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Posts Tagged ‘embroidery’

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

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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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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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Blouse

1910’s Edwardian blouse, made from cotton batiste

I made a Victorian Fan Skirt a while ago and recently made a bolero jacket to match, using the last of the leftover fabric. The next thing to make was a blouse, often called a “shirtwaist” during this period.

Blouses for women had increased in popularity during the second half of the 19th century. This new form of dressing for daytime meant that there was a bit more flexibility in shirt-and-skirt combinations than had previously been the case, especially when the mode of dress in previous times had been only gowns. This change in fashion during the Victorian era, from gowns to two-piece ensembles, really paved the way for a new element of women’s dress that would continue into the 20th century, gradually making women’s clothing more similar to mens.

I particularly wanted a blouse with a high collar, back-closing, with a pin-tucked front and insertion lace, and with sleeves that were not too full. In short, I can’t tell if my new blouse is an early Edwardian blouse or a late Victorian one!

Pattern

I used a variety of sources to “make” my pattern.

Ladies' Street Costume, Summer 1893, from Authentic Victorian Fashion Patterns.

Ladies’ Street Costume, Summer 1893, from “Authentic Victorian Fashion Patterns”.

The pattern I used for my bolero jacket (from Authentic Victorian Fashion Patterns, edited by Kristina Harris) included a pattern for a shirtwaist blouse. I used this pattern for the sleeves and the cuffs, as well as the back panel.

A free pattern from Ladies Treasury for a sleeveless blouse was helpful to use for the collar shape.

A free pattern from Vintage Connection for an Edwardian blouse was helpful to use for the enlarged front panel, which I needed to make the tucks.

I graded the different parts of the original patterns up and then made the necessary adjustments according to my measurements.

This blouse was made from white cotton batiste, with cotton embroidered insertion lace, cotton lace edging, and plastic “mother of pearl” buttons.

Construction Steps

Step One: First I did pin-tucks down the centre front of the front panel. There were fours sections of pin-tucking, each with four rows of pin-tucks each. Then the material was slashed in-between the two rows at the left and in-between the two rows at the right. This slash allowed for the insertion lace to be attached.

The front panel, with rows of pin tucks.

The front panel, with rows of pin tucks. The slash on the left of the centre front is for a row of insertion lace.

Step Two: As my insertion lace had a “seam allowance” on each side, I could not sew it the easier way. Instead I had to slash the material and sew the lace on right-sides-together. The unfinished raw edges were folded under on the wrong side and hand-stitched down.

The insertion lace pinned down to sew.

The insertion lace pinned down to sew.

Step Three: The last thing to do on the front panel was to pin-tuck the shoulder seam area. This was tucked to fit the back shoulder seam. The tucks were released before the bustline, to allow a bit of extra fullness.

The front panel shoulder seam is tucked to fit the back shoulder seam. The tucks are released to form fullness for the bust.

The front panel shoulder seam is tucked to fit the back shoulder seam. The tucks are released to form fullness for the bust.

Step Four: Once the centre front was completed, I turned my attention to the back panel. As the back panel housed the button placket, I prepared the centre back by folding over the centre back edges.

The back panel, with button placket preparation.

The back panel, with button placket preparation.

As it turned out, the back panel was not wide enough for my figure and I had to unfold this section and then add a separate button placket later to give me a few more inches!

Step Five: The side seams and shoulder seams of the blouse were then sewn.

Step Six: The top edges of the collar were sewn together. A small lace edging was also included in this seam so it would adorn the top edges of the collar when it was right side out.

The two layers of the collar was sewn right-sides-together. A small lace edging was also sewn in the seam.

The two layers of the collar was sewn right-sides-together. A small lace edging was also sewn in the seam at this step.

The collar was then attached to the garment, sewing the outer layer of the collar to the blouse with the machine, and then hand-sewing the inner layer of the collar, making sure all the raw edges are tucked under. I did gather (or heavily eased) the neck edge of the blouse to get the collar to fit better.

The collar finished, showing the lace edging.

The collar finished, showing the lace edging.

Step Seven: The sleeves were then sewn. As this blouse needs a shirt-sleeve placket, it is wise to make the placket *before* you sew the sleeve seam (which of course is NOT what I did!). Here is a great tutorial on making a shirt-sleeve placket.

Once the sleeve seams were sewn, the head of the sleeve was gathered and set into the armhole of the blouse.

The bottom edge of the sleeve was gathered to fit the cuffs. The cuffs were sewn together, with the same thin lace edging around the outer edge that I used in the collar. Then the cuffs were attached to the bottom of the sleeve. (For more on the basic attaching of cuffs, see this tutorial.)

The cuffs finished, showing the lace edging and the button.

The cuffs finished, showing the lace edging, the button, and shirt-sleeve placket.

Step Eight: The final finishing steps involved hemming the bottom of the shirt and running a bias-binding casing around the waist. A cotton tape was inserted through this so it could be drawn up to fit snuggly underneath the skirt. Finally a row of buttons were sewn as fastenings down the centre back and on the cuffs.

