#period garb

Using instructions on Renaissance tailoring and the results of picking a very knowledgeable friend’s brain, I drafted a pattern as I never had before: from a side view, using measurement lengths (marked on a ribbon) rather than numbers. I started with the length of the back from C7 to waist (higher for me than most people), then measured out 1/2 the bust circumference (assuming it’s the largest torso circumference), then fussing positions of armhole, neck, waist. I loved the accuracy of this method, as I can simply fold my ribbon in two, three, or four to find an accurate measurement, rather than taking (usually rounded) numbers and further dividing them. Having made the pattern, there are a few things I’d change that I’ll discuss later, but this was almost entirely perfect on the first try.

Since the pattern is drafted without seam allowances, I traced it onto the cotton canvas I used as strengthening layers, then traced a seam allowance around that before cutting it out, using the canvas as a pattern for outer material and lining. I didn’t really need the seam allowance on the canvas, as this makes the edges very thick and tough to stitch through and turn over, but it also gives me really solid hems on the bodice.

I basted together the two canvas layers and the linen outer layer (around the edges and down the centre for stability and a plumb line), then did some 30+ hours of pad stitching while I marathoned two full seasons of Game of Thrones and a lot of Rachel Maddow. These are close, offset rows of running stitch where the front only picks up a few threads, securing and strengthening the three layers as one, only minimally visible from the outside. This will also help to shape the garment later without a corset, and prevent tears in the linen. As an embroiderer, I’m accustomed to making tiny careful stitches, so the practice of so many large stitches was helpful for me.

After these layers were secure, I turned my edges at the collar, arms, and waist, and used silk dupioni to line the left edge where my eyelets go. I further reinforced this edge with braided jute twine to act as boning - an experiment which has gone swimmingly. Then I stitched the right side edge together (basting the layers, turning one over, and prick stitching through all layers, very securely locking the seam together). The lining was then whip stitched to each piece individually.

This would have been where, upon lacing it up for a fitting, the shoulders would simply be prick stitched together and the lining finished underneath, but I made a miscalculation in my pattern and the straps were an inch or so too short. Thus, I cut extensions to bridge the gaps, preparing them the same with pad stitching, turning, and lining. There was some fussing to be done on the angles, but I am overall not unhappy with the results. This completes the bodice!

The skirt was simply cut from three lengths of my waist to the floor, using the full width of the fabric. One panel each became the front and back, while the thrid was cut in half, and then diagonally in half again to make gores. Had I been thinking, I could have simply made the diagonal cuts and avoided stitching the right side gore together, but this way both gores match. I was originally going to machine-stitch the skirt like a sensible person, but hand stitching was going so well that I thought I may as well finish the whole project by hand. As with my bodice seams, I basted them together (running stitch secured with occasional back stitches), then turned my edges under (to make this easier and tidier I matched the gore to about a centimetre from the selvedge of the front or back, so I needn’t double-turn as many layers), then prick stitched again to lock it in place, essentially making flat-felled seams, with the benefit of finishing my seams as I went. I left the top of the left side seam open, to match the laced edge of the bodice.

I could have cut my front v of the skirt first, but as this was my first attempt I decided to instead line the skirt along the waistline of the bodice, pin it in place at the sides, centre back, and centre front where I wanted it flat, then used a table knife to make approximately even pleats. I tried to do most of the construction using period techniques, but this was where I used all the pins, just to save myself the hassle. I stitched all these in place twice for security, then encased the raw edges in a binding strip of linen whip stitched on either side.

Ruby helped me do the one thing I couldn’t do myself - measuring the hem - but then it was the quick work of another episode or two to finish the hem. It’s laced with lucet cord made from crochet cotton (after tiring myself out with lacing the thing for every fit, I just made a ridiculous three metres of cord so I can leave it laced). I want to remake the chemise under it, with slightly longer and less billowy sleeves, but I’m on the whole really pleased with this project. I love this garb, and now I just want to do more Tudor. I plan on making a second kirtle in pink, and in addition to lengthening the shoulder straps (and possibly decreasing the angle on them a bit), I may also try to increase the bust just a bit. It’s possible that I should have more shaping in the front (accomplished with a two-piece front to accommodate more curve), but I also love the simplicity of a flat front.