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An embroidered coat, c. 1770-1780, from Manchester Art Gallery.

In the 18th century, menswear was generally quite elaborate. Not only was it colourful (including pinks and purples) with suits of clothes often matching, but court clothes could also be extensively embroidered.

The coat of the late 18th century began to be cut further away from the centre front below the waist, revealing more of the breeches and waistcoat than it had before. This meant that the coat could not be buttoned up, and often had only one or two functional buttonholes at the chest level, or sometimes a few hooks-and-eyes to fasten it closed at the top.

The skirts were not as full or as wide as they had been previously in the 17th and early 18th centuries, but there was still a significant amount of fabric pleated at the back in the skirts of the coat. These “skirts” reached to behind the knees.

Court suits, including the coats, were made from silk and were elaborately embroidered. Silk coats were generally lined, whereas their woollen counterparts could often be unlined.

Collars, particularly small standing collars, were becoming more common as the 18th century progressed, and it offered a prominent place to put embroidery for those coats designed for court use.

Fabric was very expensive during this era, more expensive than the labour to make the clothes, and so fabric would often be pieced together when the panels were not going to be big enough to fit the body. This is frequently seen in the skirts of the coats of this period. With embroidered coats, the join could also be performed for the purposes of conserving the look of the embroidery.

After I had finished (mostly) embroidering the jacket onto lengths of fabric, I was ready to turn it into an 18th century coat.

The finished panel, showing the two fronts at the top, the pocket flaps on the right, the buttons (unfinished here), and the cuffs at the bottom.

Pattern

I used the pattern from the book, Costume Close-Up, by Linda Baumgarten, as a guide. I did a mock-up and fitted it to check and see what alterations to the pattern were needed. Extra width around the middle, extra length to the skirts, and extra over the shoulder area were the major changes I made to the pattern.

Construction

Step 1: I began by cutting out the pieces of the body of the coat. These were: Front panels, back panels, pocket flaps. (I saved the sleeves, cuffs and collar for later!)

The front panels have been cut, along with a strip to serve as interfacing. You can see the join in the fabric on the right.

Step 2: The back pieces were sewn together, for both the lining and the outer.

The back panels are sewn together at the centre back seam. The vent is left open.

Step 3: The front pieces were sewn to their lining pieces at the centre front. At this stage, I have also sewn the lining fronts to the lining backs along the side seams.

The front panels have been sewn to the lining pieces (with a strip of cloth for interfacing). In this photo you can also see the pocket flap being put in place.

Step 4: The pocket flap was sewn, pinning the embroidered panel right sides with a lining piece.

The pocket flap sewn, but not turned the right way yet.

Step 5: A slash was made for the pocket bags. I make a slash that has a sideways V at each end, and looks like this: >—-<

Then I folded over the raw edges and whipstitched it to the pocket bags, which also had their raw edges folded outwards.

The finished pocket with flap raised and bag attached to the slash.

The pocket flap, finished.

Here is the coat so far, with the centre back outer panel still not sewn in.

The coat so far, laying spread out – inside down – with the outside showing.

Step 6: The back outer panel was then sewn to the front outer panels. To be honest, this could have been done earlier (more in the manner of making a normal coat with lining!) but I had really wanted to sort out the front panel with the embroidery first. In some ways it would have been easier to leave the back lining off and then slipstitch it in place, rather than leaving the back outer off and then fiddle around figuring out how to sew it on. I think I did it this way because the lining was a bit sturdier than the outer fabric and easier to do fittings with. The shoulder seams of the outer layer were then sewn.

Step 7: The sleeves were cut in two pieces, as sleeves were in this period, and sewn together. The sleeve lining was inserted into the sleeve outer and then sewn to the coat as one layer.

The two-piece sleeve outer, with the lining inside.

Step 8: The cuff panels were cut out. Firstly I sewed the cuff to its lining along the embroidered edge.

The cuff has been sewn to the lining along the embroidered edge.

Then it was opened out and sewn along the side seam. This meant that the raw edges on the side seams of the cuff would be contained.

The cuff and lining have been opened out, folded over and sewn along the side seam.

Then the seams were pressed open, the lining was folded over to properly back the embroidered panel, and it was ironed again. Then the cuff was sewn to the bottom of the sleeve.

The cuff is pinned ready to sew. The RIGHT side (embroidered side) of the cuff is pinned to the WRONG side of the sleeve. This means that when the cuff is folded to the right side, the raw edges of the seam will be not be rubbing on the wrist.

