Post-Edwardian long-line corset

Phew, over the past month and a half I was so busy sewing that I didn’t have time to post the items I finished! But I did manage to finish nearly everything I wanted to make, including the seven 1940s-style items I mentioned before, and I will be posting everything shortly. Here’s the first item, a circa 1911 long-line corset.

Pattern: Bridges on the Body Titanic Era corset pattern (free)

Fabric: 1 m striped canvas

Haberdasheries: Got a minute? A 23 cm busk, plastic coated spring steel bones (12 of 7 mm wide and 22 cm long, 8 of 7 mm wide and 41 cm long, two of 13 mm wide and 25 cm long), 41 grommets, four suspenders, 8 m 1 cm wide satin ribbon for lacing, 7.8 m 5.3 cm wide satin ribbon, 0.7 m lace, DMC embroidery floss in colour 420

From this year to 2018 there will be lots of World War I centenary events. With my re-enactment group I will portray a military nurse, and my other group will play the upper class inhabitants of Huis Doorn. The first time I wore my teens blouse I wore my Victorian corset underneath, but that’s so old-fashioned for this period that I decided to make a proper corset.

I came across the Bridges on the Body 1911 corset sewalong, which has a free pattern as well. This has only five pieces and no gores, which I preferred over the other pattern because I felt like making a nice simple corset, as well as a supplies list and step-by-step instructions, so I thought using the sewalong would be very handy.

First I printed the pattern at 100%, then calculated that in order to fit my waist, I should print and cut it at 350%. I did some more alterations to get a proper fit, though.

Thanks to the sewalong I found out about pre-cut and finished bones, which I didn’t even know existed, and luckily there’s a webshop in the UK which sells them. I found them very handy to use, they save a lot of effort and because they don’t need caps, those thicker parts don’t show through the fabric. Also, they aren’t expensive at all.

Here’s a photo of my supplies:

I had one metre of fabric. It was firm and non-stretch, but I decided it was a bit too thin after all, and the bones were visible through it. So I cut two layers of fabric and treated them as one.

The fabric may seem like quite a neutral colour, but I had to go to four different stores to find ribbon that matched it! Then I did find lace that matched the ribbon, though =). The DMC embroidery floss is from my mum’s stash.

I don’t generally understand instructions, so I deviated from the sewalong in quite a few instances.

The instructions, based on an extant Edwardian corset, said to cut openings for the busk loops. I decided against that as my material frayed quite a bit. So I sewed on a facing, leaving openings in the seam. Also, I didn’t sew below the busk. That didn’t seem necessary to me as the studs and loops sticking through the fabric will keep the busk in place, and it didn’t seem very pretty to me.

I followed the instructions for cutting strips of coutil on the bias because they’re supposed to make the casings “lie smoother against the curves of the body”, although I wondered whether that made any sense in my case, as the ribbon that went over them was non-bias ribbon. I couldn’t find 5 cm wide bias tape; in fact, I don’t think I’ve ever seen such a thing in my country. So I bought satin ribbon to use for the bone casings, trim at the top and bottom of the corset, and for covering the suspenders. I do NOT recommend using satin ribbon in such a way, or, in fact, for anything else than tying a hat to one’s head or making a nice bow. It frays, splits, you easily pull loops when removing basting thread...

The ribbon was ironable, so I managed to put it through my bias maker. It frayed so terribly though, I had to vacuum my ironing board! I sewed the casings to the corset as quickly as possible to prevent further fraying. I thought the boning channels would be too thick to sew by machine, but they weren’t. I actually had to baste them in place only once, for ‘stitch in the ditch’.

Grommeting went fast! A lot faster than it did on my Victorian corset made out of coutil. I didn’t cut holes in the fabric, but rather, pushed the fabric apart using an awl (or actually knitting needles of 2 to 5 mm thick!). This makes for a stronger construction, making it impossible for grommets to fall out, or the fabric around them to tear, which can happen with cut holes.

The sewalong supplies list isn’t entirely correct. It lists 6 garters when only 4 are needed for this type of corset, and also doesn’t mention that they should have wider clips and wider elastic than the standard type! I ordered those, so I had to fumble a bit with the covering to make them look as intended. The number of bones is incorrect, too; I had four left over. There should have been separate lists for the two different types of corset, I think.

The bias width given, 18-19 mm, also seems wrong. I sewed 9.5 mm channels for the 7 mm wide bones, and as two bones are placed alongside each other on most seams, obviously it is not possible to sew those channels using a 18-19 mm casing. Luckily I bought a 3-pack of bias makers which also included a larger size.

 

My mum proudly showed my finished corset to a friend of hers, who exclaimed that she hoped I would wear the corset as outerwear! I replied that was not my plan, and she thought that was such a shame. But I did actually do a WWI ladies’ underwear presentation with Welmode at a Living History event we attended at Huis Doorn on 24 and 25 May, so people got to see the corset after all.

Unfortunately the corset does not give me the smooth shape I’ve seen on some others online – my hip bones stick right through it, as you can see on this photo! As the boning on the side runs right over my hip bones that becomes very painful after a while, so I’ve sewn thick shoulder pads onto the inside at that spot, which helps.

ETA: I’ve removed the corset bones running directly over my hips. I don’t know whether my hip bones stick out more than most people’s, but the shoulder pads weren't enough to prevent rather bad pain, especially when walking! The shape I get when wearing the corset is still the same without the boning, and it’s a bit more comfortable that way.

Sew For Victory – project finished!

Two weeks ago I joined the Sew For Victory sew-along, and I finished my project, a 1940s day dress, right in time!