Unfortunately I had not taken adequate measurements of my width, nor my height, nor my arm length! This meant that the centre back had to have an extra placket added (as mentioned above), the bottom of the blouse had a bit added beneath the casing to make it longer, and the sleeves still need to be pulled apart and re-made so they reach down to my wrists! This is one of the lessons I seem to have to learn again and again with each sewing project.

Anyway, here is the finished garment!

The front view

The front view, with three decorative buttons sewn down the centre front.

The back view

The back view, showing the buttons and the casing ties.

Myself and my daughter at our recent outing to see the new Anne of Green Gables movie.

My daughter and I at our recent outing to see the new Anne of Green Gables movie.

My new ensemble was now desperately looking for a place to “go-and-show” and it was lucky that the new Anne of Green Gables movie was coming out in Melbourne at just the right time! My daughter and I got dressed in our finery, stocked ourselves up with some raspberry cordial and plum puffs, did our hair the best we could, and took ourselves off to the theatre.

My daughter wore her Anne of Green Gables outfit, while I wore my gored petticoat, fan skirt, bolero jacket and my new shirtwaist.

Needless to say, the movie was a great success! Whilst it could never compare to my own personal favourite Megan Follows, I am excited that a new series may reinvigorate a new generation to be Anne-ites.

Related Posts

Making a Bolero Jacket

Making a Victorian Fan Skirt

Making a Gored Petticoat

Sources and Relevant Links

Image Source: 1910’s Blouse at Adored Vintage

Authentic Victorian Fashion Patterns: A Complete Lady’s Wardrobe, edited by Kristina Harris – buy on Amazon

Sleeveless Blouse for Suits, c. 1905 – free pattern from Ladies Treasury

Edwardian Shirt Waist (Blouse) Pattern, c. 1903 – free pattern from Vintage Connection

How to sew insertion lace – by Wearing History

Attaching a collar – by Grainline Studio

The Shirt-Sleeve Placket – by Off The Cuff

How to sew a button cuff – Youtube tutorial by Professor Pincushion

Reflection on the White Shirt and Womankind – by Fashion Archeology

The new Anne of Green Gables movie – trailer on Youtube

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Ladies' Street Costume, Summer 1893, from Authentic Victorian Fashion Patterns.

Ladies’ Street Costume, Summer 1893, from Authentic Victorian Fashion Patterns.

Quite a while ago I made a Victorian Fan Skirt, which I generally wear dancing with just a T-shirt. However, I began to feel that it would be nice to make a matching jacket using the left over material. It could then be used as more of a complete costume, instead of just a dancing skirt.

I did not have very much material left, so I thought a bolero jacket would be the easiest option, as it used the least fabric.

Bolero jackets had been quite popular since the 1850’s and 60’s, and continued to be so through to early Edwardian times. They differ from the warm winter jacket and coats, that clearly were designed for warmth. Instead they seem to be more of a decorative fashion.

Pattern

I used a pattern from Authentic Victorian Fashion Patterns, edited by Kristina Harris. This pattern book is a reproduction of patterns that were published in the popular dressmaker’s journal, The Voice of Fashion. The patterns are all authentic 1890’s patterns and cover a wide range of women’s clothing.

I graded the original pattern up and then made the necessary adjustments according to my measurements.

The pattern drafted and then cut out enlarged to fit my measurements.

The original pattern is drafted onto grid paper and then cut out enlarged to fit my measurements.

This jacket was made from the same materials as my Victorian Fan Skirt, with blue cotton outer and white cotton broadcloth lining.

Construction Steps

The construction of this bolero jacket was very simple, as there was no sleeves, no collar and no fastenings. It was also fairly simple to fit without doing a mock-up.

Step One: I began by sewing the side seams together in the outer fabric. Then I sewed the side seams of the lining together.

Step Two: Then the outer and the lining were placed right sides together and sewn around the outer edges. In the picture below you can see that the only part left unsewn is the shoulder seams.

The side seams have been sewn and now the outer is attached to the lining.

The side seams have been sewn and now the outer is attached to the lining.

The curves are clipped and then the jacket is turned the right way and pressed well.

Step Three: The shoulder seams can now be sewn. The outer layer is sewn first with the sewing machine, and then the raw edges of the lining are folded in and handsewn down.

Step Four: Embroidery is one embellishment that I love to do on my clothes, and this jacket was no exception. I drew a design on the edges and embroidered it with one strand of white DMC cotton in chain stitch.

The embroidery, which is a more mid-19th-century design.

The embroidery, which is a more mid-19th-century design.

And here is the finished garment!

The front view

The front view

The back view

The back view

Stay tuned for the next post on making a shirtwaist blouse to complete this ensemble!