Step 9: The collar was cut out. I did not embroider this part initially, as I was not confident of it fitting correctly! I had planned to do the embroidery once it was fitted, however I ran out of time. My consolation was that another collar can be attached later!

The collar is cut out, from top to bottom: the pattern piece, the outer, the interfacing, the lining.

Step 10: A horizontal slash was made at the back for the back pleat, and it was pleated and sewn. Then the raw edges of the back panels were folded in and slipstitched together. The same was done with the front panels. Once all the raw edges were dealt with, the skirts were pleated, ironed and held in place with tacking stitches and buttons, as is outlined in Costume Close-Up.

The back view, finished. You can see the horizontal slashes and pleats at the centre back.

Step 11: The buttons were embroidered and covered and sewn on. I used some plastic pirate money for the button base! I ran out of time to do the centre front buttons, but all the others were done.

The finished buttons

Once the coat was finished and tried on, I discovered something was wrong with the fit around the shoulders, neck and arms. This necessitated it being unpicked and reworked, which was very annoying!! This meant that the centre front no longer meets as I had wanted it to. The importance of fitting is restated again!

The front view, shown on a female dress form (which alters how it looks a bit).

However, there are many portraits of men wearing their coats open that look the same as this one, so I am slightly mollified!

The side view

The cuffs, all finished.

This was an extremely challenging project. If I were to repeat the process, I think I would have made a plain 18th century coat first. Then I could have dealt with all the pattern alterations on something that could be easily altered, and then had a good pattern to work with when starting the embroidery.

The embroidery of this coat took 2 months, sewing almost everyday for up to 5 hours. The bits that were not completed were the collar, the front buttons, and embroidery at the back vent. As this was for an event (so I had a firm deadline), I just had to do as much as I could manage.

I am really happy with how it turned out, but I would love to finish off the rest of the embroidery at some stage. Stay tuned for my next post on making the waistcoat – coming soon!

Related Posts

Making an Embroidered Suit: Embroidery

MY Mr Knightley: Making a Regency Tailcoat 

Sources and Relevant Links

Image Source, An embroidered coat, c. 1770-1780, from Manchester Art Gallery

Costume Close-Up, by Linda Baumgarten – buy on Amazon

Embroidered suit, with matching breeches, waistcoat and coat. c. 1780’s

I have wanted to make an 18th century men’s suit for a while, and my eye had been drawn to the amazing embroidered court suits popular during this time.

During the 18th century, the men’s suit consisted of knee-length breeches, long waistcoat and full-skirted coat. Suit ensembles could be made from matching fabric, with either coordinated breeches and coat and a contrasting waistcoat, or sometimes all three items matching.

A sample of embroidery, from the early 19th century.

Clothing that was worn to court was more elaborate than other clothing, and the embroidered mens suits generally fit into this category. Some ensembles were truly elaborate in embroidery, but others were much more simple in design and sedate in colour.

Suits were embroidered in panels, and then sold uncut to the customer. A tailor would then be employed to make up the panel into clothing.

The detail from an 18th century waistcoat.

The Pattern

I have always been a bit scared of embroidery, as I used to often start a difficult project – outside of my skill level – and then feel disappointed in the result. My trick to combat this has been to plan the embroidery pattern well (with sketches), to plan the types of stitches I will use, to practise the stitches on a scrap sample, and to make sure that all (or at least most) of the techniques are within the scope of my skill.

The first sample, practising stitches, colour placement, size, etc…

Sometimes I have stepped out of my skill area for a small part of an embroidery, to stretch myself, so that if only a small part goes awry it doesn’t affect the final result as much. As a result I feel like I have really improved in my embroidery skill over the past 7 years!

A second sample once the design had been decided on. This was to practise spacing, how large it should be, and how long it would take to do one repeat of the design.

Understandably, I was quite daunted taking on this type of project, but I searched for embroidery patterns that I thought were manageable for me, and looked for stitches that I could complete with a level of proficiency.

It was also important at this planning phase to get “approval” from my husband for the design. (I did want him to feel comfortable wearing it!) Embroidered coats of the 18th Century were very flowery, which is not something that necessarily appeals to the modern man. In the end, my husband really wanted a much more monochrome colour palette (compared to some of the coats of the time) and was happy with some flowers, but not heaps.

The Materials

The stitches I have used are chain stitch, heavy chain stitch, backstitch, satin stitch, beetle stitch, colonial knots and feather stitch. I also used spangles and beads as part of my design. I used cotton DMC for the embroidery, and the fabric was a polyester taffeta that I have had great success with in the past.

