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A day dress, with a pleated bertha and sleeve trimmings reminiscent of the 30s, c. early 1840’s, from The John Bright Collection.

Luckily it took only two days to sew my late 1840’s skirt, as I always need a bit of extra time up my sleeve to work on bodices. With only a week and a half to go until my Colonial Dance display, I had to keep going!

In the 1840s, sloping shoulders were in fashion, as they continued to be for a large amount of the Victorian era. Bodices were long and often deeply pointed at the front, which made the waistline look slim.

In order to emphasise the sloping shoulders, bodices were often decorated with a bertha around the lower shoulder area and chest. Long “collars”, sometimes trimmed with lace or braid, went over the edge of the shoulders and down to the centre front point, and also served the purpose of drawing the eye down the shoulder. The off-the-shoulder armholes further accentuated this look, as the clothing made the shoulder appear longer and more sloping than it actually was.

A day dress, with a long pleated collar and decorative tassels down the centre front, c. 1846-49, from Fripperies and Fobs.

Day dresses often had a high neckline, resting above the collarbone, which was trimmed with a lace collar. Into the late 40s and early 50s, the neckline deepened into a V at the front, which was generally filled in with a collared chemisette or inserts of lace. Sometimes necklines developed a very wide opening along the shoulders, whilst still remaining quite high at the neck. Evening bodices even went so far as to be off-the-shoulder.

Bodices of this era tended to fasten with hooks and eyes at the centre back. The centre front panels tended to be cut on the bias, which did lovely things for stripey material. Buttons and tassels could sometimes be used as decoration down the centre front.

Sleeves were enjoying a short reprieve from the astronomical sizes they had reached to in the 1830s, before again increasing in size as the pagoda sleeve came into fashion in the 1850s. However, sleeves could still be decorated at the top with a sleeve cap, which again emphasised the sloping shoulders.

I really wanted a plain and basic bodice which I could make quickly, so I dispensed with the idea of a bertha or collar or any centre front pleating detail which was often common in this era. I thought that a centre front button placket – which become more common in the early 1850s – would enable me to get into the outfit by myself but would add enough interest. A sleeve cap also seemed to be a quick and easy detail to include.

Pattern

I used the basic bodice in Jean Hunnisett’s book, Period Costume for Stage and Screen. I would normally make a mock-up of a bodice to make any adjustments to the pattern, but I didn’t have the time to allow for that. Instead, I measured myself in my corset and I measured the pattern and added some extra allowance for adjusting. I also added some length at the bottom, as I wanted to make sure the bodice would overhang the waistband, which is consistent for this era.

The pattern pieces cut out; front, side back, back, sleeve, and sleeve cap.

I used a light cotton fabric with a woven stripe, flatlined with white cotton broadcloth.

Construction Steps

Step One: All the bodice pieces were flatlined and were then treated as one piece. The seams of the bodice were sewn; side back seams, the side front seams and the shoulder seams. Then the two front darts were fitted and sewn. (There was a lot of fitting and pinning at this stage – working from the back to the sides, then the shoulders, and then doing the front darts – just to get the fit right.)

The seams of the bodice are all sewn. In this picture, the piping has also been sewn on the arm scythe.

Step Two: I made some piping in a contrasting colour, using narrow cotton cord and some bias binding, and sewed piping to the edge of the armhole.

A close up of the piping in the arm scythe.

Step Three: The sleeves were sewn. I used a gathering stitch down the entire back edge of the sleeve side so that the sleeve seams could be eased effectively together.

The sleeve seam is pinned, and one side (the back side of the seam) is eased to fit the front.

The bottom edge of the sleeve was piped and finished the same way as the sleeve cap below.

Step Four: The sleeve cap was sewn and the bottom edge was finished with piping. I used the edge of the piping (which was a bias binding strip) to hem the bottom of the sleeve cap.

The piping has been sewn to the sleeve cap. The bias strip is then unfolded, and one half is trimmed back. The other half of the bias strip is folded over the raw edges, turned to the wrong side, and hand sewn down.

Step Five: The sleeve head was pleated to fit the arm hole (in three “inch-ish” wide pleats). The sleeve cap was placed over the top of the sleeve, with the raw edges together. The whole sleeve was then inserted into the armhole and topstitched “in the ditch” of the armhole piping – through all layers. This was illustrated in Jean Hunnisett’s book. I found it a good way of attaching a sleeve when using piping in the armhole.

From “Period Costumes for Stage and Screen”, sewing in a sleeve with armhole piping.

All raw edges of the sleeve and armhole were then neatened.

Step Six: The centre front button placket was made with a straight strip of fabric and was piped on either side, with the raw edges folded under.

The centre front button placket, with piping attached. A button is laying on top to show the contrast.

The entire strip was topstitched onto the right front panel at the centre front mark, once again “stitching in the ditch” of the piping. The raw edges of the front panel were folded to the inside, turned under and hand stitched down.

The button placket is pinned ready to sew, so that the middle of it is positioned in the centre front.

A line of piping was also sewn to the left front panel, with the raw edges being folded to the inside, turned under and hand sewn down.

A line of piping is sewn on the other centre front edge, with the button position (shown with pins) in line with the centre front.

