Men's 18th century breeches and waistcoat

 I made new clothes for N. 

After last year's succes with the early 17th century... and under "success" I meant that he wore the stuff, he did not feel "strange" or off in them, he did not "stick out like a sore thumb" from the rest of us... Anyhow, after that success, I went a step further. We were supposed to have at least two event in the Napoleonic era, and two in the late 18th century, and I wanted to include him in those I did some careful considerations and decided to make him a set. 

What I had to consider, when choosing the pieces? 

One that in reenactment you "can" dress in clothes from a somewhat earlier period, but not later. Meaning that, like in 1860, you could still wear 1840-ies stuff and be old fashioned, but not 1870-ies stuff. 

In all his life N. only wore jeans and T shirts. In our five years together I only saw him in a suit twice (at a wedding and at a funeral, and I made him change back to his jeans and shirt at the wedding after the service at the wedding). Also his figure is not average. I mean, he is the sweetest man on earth, but fitting him is a nightmare. At the moment it is important for him, that his clothes cover his belly. So the much shorter regency waistcoats and tailcoats -for the moment- they are out. 

Also I have to consider that he is running around with a modern camera and a gigantic objective, so full-out historical accuracy is out of the window to beginn with. On the other hand, I want him WITH us, with our group, I want to walk around with him and look okay. 

So putting all that into a pot and cook up something is no easy feat. I wanted to put him something that is nonedescript, general, comfortable enough for him, but still have the late 18th century wibe. (and it has pockets. It must have pockets.)

So I've decided on the breeches and waistcoat from about 1770-1780, with the intention of adding a coat later on.

My inspirations were pictures like these: 

Now, while I like to think myself as a fairly adequate dressmaker, seamstress, I must admit, I am mediocre at fittings and by no means a tailor, much less a man's tailor. I do know how to draw up patterns, I even know some about how to modify them, but I really do not like to do them, I try to avoid that step if I can, so whenever it is possible I use already existing patterns and modify them, when / where needed.

I choose the Blacksnails pattern for the breeches, and the JP Ryan for the waistcoat. 

In the second half of the 18th century, men's waistcoats got shorter, therefore first only part, then more and more of the crotches of their pants were exposed, however they thought it is indecent to show the front opening, thus they used a flap construction that is a bit strange to the modern eyes. Discussing the question with N. we decided on the Blacksnail's pattern (0719) - from here I will refer to it as the BS pattern-, because its flap is wide, goes across the full belly, thus seems to hold it more, N. liked it better.

First I needed to modify the pattern pieces, because even the biggest sizes were pretty far away from N's measurements. It was easier to enlarge the BS pattern, because it came in many sizes, and I only needed to put a line to the key points and go out from there. 

For the waistcoat pattern I needed to add a considerable curve to the front edge to accomondate N.'s belly. Of course I made mock ups, and I took apart the breeches so many times I lost count. The waistcoat was somewhat easier (or I managed to get grips how to modify that pattern better). 

Unfortunately, we were getting alarmingly close to the time we needed to leave for the Netherlands, for the Bourtnage events, so I don't really have pictures of the  process, only of a few details. 

This is more like a useable trial piece (if it fits, if he likes to use it, etc. I have plans to make something from better material), for late spring / summer events, so I used a nice herringbone linen I had in my stash.

Sewing is my usual combination of machine sewn seams, and hand finishing.

Of course, I've started with the P. logo. It is an ongoing joke between us, see my earlier posts about his clothes. 

The small watchpocket in the waistband.

Even after making a mock-up and redoing it countless time, the waist / flap ended up being to big, later I took out the part that is pinched in the middle on the pic.

18th century breeches were pretty thight at the leg and the knees, added width at the butt allows enough room to sit down,crouch and such, hence the famous "diaper butt".

Eyelets and a tie allows adjustment at the back.

The tiny thread badat the bottom of the slit to stop it from breaking apart fully, if there is some undue stress.

The button holding up the flap.

Finishing the buttonband on the legs.

And the buttonholes

And the finished breeches...

For the waistcoat, there is also the starting point, the Logo.