The Process

I decided to firstly do a mockup of the coat on my husband, to make sure that the pattern pieces were the right size. I used, as a starting point, the three-piece suit in Costume Close Up, by Linda Baumgarten. Once the pattern pieces were finalised, I would then be able to embroider in a panel, rather than embroidering the separate pattern pieces or the finished coat. (As you will see in future posts, there are problems with each option!)

The finished panel, showing the two fronts at the top, the pocket flaps on the right, the buttons, and the cuffs at the bottom. The picture is not very clear, but I did want to try and get one photo with the whole panel in it!

My finished panel included the two fronts, the two pocket flaps, the two sleeve cuffs, and a whole stack of button shapes. I decided to leave the collar until the coat was pretty much fitted and then draft and embroider the collar last.

The detail of the embroider on the centre front.

The embroidery took two months to complete (for the coat alone), and I embroidered almost every day for around 5 hours a day. It was unfortunate that I was sewing to a deadline, as it created much more stress than my other embroidery projects had! It also meant that there were some elements of the embroidery that I had to change so that it could be completed in the time frame.

In the end, I was pleased with the way the embroidery looked! The grey and blue was a really nice colour combination. Stay tuned for the next post in this series, making the coat.

Related Links

Making a Stomacher (c. 1700’s-1770’s)

Making an Embroidered Stomacher, from 1725

Sources and Relevant Links

Image Source: Embroidered Suit, c. 1780s, at Los Angeles County Museum of Art

Image Source: Embroidery sample, early 19th century, at Met Museum

Image Source: Embroidered waistcoat, 18th century, at Ruby Lane.

Costume Close-Up: Clothing, Construction and Pattern, 1750-1790, by Linda Baumgarten – buy on Amazon

18th Century Men’s Coats, by 18th Century Notebook – a list of extant 18th century men’s coats available to view online.

The Lives of a Man’s Eighteenth Century Coat, by National Gallery of Victoria – an interesting article about repurposing clothing in the 18th and 19th centuries.

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I recently ran a workshop at the Jane Austen Festival, Australia, on the use of ribbon in 18th century clothing, with a particular focus on the stomachers used to fill in the front portion of a woman’s 18th century gown.

I have made several stomachers before (links to them are below), and I do enjoy the nature of a small project that entails a bit of handwork! This project was no exception.

Pattern

I used as a guide the pattern in Janet Arnold’s book, Patterns of Fashion 1. This particular extant stomacher uses a bordered silk ribbon with silver thread lace. This original example was not a boned stomacher.

One of the stomachers that is pictured and patterned in her book.

Construction Steps

Step 1: As I have done previously, I boned the foundation layer of the stomacher. This was not always done, as there are plenty of examples of stomachers that are just mounted onto a layer of unstiffened linen, however I do find it a bit easier to hold it in place when it is a bit firmer!

I used two layers of grey cotton broadcloth and sewed boning channels down them. It was then boned with solid plastic boning.

A view of the finished stomacher from the underside, showing the boned foundation.

Step 2: The top layer can now be decorated. I tried to use a very similar pattern as Janet Arnold’s stomacher used. I drew the pattern shape onto the cloth so that I could see an outline. I used silk ribbon, a metallic lace, and some little beading decorations. These were all mounted by hand onto the material, starting with the lace and the ribbon.

Attaching the ribbon and lace to the top layer of the stomacher.

I gathered the ribbon into little ovals so that it was symmetrical, and the lace was slightly gathered so that it would bend around the corners sufficiently.

The basic decorations are all attached, and half sewn on at this point.

I tightly gathered some ribbon along one edge so that the ribbon would fan out to become a circle. The raw edges were folded on themselves and a basic running stitch held them together. Then these flower circles were handsewn to the stomacher. This type of flower decoration was very popular in the 18th century, especially with two-toned – or, what we call – ombre ribbons.

Silk ribbon flowers were handsewn in place.

Step 3: I turned the raw edges of the two layers in, and then stitched the folded edges. I have generally bound the edges with binding, but I wanted to try something different this time.

The raw edges of the stomacher and stitched closed.

The photo shows that some areas were whipstitched, and in other areas I did a running stitch. I basically did whatever stitch I thought would work best in keeping the raw edges secure!

Step 4: The tabs were hand stitched to the sides of the stomacher during the edge-stitching phase above. These tabs help with pinning or attaching the stomacher to the front of the dress or stays.

The tabs attached

The finished piece!

All finished, with some little dangly pearl beads included!!

