1817 Challenge

Jane Austen Festival Australia invites friends from around the internet world to complete a sewing/crafting project with the theme "1817". It can be an item of clothing or an accessory but needs to be made by you and you need to share its construction details.

Join our facebook challenge event at https://www.facebook.com/events/282059915495124/ and then send your name, email, state/country of residence, what it is you are entering and a picture of the original item that is your inspiration to sewing@janeaustenfestival.com.au with subject line "1817 JAFA CHALLENGE". 

We will then make you an official contributor to our forum blog at http://jafacostume.blogspot.com.au/ where you can post your progress reports and photos.

Making an 1813 cloak for Jane Austen Festival Australia 2013 challenge

I'm making an 1813 cloak for Jane Austen Festival Australia 2013 challenge, which is to create an outfit to celebrate the 200th anniversary of the publication of Pride and Prejudice.

I've been in love with the gorgeous blue cloak on the left since I found it and pinned it to my 1813 Pinterest board. I love everything about it, the shape, especially the pointed front, its colours, the embroidery, its so stylish, so I am replicating the design for the challenge.

First challenge was to figure out how the shape was created, its not a simple circle, the water colour doesn't show any seams, so really, its all guesstimate informed with period construction.

My Jean Hunniset book has been fabulous an gave me the period cloak shape to use. The triangle points at the top can be extended to create the style I am after. This cape is one from the early 19th century and therefore totally possible to use for 1813.

The back has a lovely curve that I can also emulate, I cant see the back of the Ackerman's water colour, but it does curve up towards the back, so I can use this detail happily.

I drafted my toile from the above pattern, elongating the front and back pieces and this is what I got.

Look at that, its an almost exact replica, very pleased.

Here's one with the hood toile included, used a different pattern for the hood, still from Jean Hunnisett, but the type used by the fashionable red cloaks of the period with the pleated centre.

So toile done, now to get into the fashion fabric ...

Petticoat

I used the La Mode Bagatelle Regency Wardrobe pattern for the Bodiced Petticoat.

The pattern had a gathered skirt but I wanted smooth skirt similar to the Sense and Sensibility Regency Dress due to the medium weight of my cotton fabric so I created my own skirt. I wished I had followed the waist curve of the Sense and Sensibility pattern.

I found it a little challenging getting the "right" fit as the underbust circumference and lower bodice back were too wide whilst the arm scye was too narrow for me.   I needed to complete the garment before I was able to determine whether I had correctly fitted the bodice. The underbust and lower back is not tight enough for me to feel confident to wear the petticoat without Stays. I was contemplating whether to alter the back by reducing the back seam and lacing the back to pull it in tighter. Before making any decisons, I wore the petticoat over Stays for an afternoon and am very happy to wear the petticoat as it is over Stays.

 Next time I use this pattern for a petticoat, I intend to create the bodice closing in the front (rather than back) and lace it similar to short stays - that way I will confidently achieve the Regency life without feeling the need for Stays or require a lady's maid to assist me.

Regency Man's shirts by Antonia

Sept/Oct/Nov/Dec challenge - Man's shirt 1790-1830

Pattern used: Kannik's Korner KK-4102

I made 3 shirts by hand. The first one was made with cotton, 2nd and 3rd ones with linen. The pattern gave instructions in all the hand sewing techniques. It was slow in the beginning as I was not familiar with historical hand sewing. As I did more, I got faster and my skill improved.

I made a set of dorset button cuff link to go with the shirts. I used 1/2 inch plastic bone rings and perle cotton #12 to make the buttons.

I did pulled thread embriodery in making picot edging on the collars and wristbands of the 2 linen shirts.

Bosom ruffle was made with cotton organdy.

Two pairs of Regency man's long trousers by Antonia

Sept/Oct/Nov/Dec costume challenge - two pairs of long trousers

I made two pairs of man's long trousers using Butterick 3648, one beige and one navy blue.

First, I made a mock up. At the same time, practised on doing the plackets. I put lining to the front, an idea from a historical pattern. One lesson learned from doing the first one was to put buttonholes onto the plackets before attaching them to the pants. It was just too difficult to do the buttonholes on the plackets by machine after the pants were fully constructed.