For the outside I used the same herringbone linen, but for the waistcoat I also needed lining, and something to stiffen certain parts. There is a lucky story, as after one of my rounds in the store-chain, that sells factory rejects, leftovers and whatnot, N. asked me if I found something. "of there was some sandy-beige-y linen, but I did not buy it, as you know, I love white, and colorful linens, but wouldn't know what to do with that color..." and he looks at me, with his blue eyes wide open and sayin... "You act like you've never dyed a piece of fabric before..." and then the pin dropped, I got my phone right away, asking the girl in the shop to save it for me. When I got it home, I prewashed it, even ironed it, but then it was on the shelf for months and months... but now it was perfect... and I didn't even had to dye it. The other lucky find were, that another store of the same chain had a roll of horsehair canvas, which was great to stiffen the edges, and the pocked flaps. Yayy,

Unfortunately, there was a bit of paint and a tear (for the price I paid for the linen it was nothing), I only saw after cutting out the back, but hey, as we say, piecing is period, so I did not recut the whole back, only the damaged part, so there is an extra seam inside. 

Now, looking at the pictures on my phone I see that there are even less of them from making the waistcoat than of the breeches, none of the pockets, (even though there are pockets not only at the breeches, but at the waistcoat too, only the handsewn stitches I used putting in the linen lining. 

And the one, showing, how I cheated with the buttonholes. I do not have anything against handsewing buttonholes, even though I am far from being really good at them. One of my problems is, that wherever buttonholes are put, there are usually many layer of fabrics. The outer one, the lining, some stiffening layer, and for me , it is so hard to hold the needle in a way so it would catch all the layers. I am always afraid that I miss the bottom fabric, and it would fray, keep turning the fabric, to look under it, which takes time, and it stresses the fabric. and makes my stitches even more uneven... 

So I thought what if I make the buttonholes with the machine, that would hold all the layers together, and act as a guide, and then go over thode stitches by hand. 

Yayy, it worked. Next time I wil probably lay 2 or 3 strand of thread over the machine stitches, before I sew them over, but hey. Good enough. 

And finally, the finished breeches and the waistcoat photographed in Bourtange:

P.s.: the tricorn umm, cocked hat: a cheap hat off the internet, soaked in warm water, and sprayed with starch. I pinned the edges up and let it dry throughly. I sewed on the ribbon, a few stitches fixed the sides, and then made a small cockade from the leftover pieces of ribbon

Outlander -finally

 I am on a roll with 18th century... or so it seems. I just cannot get enough of it. As we say, I want to do every 18th century dress/clothes too. Every one of them. I want to do the pink striped MET museum gown, I originally wanted to make with the Aidah pattern, I want to do caraco/skirt combo at least in six version, I want striped gowns, flowery gowns, taffeta gowns, linen gowns, Italian gowns, English gowns, Frances, polonaise, chemise gowns in at least three colors,, redingot style, I want to do some fantasy version as well... even if our 18th century events are... how shall I put it... severly limited. Still one set of clothes were the back in my mind, even before I started reenacting.

The first time I heard the word "outlander" uttered, it actually came from a knitter. "A costumed film, with lots of knitted pieces", and yes, my attention was captured. However, it was a while, when I actually managed to see some of it (I am still behind with a couple of seasons), but the clothing in it got stuck in my mind ever since. Even if it is not fully historically accurate, especially, the knitting in it. 

Anyhow, when I started to make historical clothes, one of the first patterns I bough was Outlander patterns, and pretty early on I started to colllect fabrics for "Outlander inspired" stuff.

I knew that a fully screen-accurate copy is totally out of reach ( I will never have many tens of pounds for just a meter of tartan, from which I would need about 6 meters) , and besides, I knew that even with my historically accurate stuff I much rather do things, that are inspired by certain examples, than full out copies. So I had the fabric, and I had the patterns, but in the midst of making historical clothes for reenactment, and actual events, Outlander kept being pushed to the end of the list.

Meeting Anna about a year ago gave me a new momentum. For god sake, the girl came to our "reenactors skating" even, as a totally unkown person, a newbie, dressed up in a fully accurate Outlander style ensemble. My mouth fell open, I, kinda grabbed her, and didn't let go, until she joined us at Mare Temporis (NOT that she needed much nudging. She came willingly. One crazy girl that one. Love her.)

So, now I had someone to go crazy with, I had fabrics, I had patterns, and, thanks to the flue, I mentioned in my previous post, I had a bit of time too. Besides, making the Aidah gown gave me such a high, I needed something to wind down a bit. And there was an event, a reenactor's piknik, that had a dress code of "come in whatever historical or modern garb, you wish". That is my favorite dress code. "Come in whatever historical garb, you wish."