Now I’ve got to figure out what to wear with it!!

Related Posts

Making an Embroidered Stomacher, from 1725

Making a Stomacher– an “embroidered carnation” stomacher

Sources and Relevant Links

Patterns of Fashion 1, by Janet Arnold – buy on Amazon

Ribbon Embroidery in the 18th Century – from 18th Century Notebook (examples of 18th C. clothing that have used ribbon embroidery)

Jane Austen Festival Australia– website

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Two ladies from the Edwardian era, both wearing belts.

After I had made my Edwardian walking skirt and its matching Zouave jacket, I had decided that an Edwardian belt was in order. It was a basic belt using a pattern from Jean Hunnisett’s book, Period Costumes for Stage and Screen (1800-1909). I had not considered blogging about this belt, as it was a quick and easy project, but it is one of those accessories that really does make a difference to the costume! You can see it in the photo below.

My Edwardian belt in action at a Picnic at Hanging Rock excursion.

Now, because I often wear this particular walking skirt and jacket ensemble for steampunk occasions (as sexy-and-skimpy steampunk is not my thing!), I decided to make a steampunk belt to wear with it too. My plan was to use a similar style and shape to my first belt, and just add black leather and silver to “punk” it up.

I really wanted a belt made from real leather, but my leather-making skills are a bit rudimentary to make something from scratch. After looking at this tutorial by Susan Dennard, I decided to try and find a leather handbag to repurpose.

Unfortunately, I was so excited about this project that, once I had found a bag at a local second-hand shop for only $4, I forgot all about taking photos of it before I started unpicking it to pieces! So here is a picture of a similar type of bag to the one I used.

My handbag was very similar to this (except black), with two front “pouches”.

Tip: Get a leather needle (a needle specially designed for sewing leather) and a good thimble when hand sewing a leather project!! The poor fingers took a beating…

Construction Steps:

Step One: I made an Edwardian belt shape using two layers of black cotton broadcloth, interlined with two layers of very firm woven interfacing (similar to buckram). The centre front points had a steel bone wedged in there to keep the front stiff. Each side of the centre backs also had a steel bone underneath the leather binding to help with stiffness too!

Step Two: The belt was bound with leather strips obtained from the handbag. In particular, the leather strips on either sides of the zips were particularly useful for this! I tried to reuse the existing stitching marks when I was hand sewing.

Step Three: I used scraps of the leather to attach some D-rings, making it easy to attach things to the belt. (I used the sewing machine to sew these, as the multiple layers of leather were proving too difficult for my fingers!)

Front view of the belt, showing the very simple shape. You can see the D-rings poking out the bottom of the belt.

The inside view of the front, showing the inside of the binding and the D-rings attached.

Eyelets were hammered in and lacing (black grosgrain ribbon) added.

Back view, showing the eyelets and lacing. You can also see some joins in the binding.

The inside view of the back.

Step Four: Now for the accessories! The thing I really wanted was to have some pouches or bags to put some things in when I’m out-and-about in costume.

I cut the two pouches off the front of the bag (if I had unpicked them from the bag, there would have been no pouch left!) and sewed the two pieces together. Luckily the tops of the pouches had some convenient rings (where the handles of the bag had been attached) that I used to attach it to the belt.

Affectionately called “my saddle bags”! Shown here attached to the belt with some clips.

Step Five: The other accessory I really wanted was a way to carry a parasol and a fan. Using the biggest leather pieces (from the bottom of the bag and the other side that didn’t have the pouches), I fashioned a tube to hold the parasol. The top of the tube was wider than the bottom, so that the parasol would not fall through.

The top of the tube was bound with a piece of leather that also had a ring attached (which was another ring used to hold the handles of the bag). This was going to be useful to attach the holder to the belt. Inside this top binding I inserted a large metal ring (7 cm in diameter) to help keep the opening open when in use. The bottom of the tube has another smaller metal ring (5 cm in diameter) in it, with the leather tube then folded over it and hand stitched in place.

The end pieces of the handbag (the sides where the zips start and finish) became a good part for the fan holder, and this piece was sewn to the side of the parasol holder. (It is a good idea to do this before you sew the tube together!)

The parasol holder, with a fan holder attached to the outside.

Finally, there was one last matching ring (that held the handles of the handbag) that I hand sewed onto the lower edge of the parasol holder. A length of chain was added to this ring to make the two attachment points different lengths. This helps make the parasol hang on an angle, kind of like a sword scabbard does.

Here is the holder attached to the belt, with the parasol and fan inside.

