Centuries-Sewing

Tag: Doublet

  • Book Series Review: Historical Clothing From the Inside Out

    Book Series Review: Historical Clothing From the Inside Out

    Disclaimer: I was sent a free copy of these books for review purposes. However, all thoughts, opinions, and criticisms are my own.

    The late 15th century is not my area of expertise even after making a few kirtles that I consider “in the style of”.

    So when I was asked to review a new series of books on the late 15th century I was very very eager. I love sinking my teeth into new research and learning techniques, especially for an era I have only passing knowledge in.

    The Books

    The two books in this series (one for men and one for women) are slim volumes each coming in at only 48 pages each, but the pages are well used.

    The introduction explains the scope of the handbook, its focus on Scandinavian source material with some allowances being made for northern German influence.

    This made me very happy. There is often a strong temptation to cherry pick from several different sources across an era due to lack of extant garments or access to new information.

    The next few pages cover the historical context of the period which I will be reading more up on just from the short introduction. I had not run across the Kalmar Union before this and lost a few hours reading various Wikipedia articles.

    There is a nice collection of images giving an overview of the general aesthetic of the era along with an explanation of the fashionable silhouette. The rest of this section also covers dyes, with a very nice natural dye color chart, fabrics, some hand sewing techniques, and where to use which type of stitch.

    At this point the books diverge and we get into the contents of the wardrobe.

    Women’s Clothing

    This section covers smocks (including the sleeveless smock), kirtles, surcoats, hose, headdresses, shoes, hairstyles, and dress accessories.
    Each layer of clothing is accompanied by clear illustrations and period images. The text addresses the fit, function and offers construction suggestions. There are also cropped images of the recreated clothing to highlight different details like lacing, sleeve gussets, and pinned on sleeves.

    One thing that is missing are any full body photos of the recreated garment being worn. I think being able to see the way a recreated garment falls compared to the manuscript would be a useful visual aid for anyone setting out to make a kirtle or gown.

    There are no patterns in the book, only shaded diagrams to suggest the shape of the pattern pieces. This would be enough of a guide for someone already skilled in draping or flat patterning use as a base.


    Men’s Clothing

    The wardrobe in the men’s book starts out braies, noting that the fit of them plays an important role in the fit of the hose. From there we are on to shirts and doublet and hose. Men’s gowns shows the largest section of styles showing a few different necklines and pleating option depending on your materials and station.

    Looking at the lush pleats I can’t help but wonder if this is the 15th century equivalent of throwing on a stylish coat that pulls your look together.

    From gowns we move on to cloaks, hoods and headware with instructions on how to wear your hood in the trendy chaperon style. Shoes, belts, and purses are covered, jewelry and one page is devoted to men’s hairstyles.

    What I’d like to see more of

    I’d like to see the hand sewing section expanded on just all little, the basic stitches are shown but there is no mention of how to sew eyelets or lacing rings.

    While I approve of the tight scope of the book I think it could be expanded upon. If I was an absolute novice to historical dress this book would be useful, but I’d have no context for the styles. Why did men wear tight hose and doublet and then cover it up with large flowing gowns? What did they wear before that came into fashion?

    I’d love to see more photographs of the recreated garments being worn, used, and how the wearers feel about them. Do pin on sleeves stay in place when cooking over a fire? Does wearing a veil change the way you walk? Does it make someone feel closed in?

    The index includes a number of books and websites for further study but I do not see any mention of wills or inventories. I do not know if the habit of passing down clothing was being done yet as it was in the 16th century.

    Are these Books for You?

    I would recommend these books if you are a reenactor who is changing eras and needs a solid quick overview of the late 15th century. These books would also be useful to writers of historical fiction, filmmakers and others in creative fields that overlap with fashion history.

    From a sewing perspective I would recommend these to a beginner only if they had a friend or mentor who knows how to pattern or drape. The handbooks are just that, handbooks of the era and do not go stitch by stitch into recreating the garments. Anyone looking to use these books to recreate a full wardrobe needs to have a solid understanding of how wools and linens behave, how to pattern them, and fit them to shape the body.

    Where to Buy

    On Amazon:
    Historical Clothing From the Inside Out: Men’s Clothing of the Late 15th Century by Anna Malmborg (Author), Willhelm Schütz (Author)

    Historical Clothing From the Inside Out: Women’s Clothing of the Late 15th Century by Anna Malmborg (Author), Wilhelm Schütz (Author)

    Through the publisher Chronocopia Publishing

  • A 16th Century Black Linen Doublet and Unpanned Trunkhose

    First, all the photos!