Though I had a bit of times on my hands, there wasn't much of it, and I fell into such a flow with this, I forgot to make many photos of making the skirt and the jacket, you will have to do with the finished pictures. But worry not, this is NOT the last time I made either of these, so there is always hope for the next time. 

As you can see, I ended up using the fabrics I originally got for this project.

The skirt is three length of the fabric, sewn as most 18th century petticoats, that are closing in the front and the back, leaving a nice long slit on the two sides to be able to reach into your pockets. The length (allowing for bumpads) is adjusted at the top. One small change, it is not closing with ties, but flat hooks and eyes, as there are already anought ties around my waist.

I am actually wearing my linen shift, I made, the stays I made back, when I did the red dress, my double bumpad, an underpetticoat and pockets from the same time. I know in the film they use a moon shaped bumpad, and I did make one, but I've tried on the skirts with it and did not like it. I much prefer the shape the double bumpad gives me. 

The jacket, and the stomacher is made from the JP Ryan jacket pattern, its length is between its long and short version. 

You have already seen the neckwarmer, and the mittens, though I think, I might knit a pair of blue ones for this ensemble. 

Fabrics are all from I Love Textil, the place that sells factory rejects, leftovers, and such. 

Photos were shot by the incredible Norbert Varga @Bodeszphoto. 

...and repeat. Turning a cheap straw hat to an 18th century bergere hat - the second time

 And a little bit of whining. I mean besides basking in the glow and success of my Aidah gown I've fully meant to do one more post on it, with a video me twirling in that dress, so you can see how it moves, adding a link to Leimomi's blog, so you can see what other testers made from the same pattern, but admittedly (though, let me know, if you would be interested in such a follow-up post), I have been run down with the virus my son brought home as an (unintentional) Valentine's day present. (No, it is not "the plague", we've tested that). By now I am more-or less okay, except for the cough that goes on for the second week now, and it is still so intense and painful, as it was at the beginning. So much so, that when I cough, all the muscles on my head (and my body) are straining, and making it hurt in places I had no idea I have muscles, that are capable of pain. Like my temples... or at the top of my head (not to meantion my diaphgram, and/or my lower abs, but I got muscles in my back hurting as well). 

Anyhow, right after making the Aidah, I've made a hat to go with it, and other summery, 18th century stuff, as let's admit it, my poppy hat, as lovely it is, very limited, being red as a monkey's arse... I mean a poppy. The method was similar than the one I used for the poppy hat, I raided all the used-stuff-sites (Vatera, FacebookMarketplace, and the likes) for straw-hats that have at least vaguely okay shape, and went from there. I think the pictures are self-explanatory, but if not, just ask!

Started out with a hat that were made from straw-ribbons.

If you pull on the appropriate thread, it is easy to take the stitches out. I wanted a somewhat flatter hat than my poppy-hat was, so I left even less from the top part.

I moistened the top part and steamed it flat with my iron.

Sewed it back on, hoping that the decoration will hide the seam.

Sewn together the lining for the crown.

In one of the hats I own, I sew that little technique to make it somewhat adjustable... I've tried. It did not work. Don't ask. I will use hatpins. 

The deco from outside is a silk ribbon with box-pleats.

Since from the old drawings and paintings we know, that they didn't really used bergere-hats with the ties over them (as modern films tend to), but the ties went down just besides the crown, I cut the seam for about 2 cm on both sides, strengthened the ends with a couple of stitches, and pulled through the ribbon.

And then I sewed down the lining too. 

From outside, the flowery decorations were either stucked under the ribbon deco -between stitches, and sewn down, stitches hidden under the ribbon, others were stuck between, or under the already sewn down parts - no glue gun were used, only needle and thread. 

And what is a hat without some ostrich feathers, though for this one I wanted the white flowers take the center tsage, I only used a couple of feathers from the package of small, 10 cm ones.

I took the hat with me, when we shot the photos of the dress.

And the afternoon was rather windy, I still have to practice pinning the hat to my hair... 

Dress is made from Scroop-patterns Aidah Gown pattern.

Work photos from my phone.

Modell photos by Norbert Varga @Bodeszphoto