Sempstress

My life, and probably yours, gentle reader, would be much simplified if, perchance, our predecessors of the fifteenth century had taken a few moments to write a book on their patterning practices.  Alas, they did not.  Nor did our predecessors of the sixteenth, seventeenth, or eighteenth centuries, gosh darn them.  I can’t tell you that I know how they did it, either.  (Sad, but true: though I freely admit to lying whenever it’s convenient, I’m basically an honest girl.)  What I can do is share the method I’ve worked out for my own use over the years.  Who’s in?  ;)

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I made my first Elizabethan corset back in the dark ages of internet time, when it was still pretty common to ask Real Live Humans(tm) how to do things.  I got instructions that were relatively simple – a bust, a waist, divide by two, draw some lines, and presto-change-o, a corset pattern.  It’s the method that had always worked for the lady who gave me the info.  For me, it was a spectacular failure – too tight, too high in back, and completely uncomfortable to wear.  I blamed it on my generally costume-clue-impaired state.  But was there something else going on, that could result in two people having completely different luck with the same pattern draft?

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The surviving pattern published in Juan de Alcega’s ‘Libro de Geometria, Practica y Traca’(1589) represents almost everything we know about the farthingale. Most articles on recreating the Alcega farthingale focus on faithfully reproducing the pattern based on fabric widths. Honestly, though, calling this a “pattern” is a bit of an overstatement: the book was more intended as a series of cutting diagrams to help tailors avoid waste. The problem is, Alcega included some rather sharp commentary on on what he considered the proper size for the bottom hoop of the farthingale, but no real information on the size of the intended wearer. Complicating things further, modern bodies aren’t build quite like the popular model of the 16th century. So what’s a costumer to do? How about some trigonometry!

Trust me, this won’t hurt. Read the rest of this entry »

Yet another dry, dusty pile of academic writing… This time, the topic is the corsetry/torso support of the 16th century.  I find the full history of the artificial silhouette totally fascinating, and I’m geeked beyond belief on the actual genesis of the corset.  In the 16th century alone, a bunch of different devices are in play.  Corsets, obviously – who doesn’t know about the Pfaltzgrafin and Effigy corsets by now?  Wardrobe warrants also list stomachers (for Tudor gowns) made of pasteboard covered with tapheta – that’s certainly stiff enough to smooth the front of the torso into the signature tudor inverted, featureless cone.  By the end of the period, warrants talk about busks made of whalebone and wire, quilted with sarconet.  (How does that fit into a channel in a corset?!?  Or does the end of the era, with it’s open-fronted gowns, turn back to the same infrastructure used by the earlier tudor gowns with stiffened stomachers?  I have my theories, obviously….)

So here is…. Everything I know About 16th Century Corsetry, Read the rest of this entry »

This is an excerpt from a research paper I did a while back. The paper itself is 40 pages and covers 4 centuries of support skirts and corsetry. I figure it’s more digestible in smaller chunks. Please note: my regularly scheduled writing style has been suspended in favor of something more palatable to the hardcore academia types. Special thanks go to Stephanie for her proof-reading skills.

And now for Everything I Know About 16th Century Support Skirts… Read the rest of this entry »

File this one under “possibly useful to some one, at some time, somehow”: this is a series of pictures of corsets I’ve made over the last several years. Each one shows me standing in profile, next to my dress dummy. This makes the changes in my shape imposed by each corset fairly obvious, and the pictures all together give you a pretty good idea what different types of boning and styles of corset can do for a girl. Read the rest of this entry »