching to do a pretty project that would not take ages to finish. Thus I picked up a scrap of cotton voile and made another fichu. Like my previous one, I based it on this super handy fichu guide by the Oregon Regency Society. Only this time around, I made it rectangular in shape.

Here is what I did: I started by cutting two rectangles, each 28″ long and 12″ wide. After finishing the edges with 1/4″ hand-rolled hems, I joined up the pieces with an 8″ open herringbone seam. It now sits at the center back of the finished fichu. Finally I embroidered two more rows of herringbone stitch down center edges to match.

Creating the open herringbone stitch.

All herringboning was done is a blue no. 80 filet crochet cotton, which I use for anything but crochet. It works great for sturdy finishes or small embroidery designs like this one. Here is the finished item. Making it took about eight hours in all.

The front view.

A closer look at the herringbone finish.

The back view.

A close-up of the open-work seam.

This small project was much fun as I got to do two of my favorite sewing things… decorative stitching and rolled hems. After hand-rolling quite a few of those, the process has become a bit addictive. I think some of you can sympathize here, no? :)

Yours, Nessa

CoBloWriMo 2017 in Reflection

Here is my reflection post, fashionably late as so often, to look back on an exciting month of blogging. Before embarking on the CoBloWriMo journey for the first time, I was really not sure if I could get out a post every day. But then the blog was in a horrible backlog and it left my blogging mood like…

Portrait of Laure Bro de Comères by Théodore Géricault (c. 1818).

Then I decided to just let CoBloWriMo happen and to post as much as I could. And now the project post are finally up to speed again, for the first time in a year. And there is more: I got to know many new-to-me costume bloggers who make the most amazing things. And a sense of community has begun to form between us, as we got to read and follow each other’s posts over the course of the month.

Admittedly, towards the end of August, some personal stuff came up on my end and post started flagging a bit. Then Blogger acted up and I could no longer comment on the blogs hosted there. Working on fixing the issue now so I can follow and comment on the work of all the amazing people I “met” through the CoBloWriMo group.

Lastly, participating has given me back some of my old blogging mojo. I learned how to post from the WordPress app on my phone and actually have new ideas for posts again. There might be a new tutorial and some other fun stuff coming up here very soon. :) In summary, my blogging mood post CoBloWriMo is something like this…

Fashion plate of an evening dress (c. 1812).

Sending a big thank you to the organizers of CoBloWriMo and everyone who participated. You are an awesome bunch of people and I miss you already. I am much looking forward to staying in touch with your blogs and seeing all your projects in future.

Much love, Nessa

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A Percale Crossover Gown (CoBloWriMo #29)

The CoBloWriMo prompt for today is “Ensemble”. It made me realize that I have not yet shown you my new crossover Regency gown. The gown will be the base for future ensembles. I have plans to make a sleeveless bodice and an open robe to have different options for topping it off.

When doing some research I found that there are much fewer surviving crossover gowns than other styles. Here is a pretty golden one. Have a look at the apron front closure which is pinned over a bodice extension. My gown closes in the exact same way. :)

Regency crossover gown, c. 1810-20 (Source: Vintagetextile.com).

View of the apron front closure (Source: Vintagetextile.com).

In fashion plates and paintings, there are a few more representations of crossover gowns. Date-wise, different crossover styles were especially “en vogue” in the late 1790s and then again in the mid-late 1810s. Below you can see two plates, one from each decade. The first is a crossover round gown and the second a French percale gown.

Plate of a crossover round gown, c. 1798.

Robe de Percale, Costume Parisien, c. 1816.

Speaking of percale… When I found this plate, my heart leapt a little. The fabric I used for my gown is also a percale! I realized as much after first blogging about it here. Only my gown is much plainer and does not have such a delicious vandyke trim. In fact, I did not yet trim it at all. Perhaps a ruffle or two will magically appear, once I know what the rest of the ensemble will look like. ;)

Here is the finished crossover gown. I made it using the Laughing Moon crossover gown, tunic and pelisse pattern. The fabric is a woven check cotton percale. After the photoshoot did not go ahead as planned, there are still no photos of me wearing it. So, for now, the dressform will have to do the job.