Regency drawers for a lady

I usually go without drawers in my Regency reenactments, they were rather risque in the period after all, better to wear nothing at all LOL!

Some of my recent gowns, particular my white sheer muslin, have been too 'see through' and I felt rather too 'exposed' so I have been wearing my 1850s pantelletes.

"Drawers came into fashion about 1806. and were first made along the lines of the masculine article, the waistband drawn together by back lacing. The leg was either tubular or drawn into a band below the knee." Willet, C and Cunnington, Phillis. The history of underclothes. 1992, p.112.

Stockinette drawers were very popular for women as they provided warmth and modesty while appearing fashionable. I'm also sure they were comfy and practical.

My drawers are very simple, I made the following style ...

"In some cases the two legs were constructed as separate items, [but] were inadequately held in place ..."

"... My finest dimity pair with real Swiss lace is quite useless to me for I lost one leg and did not deem it proper to pick it up, and so walked off leaving it in the street behind me and the lace had cost me 6 shillings a yard. I saw that mean Mrs Spring wearing it last week in a tucker ..." Willet, C and Cunnington, Phillis. The history of underclothes. 1992, p. 114

 ... so to save myself the embarrassment of the lady above, I attached a drawstring waistband. 

I used a basic pants pattern to get the shape, stitched up two leg tubes, joined the front pants with a short seam. I used french seams throughout. Next I attached the waist band, no falling legs for me, I threaded it with a blue ribbon which will be changed for white.

They feel comfy and work well, though stockinette would be even more comfy. It took about 4 hours all up. Here are the piccies.

Front

Side

Back

Front showing the split

Back showing split

1790's Jacket

Well, I have been reconfirmed in my opinion that people are like fabric.  You can see it and it looks good at first but once you start working with it, it goes the wrong way, does everything except what you want it to and tries to thwart your best-laid plans and you end up despising it.

Thus was the case with my fabric. I have had it for a few months. I fell in love with it when I saw it. It was so pretty and silky and soft and such a lovely silvery-blue color. I was so excited to use it for my 1790's jacket. But I found out quickly that this fabric is evil. The label said 100% cotton but I swear there is something else in there. The fabric does not hold a crease well yet wrinkles easily. It moves and grows and shortens and expands and does not stay in place with the normal amount of pins. Instead of acting as 1 with my lining fabric it acts as its own separate thing. It was horrible to work with.

I had to ditch the style I originally wanted since the pleats looked very odd in this fabric. They stuck out from the back very weirdly indeed. To salvage it I had to cut the jacket off at waist length. I gathered and attached a peplum to the back of the jacket instead of having a peplum cut as part of the bodice pieces. I was inspired by this 1780-1795 era jacket, from Williamsburg:

I had to sew everything on the jacket at least twice except for the eyelet holes. For some reason nothing came out right the first time. The double ruffle I wanted to add around the neckline came out looking very clownish so I had to redo that and ended up just using ruching at the neckline.

In the end though, I am pretty happy with how it looks. Since the fabric has almost zero "give", it is very tight to wear even though the sleeves are cut on the bias. But since the cut is close to the body it is still comfortable to move in.

The center front edges are boned because I meant the jacket to close edge to edge. For some reason the waist came out a bit large so the front edges overlap a bit at the waist but it is not that noticeable from a distance.

For the pictures I am wearing it with my 1840's corded petticoat, my bum pad and my brown cotton hobbit petticoat.

I discovered that the petticoat bands sit around my natural waist which is a bit longer than the waist on this jacket.

I'd like to eventually make a sheer airy white petticoat to wear with this jacket and I will attach suspender straps to it to keep it up at the right level so you don't get glimpses of the waistband!

Anne is wearing one of Malachi's baby caps and the little gown I made Malachi for the Jane Austen festival last year. It is really *not* that big on her! She is growing quickly.

This was my last sewing project of 2012! It is hard to believe. I wish all you darlings a very wonderful and happy New Year!! May this coming one be the best yet!

Love,
Sarah