The last D-ring on the belt will be used for my steampunk chatelaine.

I still have a tiny bit of leather left over, including the handles, the front clasp and a few little bits left from the binding. (Maybe for another accessory later on!) There’s a few good zips and the rest is the innards!

The left over parts!

This belt will be worn at a Steampunk picnic that I am going to in a month, so I will post a picture of it in use as soon as I have one to post.

I am pretty pleased with this project! I would like to get more tools to use in leather craft and explore making some more things. I should even get my old Singer industrial sewing machine serviced, as I think it would do a great job in sewing leather! That might save my fingers too.

Now for a cup of tea!

Related Posts

Making a 1902 Walking Skirt

Making an early Edwardian Zouave Jacket

Making a Steampunk Chatelaine

Sources and Relevant Links

Period Costumes for Stage and Screen: Patterns for Womens Dress 1800-1909, by Jean Hunnisett – buy on Amazon

How to make a steampunk utility belt – by Susan Dennard

Edwardian Belt – by Sew Historically

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An example of an historical chatelaine generally in use during the 19th century.

I love chatelaines! I have loved them for a long time!

As I have progressed in my costuming, adding accessories has become more important to me than just making more garments. Whether it be hats, jewellery, hat pins, brooches, gloves, handbags, hairstyling or shoes, accessories do lend a “finished” element to the costume.

For a long time I have wanted to buy a chatelaine. Unfortunately the antique ones are quite out of reach of my budget! And when I finally found ones that are currently manufactured and sold, they too were quite expensive. Gorgeous! But still not a priority for me at the price sold for.

So… what to do? Make one of course! Now I am by no means a jeweller… The idea of constructing pendants and objects using metal was way beyond my skill set. So using very basic jewellery making techniques I have managed to construct a steampunk chatelaine by combining different elements of existing jewellery items I have found. This will be used with a new steampunk belt I am currently making.

Construction Steps

Step One: Begin by buying some modern jewellery.

Recently there was a fashion for American Indian or tribal style necklaces, with larger pieces that had various “rings” from which other decorative items dangled. I found these two pieces in Kmart on sale last year for $4 (AUD) each. A second-hand shop may be another place to look. You will need a largish pendant that has some rings around the bottom of it.

Two suitable necklaces I bought from Kmart.

Step Two: Detach the pendant items from the chain. You can re-use the chain for the chatelaine items later if you wish. I also removed some of the dangling items from the “rings” that I wanted to use, and also some extraneous beading detail that I didn’t like. I attached a hook fastener to the top of the pendant that would clip onto my steampunk belt.

The necklace pendant was then “trimmed” to be suitable for what I wanted.

Historically, chatelaines had a large hook on the back for hooking over the waistband. In a future post I will look at ways to reproduce this when making a more historical chatelaine.

Step Three: Buy a selection of chatelaine items. For a steampunk chatelaine, these items can be sourced easily since steampunk is quite fashionable at the moment. The bonus is that many types of items are suitable in the creative process that is steampunk! Here are some items I bought from my local Spotlight.

Some steampunk items that I picked up at my local craft store. All of them are able to be hung from a chain.

 

However, if you are wanting a selection of historically accurate chatelaine items it can be more difficult. I suggest you keep looking for things that could pass for historical, but can still be easily attached to a chain.

Step Four: Attach the chatelaine items to lengths of chain using a jump ring and jewellery tools. I cut the necklace chain into four pieces, two shorter and two longer.

I cut the necklace chain into four, and have begun attaching the chatelaine items.

Step Five: If you would like to make your chatelaine items removable, you could attach a jewellery catch onto the other end of the chain. The catch can then just clip on to the “rings” on the pendant. This means that you can easily mix-and-match the items hanging from your pendant.

I decided to attach mine with jump rings so they are not removable.

The four items are being attached to the pendant with jump rings. These were a microscope, twist tube, fake fob watch and a key.

I am so pleased with the finished result!

The completed chatelaine attached to my half-completed steampunk belt.

I am hoping to wear it soon at a steampunk event, and I will post a picture here of it being worn as soon as I can!

Related Posts

Making a Steampunk Skirt

Making a Steampunk Shirt

Sources and Relevant Links

Image Source: for sale from Whitaker Auctions

Chatelaines for sale – Artistic Anachronism

Make a chatelaine (from ribbon) – The Jane Austen Centre

How to attach jump rings – Youtube video (If you have never done jewellery making before, this clip can come in nice and helpful!)