The finished crossover gown.

The back view. I made the skirt without the optional train.

The side view. The gown has a very “Regency-esque” silhouette, even without underpinnings.

A closer look at the crossover front. You can see where the skirt ties over the bodice.

I am glad to finally share this with you. After the first fitting, I already know that it wears pretty well. Here is hoping that I can finally take it for a stroll soon. :)

Cheers, Nessa

1630s Petticoat Plans (CoBloWriMo #27)

With the stays all done and dusted, it is time to plan ahead. A matching under-petticoat will be next. Since I am not very eager on making a farthingale of any kind, I have chosen to go with a 1630s look. Technically farthingales were already going out of fashion in France by 1620. But, better safe than sorry. ;)

The petticoat will be made of tropical wool. It is not too heavy and has enough body to support the upper layers, with or without a bumroll. I will loosely base it on these instructions by Anne Danvers. 

Up until the 1630s, cartridge pleating was the way forward. This van Dyck painting shows a good example of it. You can see the distinct skirt shape through the girl’s apron.

Portrait of a Young Girl by Anthony van Dyck (c. 1630).

With my cartridge pleating skills being more than rusty, I looked up a few cartridge pleating tutorials. Drea’s and Jennifer’s instructions were both very helpful to jog my memory. Before I get going on my petticoat, I did a quick trial run. For it, I found a willing “victim”… ;)

Practicing cartridge pleats on Cal. ;)

After this little test, I think I can start making my own, bigger petticoat. Wish me luck!

Yours, Nessa

A Flowery Regency Straw Bonnet (CoBloWriMo #26 & HSM #8)

As you might have noticed, finishing up the 1620s stays, and a bum roll on top, has completely knocked me off the blogging train this week. So here is a catch-up post filling out several CoBloWriMo prompts (namely Small Project, Made For Myself, Event, Favourite Resource, and Media) and telling you about the straw bonnet I made for the current Historical Sew Monthly challenge. But, one after the other, before anyone gets dizzy.

First off, the “event” I made it for is the prospective photoshoot I told you about last month. In my area there are few costume groups I know and big reenactment events are few and far between. So I cannot usually attend them without traveling quite some distances. But, on the plus side, there is a lot of scenery around, such as a baroque city center nearby and a few pictorial hunting lodges. For my birthday last month, we went to Schwerin, which has a beautiful castle and park with a Georgian colonnade and all . It would have been perfect for photos. Then the weather made photos impossible with stints of pouring rain, followed by singeing sun. And traipsing in the mud would have ruined the gown…. Oh well, maybe next time.

The design for the bonnet was inspired by this French fashion plate from 1810. Especially by the second last one on the far left and a bit by the first on the far right side.

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Fashion plate of different bonnets, caps and toques from Costume Parisien (c. 1810).

This brings us to the “Media” and “Rescource” section of this post. ;) I have to say that I loove Regency-era journals and magazines such as “Ackermann’s Repository” or “La Belle Assemblée”. Mostly, for the many fashion plates but also for the other period contents, such as letters to editors, etiquette or fashion advisors, short stories, poems and musical notes. Since I got to work with extant issues of Ackermann’s Repository in person, I am more or less enchanted. I even own a Franco-German volume of “Journal des Dames”, which was a total chance find. Sadly it has no fashion plates, only the French descriptions, with German translations on every other page.

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My pride, a French-German volume of “Journal des Dames et des Modes” (c.1828).

Thanks to the Internet, many journals and plates are now freely accessible online, for all those who cannot simply pop into the nearest historical fashion archive. This is why online library databases are one of my favorite resources. These are the ones I use the most:

The Library of Congress, mostly for copies of Ackermann’s Repository, but also some fashion books.