Related Posts

Making a Victorian Fan Skirt

Making a Gored Petticoat

Sources and Relevant Links

Authentic Victorian Fashion Patterns: A Complete Lady’s Wardrobe, edited by Kristina Harris – buy on Amazon

Pattern for a Bodice with Bolero Front (c. 1896) – at Ladies Treasury

How to make a simple bolero jacket – Youtube tutorial

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These are the last two embroideries for my new quilt project, “Jane Austen’s Bonnet” by Brenda Ryan.

This quilt is a wall-hanging, and features 20 diamond patches that are embroidered with various stitcheries on a Regency theme. The embroideries are nicely framed within the patchwork structure of the quilt and the result is very pretty.

These last two embroideries are quotes and are not in the original quilt. These replace some of the flower embroideries that weren’t really my style. After I searched up some quotes, I printed up a design on my computer that could be traced onto the fabric and then embroidered.

A quote

A quote from Jane Austen’s letters to her sister, Cassandra.

This quote is from one of Jane Austen’s letters to her sister, Cassandra.

Next week shall begin my operations on my hat, on which you know my principal hopes of happiness depend.

I thought a hat quote was essential in a Jane Austen’s Bonnet Quilt! The embroidery is done with a backstitch in one strand of DMC embroidery cotton. I should have done two strands, as all of the other quotes have used two strands.

A quote

A quote from “Emma”, by Jane Austen.

The above quote is from Emma, by Jane Austen.

If I loved you less, I might be able to talk about it more. But you know what I am. You hear nothing by the truth from me.

Mr Knightley says these words to Emma as he tries to find a way to ask her to be his wife. This embroidery has also been stitched with a backstitch, but using two strands of DMC embroidery cotton. I have also stitched a quick running stitch around the outside of the diamonds to mark the stitching line, which I hope will be useful when I put the quilt together.

Stay tuned for the last post of this series, Part Eleven, where I will be putting the quilt together and finishing it all off! – coming soon.

Related Posts

Jane Austen’s Bonnet – Part One

How to make an American Quilt

My English Paper Piecing Project

Sources and Relevant Links

Brenda Ryan Embroidery Designs

Jane Austen’s Bonnet – by Brenda Ryan Embroidery Designs

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The next two embroideries I had planned to do for my project, the “Jane Austen’s Bonnet” quilt by Brenda Ryan, were ones of Regency men. These embroideries are not included in the original quilt, but I chose to replace four floral arrangements in the quilt that weren’t really my style.

The easiest way to get a suitable picture to embroider seemed to be to find a fashion plate of the era. I particularly wanted pictures that had very little of the face showing, as I find faces quite difficult to embroider. The first picture I found was of my intended “Mr Bingley” portrait.

Costume Paresian, 1809.

“Habit de Drap Vert Melange. Culotte de Peau Blanche.” Costume Parisien, 1809.

Google Translate kindly translated the French for me: “Green coat cloth mix. White leather breeches.”

The next image was for my intended “Mr Darcy” portrait.

Costume Parisien, 1806.

“Habit a Pattes de Redingotte. Culotte blanche de Veloursacotes.” Costume Parisien, 1806.

Google Translate also translated the French for me on this one, although a little more cryptically: “Great coat dress has legs. White pants corduroy.” One day I will learn French, but at least you get the idea.

I used a light box to trace an outline of the images in fine-liner, only copying the detail that I wanted to include. Then I enlarged my fine-liner copy to the size needed for the quilt. The enlarged copy was then traced (again with the aid of a light box) on to the material to be embroidered.

The first one to complete was “Mr Bingley”.

Mr Bingley was good looking and gentlemanlike; he had a pleasing countenance, and easy, unaffected manners.

Pride and Prejudice, by Jane Austen

Mr Bingley, embroidered

Mr Bingley, embroidered, wearing a dark green coat and buckskin breeches.

This embroidery uses backstitch, running stitch, colonial knots, satin stitch and whipped chain stitch.

The second embroidery to complete was “Mr Darcy”.

…Mr Darcy soon drew the attention of the room by his fine, tall person, handsome features, noble mien; and the report which was in general circulation within five minutes after his entrance, of his having ten thousand a year.”

Pride and Prejudice, by Jane Austen

Mr Darcy, embroidered

Mr Darcy, embroidered, with a dark blue coat and grey breeches.

This embroidery uses backstitch, running stitch, and colonial knots, with some gold beading being used for the buttons. I quite like how they have turned out!

I have also stitched a quick running stitch around the outside of the diamond to mark the stitching line.

The last two embroideries of the quilt will be included in the next post, Part Ten.

Related Posts

Jane Austen’s Bonnet – Part One

How to make an American Quilt

My English Paper Piecing Project

Sources and Relevant Links

Brenda Ryan Embroidery Designs

Jane Austen’s Bonnet – by Brenda Ryan Embroidery Designs

Image Source: Regency man fashion plate, from 1809 – via Pinterest

Image Source: Regency man fashion plate, from 1806 – via Pinterest

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