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One of my earliest attempts at costuming was a sacque-back gown, however – as is normal for one’s first attempts – not all aspects of the gown were historical. One of my first corrections of this was to make a set of 18th century stays that would more accurately shape the torso for the dress, but because the “stomacher” for this gown was embroidered onto the front of the previous stays that I used for this dress, it meant that the gown was left without one!

An embroidery pattern for a stomacher, by Margaretha Helm, ca. 1725.

I have made an embroidered stomacher before, to go with my caraco jacket, and I really enjoyed making it! It really stretched my embroidery skills, and ever since then I have wanted to make another to match my sacque-back gown.

Pattern

In my search for ideas for a pattern, I happened across several drawings from a pattern book by Margaretha Helm, on the Victoria and Albert Museum website. Here is what is written about the particular one I chose (pictured above):

This is a printed design for embroidery, with some drawn-thread work, for a stomacher featuring a floral pattern. Drawn-thread work is a form of counted-thread work in which the embroidery threads are used to pull the fabric threads apart. This creates an openwork pattern of holes and stitching. A stomacher is a stiff panel, usually triangular in shape and often heavily decorated, inserted in an open bodice to cover the corset in eighteenth-century dress. It is from a pattern book for embroidery (about 1725) by Margaretha Helm (neé Mainberger) (born in 1659 in Deiningen, died in 1742 in Nuremberg, Germany). Helm worked in Nuremberg as an embroiderer, a teacher of embroidery and a copperplate engraver who had her designs published by Johann Christoph Weigel. The V&A has a series of pattern books for embroidery in three parts by Margaretha Helm of which this volume is Part I. It is entitled Kunst-und Fleiss-übende Nadel-Ergötzungen oder neu-erfundenes Neh-und Stick-Buch or
The Delights of the Art and Industry of the practising Needle or the newly invented Sewing and Embroidery Book.

from Victoria and Albert Museum website

The design is symmetrical but not perfectly identical on both sides. I printed off the pattern and enlarged it to the size I needed to fit the front of my gown. I traced the full-sized pattern onto a large sheet of paper (as enlarging the pattern with the photocopier reduced its clarity), and then I traced it onto my fabric and began stitching!

Construction

The stitches I used are all ones that I have found before on extant embroidery pieces. Despite the V&A description stating that the pattern included “drawn” (or maybe more accurately, “pulled”) work, I did not do any of this on my stomacher. Instead I used laid work or various types of filling stitches that provided a patterned look to the finish.

The stitches I used were chain stitch, satin stitch, backstitch, seed stitch, long-and-short stitch, colonial knots, buttonhole wheel, laid work (called lattice work in this video), feather stitch, and stem stitch.

The beginnings!

I used a blue, water-erasable, pen to draw the design. This works well for me, although the colour does have a tendency to reappear after a while.

A flower, showing detail of the laid work, chain stitch and stem stitch.

A flower, showing detail of satin stitch, seed stitch and chain stitch.

More flowers, showing the detail of satin stitch, laid work, french knots, and chain stitch.

Flowers with satin stitch, laid work, and eyelet stitch (or buttonhole wheel), plus the chain stitch stems.

Once the embroidery was finished, it was mounted on to a boned base made from cotton broadcloth and synthetic whalebone.

The back of the stomacher, showing the boning channels.

The edges were bound with a bias-binding strip and tabs were handsewn on.

All finished, with a boned base and tabs handsewn on.

And some photos of it being worn!

I wore my stomacher for the first time to a Georgian High Tea!

I have a new embroidery project on the go now, so keep an eye out for posts about it later in the year!

Relevant Posts

Making a Stomacher

A Sacque-back gown (one of my earliest costumes)

A Caraco Jacket

Making 18th Century Stays

Sources and Relevant Links

Image and Quote Source: Embroidery design for stomacher, ca. 1725, from Victoria and Albert Museum

18th Century Embroidery Techniques, by Gail Marsh – buy on Amazon

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To all my readers, I wish you a belated Merry Christmas and a wondrous New Year, full of costuming and historical goodness!

I wanted to share with you my Christmas tree from this year. The lead-up to Christmas was a bit stressful for me, so lots of traditional Christmas things were left undone! However, I was particularly proud of my moment of inspiration for a quick and easy Christmas tree.

My Christmas tree for 2017

I have not blogged for the last half of this year, mainly because my time was taken up with a few commissions, but I have been still madly sewing for myself and my family. This means that I have a list of blog posts that need to be written in order to catch up!! So I hope to begin afresh next year and share with you some of my creations.

All the best for your creations in the New Year!

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