Gallica for French journals, mainly Journal des Dames.

Google Books has some issues of La Belle Assemblée and Wiener Moden-Zeitung available. If you have no yet found a PDF copy of “Workwoman’s Guide”, you can also find it here. :)

But now, to the finished bonnet! Here it is. I used some ruffled fabric carnations and lavender ribbon for it. At first I was also contemplating white ostrich plumes. But eventually, those were saved for future projects. :)

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The finished bonnet.

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A look at the ribbon tie, wrapped under and over the crown.

I finished everything in the course of one evening, with my father looking on. When he was little, his mother befriended a professional milliner, so he has always been excited about hats and hat-making; although trimming this bonnet was nothing much to look at.

Here are the challenge facts to give you a better idea of how the bonnet came together:

The Challenge: #8 – Ridiculous.
Some of the headgear worn in the Regency era looks a bit ridiculous to the modern eye but was very stylish in the period. To make my bonnet less boring, I placed the flowers in a rather unusual way.

Materials: A pre-made straw bonnet I bought at Nehelenia Patterns some years ago; fabric flowers; satin ribbon.

Notions: Matching cotton threads.

Pattern: Based on an 1810 fashion plate.

Year: 1800-15

Time to complete: Roundabout 4 hours.

How historically accurate is it? Somewhat accurate.
The maker shaped the bonnet based on period templates. But the trimmings are made of modern materials.

First worn: Not yet. It was meant for a photoshoot, but the weather did not play along.

Total cost: About € 30 for the bonnet and € 4 for the trimmings.

Love, Nessa

Not in a million years … I thought (CoBloWriMo #20)

Tonight I have some news to share with you: Just in time for the “not in a million years” prompt I finished the binding on my 1620s stays! And this is really something I would not have believed to be doing in a million years.

When I started sewing, I was positively terrified of working on corsetry, let alone fit my own patterns. This, however, was four pairs of stays ago. And things kept getting better with each one.

The first short stays were a catastrophe. Then came the Laughing Moon long stays. They were a big challenge, but the pattern instructions were a great help, as was the generous fitting advice on the Regency Facebook groups. After that, things kept getting better.

My self-drafted morning belt went together quickly, after just a few fits of swearing over the pattern. And now, there are the 1620s stays. When I started them, I was as terrified as ever. Although, aside from being super time-consuming, I have not yet come across any bigger snags.

One thing that really helped with it was Cathy Hay’s corset binding tutorial at Your Wardrobe Unlock’d. And now, the unbelievable has happened. Here are the bound stays, drying after a little spot cleaning to remove the pattern marker. Yippee! I made the binding from leftover lavender linen. The rest of it makes up the interlining.

The bound 1620s stays.

Next up are scores of hand-sewn eyelets. Another thing I believed I would not be doing in a million years. But, oh well, one truly grows with every corsetry project!

Nessa

Loving My Awl (CoBloWriMo #18)

When there is one tool in my sewing kit I adore, it is my awl. It is a Clover tapered awl I bought when making my Regency Long Stays.

The new awl, fresh out of the corsetry supply package. ;)

Before that, I used a straight awl for leather work to poke my eyelets. Although that awl has a nice, wooden handle, that was not much fun to do. Instead of properly pushing the threads apart to form a neat hole in the fabric, the old thing snagged a bit. 

For my new “baby” that is no problem. I can also control the width of the holes better, by choosing how far I push it through. Plus, with the plastic tip on, the awl makes a great point turner. :)

My precious… awl.

Just yesterday I saw that others use and love this awl, too. Jennifer, for once, is just using it for the hand-bound eyelets on her new, gorgeous 18th-century stays. They are going to be so lovely! 

Speaking of which … I should get a move on with my 1620s pair. Binding them has thrown me off the blogging schedule a bit. But I am almost done now and ready to swing my awl. Wish me luck!

Yours, Nessa