Step Seven: The two front darts on each side were boned by simply sewing a boning channel into the dart flap. The boning was then inserted into the channel. The centre front placket was also boned behind the buttons, using the left over raw edges that were folded under after piping.

The boning channel is sewn on the left of the piping, from the bottom to about halfway up, and will be folded to the inside and slipstitched down. This will mean that the boning channel will sit directly behind the line of buttons (shown by pins).

Step Eight: Once the two centre front edges were finished, a line of piping was sewn around the top neckline and the bottom edge of the bodice. Once again, the raw edges were trimmed and turned under the bias strip and hand sewn down.

Step Nine: The button holes were sewn on the piped button placket, and the buttons (covered to match the piping) sewn to the other front edge.

The buttonholes and buttons. The bodice does not quite fit this dress form!

Step Ten: As a finishing touch, I decided to do a quick cotton collar, trimmed with lace. I draped this collar on the stand and then hand sewed it to the neckline.

The cotton lawn collar, trimmed with cotton lace.

The front view

The back view

I am really pleased with this bodice, as I think that it fits quite well. However, I had intended that the front stripes form a downward arrow, instead of an upward arrow. The downward arrow accentuates the slim waistline better and is a more period correct way of dealing with stripes, from what I have seen. It ended up being impractical to re-do the front panels in the time span I had. Anyway, slight distractions when sewing will do that to you!

So my “Jane Eyre” dress is finished! I did watch several different adaptations of Jane Eyre on DVD throughout the process of sewing this outfit, too.

Related Posts

Making a late 1840’s Day Dress: Skirt

Making an Early 1870’s Gown: Day Bodice

Sources and Relevant Links

Image Source: Day dress, c. early 1840’s – from The John Bright Collection

Image Source: Day dress, c.1846-49, from the exhibition “A Century of Style” at Glasgow Museum – at Fripperies and Fobs.

Period Costume for Stage and Screen: Patterns of Women’s Dress 1800-1909, by Jean Hunnisett – buy on Amazon

How to Flatline a Bodice – by Historical Sewing

A Piping Tutorial – by Historical Sewing

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Regency spencer sleeve, c. 1815.

Regency spencer sleeve, c. 1815. The bands that are tucked inside the sleeve head appear to have been piped.

Finding ways to reproduce elements of historic clothing can be difficult, particularly when it is unusual or when viewing or handling the garment is impractical or not allowed. Sometimes historic handsewing has produced more tricky or fiddly aspects on a garment, which can be harder with a sewing machine. And sometimes it is all about learning something that you haven’t tried before!

This weekend I spent a considerable amount of time trying to figure out how to do multiple strips of piping together to form a band. I have been keen to use this on a garment I am making but working out how it might have been done (and then figuring out how I might be able to reproduce it) was quite difficult. I have detailed my efforts below.

Step One

Cut a wide bias strip in the fabric you want to have piped. Cut another strip of fabric on the grain for lining. Position your cording along the inside of the bias strip in the same way that you would for normal piping. Pin your lining strip underneath, right sides together, and sew using a zipper foot.

The material to be piped is on top, with the cording pinned in place. The lining sits underneath to be caught in this first line of stitching.

The material to be piped is on top, with the cording pinned in place. The lining sits underneath to be caught in this first line of stitching.

Step Two

The lining strip is then turned under to form the “underlayer” of the band. The raw edge of the lining should be trimmed and turned inside to meet the other raw edges.

The remaining raw edge of the lining is folded to the inside of the band.

The remaining raw edge of the lining is folded to the inside of the band.

This raw edge will be caught in the next line of stitching.

Step Three

Pin the next line of cording inbetween the lining and the outer fabric and sew, making sure that the fabric and cord is pushed close to the first line of piping to form a ridge.

The next row of cording is pinned in position ready to sew.

The next row of cording is pinned in position ready to sew.

The underneath should look like this:

Under the piped band

Under the piped band before sewing the second row of piping.

Continue on in the same way, sewing the desired number of rows of piping until you have reached the last one.

Push the cord close to the previous row of piping to get that characteristic bulge in the material.

Push the cord close to the previous row of piping to get that characteristic bulge in the material.

Step Four

Once you have reached the last row of piping you will need to trim your material. Lay your cord against the material to give yourself a guide of how much may need to be trimmed. Once the excess is cut off, fold the material over the cord, tuck the raw edge into the edge of the lining, and handsew it in place.

Handsewing the last row of cording in place

Handsewing the last row of cording in place

The band of piping is now finished!

The finished band should look something like this.

The finished band should look something like this.

Piped bands make an interesting addition to a hat.

Piped bands make an interesting addition to a hat.

I really like how it turned out, especially because it looks different to the normal things for sale in dressmaking and craft shops. This decorative band can be used as a thicker alternative to ribbon or as a trim on hats or costumes. I will be using this band on the new Regency spencer I am currently working on. I also plan to use something similar on this late Regency bonnet.

Related Posts

How to use Ribbon to make Decorative Trims

Sources and Relevant Links

Image Source: from Los Angeles County Museum of Art (LACMA)

How to make and attach your own piping

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