     

    This project started several months ago before I moved, got married and several life thing reared their head. So my recollection of the construction process is a little fuzzy. After a few late night fb conversations, a friend of a friend needed better clothing for 16th century interpretations. I needed practice doing some men’s wear and pretty much said throw the fabric and measurements at me.

    General inspiration from paintings and manuscripts:

    Ecija from http://historic-cities.huji.ac.il/spain/ecija/maps/braun_hogenberg_I_5_2.html
    Ecija from http://historic-cities.huji.ac.il/spain/ecija/maps/braun_hogenberg_I_5_2.html

     

    Juan Pantoja De La Cruz - Philip II
    Juan Pantoja De La Cruz – Philip II. Black paned trunkhose, with possibly Ropilla or long skirted jerkin in what looks like a wool satin.

    1580ish from Kostume und Sittenbilder. Black Trunkhose, with possibly Ropilla or long skirted jerkin.
    1580ish from Kostume und Sittenbilder. Black trunkhose, with possibly Ropilla or long skirted jerkin.

     

     

    Trunkhose

    The unpaned trunkhose are roughly based on Don Garzia de Medici’s in Patterns of Fashion, and staring at the shapes from Reconstructing History’s trunkhose pattern.  They are linen, lined in a linen blend that is cut shorter than the outer fabric to give them some poof.

    They are not stuffed but there is a band of linen to act as interlining about the pleats. I cartridge pleated them at the waist and whip stitched each pleat to the waistband from the outside, as if I was making a ruff. This sandwiches the pleats between the waistband and makes them stand out when worn, the linen band interlining then supports them.

    They close with hooks and bars with a wide fly flap underneath, ideally for this era there would be a cod piece, however I have not found much on unpaned trunkhose with a cod piece save for an italian painting or two.

    The waistband is just a 2 inch rectangle of linen folded over and pressed down.

    The bottoms are cartridge pleated to a linen band that is then folded up and whipstitched down inside to prevent the stitches from rubbing.

    Special thanks to Daniel Rosen of http://oldenglandgrownnew.weebly.com/ and other Facebook folks who where kind enough to let me pick their brains on trunkhose fitting and rise depth.

    The Doublet

    The doublet I drafted from early instructions that would later become: http://www.amazon.com/The-Modern-Maker-Century-Doublets/dp/0692264841 . I cut a mock-up in cotton twill (which was about the same weight at the linen) and took it up to St. Augustine for a quick fitting. I scribbled some notes to myself on it and then had to put it aside as planning a wedding/holidays/unpacking from the move took up a ton of time.

    Fast forward a month or two and I take the mock-up back out and look at it, look over my notes and cut the linen with extra inlays and seam allowances. Fitting #2 everything is looking pretty good! I got my kickstarter copy of the doublet book in the mail and I sat down for a few days of cutting and pad stitching.

    Doublet insides before collar canvas

    The wool in the chest area is left over medium suiting weight from one of my kirtles it has a lovely body, and I wish I could find more of it. That got pad-stitched to the canvas and in turn flatlined to the linen. I prepped the other pieces, over locked the parts that needed it and the deadline got moved up and I had about 5 days to finish everything.

    Cue slamming out about 40 hand sewn eyelets in 2 days, a few 17 hour work days, more padstitching and eating lots of cherry tomatoes.

    For the rest of the construction I followed most of the steps laid out in the doublet book.

    There is no visible machine stitching from the outside, save for the buttonholes.

    All the main seams I machined save for setting the sleeves, I hand set the lining in place so it could be switched out later as needed. The buttons are sewn in using a technique similar to the leather jerkin in Patterns of Fashion, which will allow them to be replaced easily.

    Button attachment for easy replacement
    Button attachment for easy replacement

    The facing fabric along the collar, edges and doublet skirt was going to be a blue rayon, but I changed that to a black silk taffeta, it looks better and will wear better with less bulk. The binding is bias cut strips of linen that I snipped every 1/2 inch to break up the solid color of the fabric and give it some texture. This treatment can also be found on Cosimo de Medici’s clothing.

    And in a final fit of too much caffeine I fingerloop braided some points to lace the doublet and trunkhose together.

    Over all I think I was successful using donated fabric and juggling several plates to get this project done. The fit is spot on, the use of linen as outerwear is something that is still being researched.

    For my first crack at men’s wear I am pleased, I learned a lot and look forward to applying what I learned to the next project.

  • Pad stitching and Shaping a Linen Doublet

     

    Some work in progress shots of a 16th century black linen doublet.

    Doublet front basted and shaped.

    Doublet front basted and shaped.

     

    Under side of the doublet front, canvas and pad stitched wool

     

    Under side of the doublet front, canvas and pad stitched wool.

    Under side of the doublet back, more canvas and pad stitched wool.

    Under side of the doublet back, more canvas and pad stitched wool.