 

Pattern: Vintage Simplicity 3417, bust 34”

Fabric: Printed synthetic fibre

Haberdasheries: Three buttons, a belt clasp, fusible waist band and a zipper

The fabric was a bit nasty to work with, mainly because it pulled. I really had to keep all the seams stretched as much as possible to get them to look alright, and some I sewed with pattern paper in between, which worked well. The fabric’s quite thin, but the even thinner cotton I used for my Teens blouse, for instance, didn’t pull at all. I do really like the leafy pattern, though.

The fabric appeared to be rayon, that is, until I melted a hole into it with my iron :s. Strange, as I actually ironed the fabric several times before, but maybe I used less heat those times. Of course the hole was at the centre front, but luckily, besides having a layer of facing behind it which made it less visible, it is also covered entirely by the overlap from the other side of the front.

At first I found the sleeve design for the short sleeve rather peculiar, but I quite like it now. The instructions said to sew all seams at 1/2” except the underarm seam, which should be sewn at 3/4”. I took that to mean both the sleeve underarm seam and the bodice underarm seam, but the sleeves would have hugged my arms if I had made the seams that big, which I didn’t think looked very nice, so I didn’t. Maybe I also shouldn’t have made the bodice side seam that big (but then the bodice would have become wider than I liked), because now the sleeves were too big for the arm hole! So I gathered the tops, which already had three in-sewn pleats. But then I found them too puffy at the top, so I pulled the fabric down and hand-sewed it down lower on the sleeve, which actually looks nice.

The skirt would have been very long if I had followed the pattern exactly! That’s odd, since I’m 1.74 m tall, which would have been very tall in the 1940s, and the picture on the wrapping shows the skirt ending right below the knee. To achieve that, I actually had to shorten the skirt by about 7 cm.

I made a belt of the same fabric, using fusible waistband to make it firmer. This was in my mum’s stash and had a very old logo of the favourite Dutch shop Hema on it, but it still worked very well. I picked the belt clasp to match the buttons.

I also almost finished a blouse in time for the Sewalong; I only need to put the sleeves in, but I’ve got some issues with the pattern. It should be my size, but I had to take it in a lot, and now the shoulders are still really wide. So I could probably have finished it by tonight, but I prefer taking a little longer and doing it right.

I’ll add some detail photos later!

Sew For Victory

I’m joining the Sew For Victory sew-along organised by Lucky Lucille! I was on holiday for the first two weeks of April, but there’s still time to make something 1940s-style this month, which is the goal of the sew-along.

In June, I will be going to Normandy for the commemoration of 70 years after D-Day. We will be wearing period clothing for four days, but as I’ve still only got the one outfit I made for my first WWII event (skirt, blouse, knickers and a knitted cardi and turban), I need to expand my wardrobe a bit! Which coincides nicely with this sew-along.

I want to make:

- A dress

- A jacket to match my skirt

- Another blouse

- A pin-stripe skirt

- Suspenders

- Two more pairs of knickers

I certainly won’t be making all of this before the end of April, but some of these should be manageable! My first project will be a dress:

1940s blouse

Pattern: Vintage Simplicity 1430, size 16 (bust 34”)

Fabric: Printed cotton

Haberdasheries: Four cover buttons

I made this blouse for my first 1940s event, along with my brown skirt and yellow knitted cardigan. However, I didn’t have time to make the bound buttonholes at the time. Also, when I wore it, it peeped out of my skirt, so I decided to lengthen it.

The blouse pattern I used is from 1945 and unprinted. However, I didn’t find it difficult to understand what the holes in the unprinted pattern meant (it was all in the instructions), so working with it didn’t pose any problems. The difference with printed patterns from ‘40s isn’t great at all, as they mainly have printed signs instead of the holes and notches, so the principle is the same.

The fabric is old; not quite 1940s, but probably from the 1980s. I thought it looked nicely 1940s-like because of the bright floral pattern. This cotton fabric was easy to work with.

 

I don’t think I’ll be making bound buttonholes again any time soon. They’re fiddly, and, though they do look neat, they’re almost entirely covered by the buttons once the blouse is closed!

Here’s where I lengthened the blouse. I added 6 cm.

A close-up of the bow. I love this. My Grandma used to wear clothes like these! Both in the 1940s and later ;).

Regency officer and gentleman shirt

Pattern: Improvised (see below for dimensions)

Fabric: White linen

Haberdasheries: three mother-of-pearl buttons, red silk embroidery floss

After making the previous shirt, I read that Regency men’s shirts didn’t have ruffles on the sleeves. So I looked at paintings and fashion plates of Regency men, and though it is often hard to see, their shirts seem not to have ruffles in most cases, so I omitted them on this shirt. That made this shirt slightly different from the last one, which is nice, as I’m not that fond of making exactly the same thing twice. I also used a piece of fabric for the ruffles that was 1.5 times as long as the one I used for the previous shirt, as I thought the ruffles could do with a bit more fabric.

This type of shirt is referred to as ‘square cut’, because it consists almost entirely of squares and rectangles. The image below shows all the pieces except the collar, which is also a rectangle. Only the side bottom gussets are triangular. I cut the pieces on the grain, which makes it easier to get them neat than pinning a pattern to the linen would.

Dimensions (incl. seam allowances):

1: Body: 63 x 101 cm (cut 2)

2: Sleeves: 50 x 50 cm (cut 2)

3: Sleeve gussets: 14.5 x 14.5 cm (cut 2)

4: Neckline ruffle: 15 x 116 cm (cut 1)

5: Cuffs: 18 x 26 (cut 2)

6: Bottom side seam gussets: 9.5 x 9.5 x 13 cm triangles (cut 2)

Collar: 28 x 46.5 cm (cut 1; not in picture)

The shirt is machine sewn, with all hemming, and the buttonholes, done by hand.

 

 

 

 I read about embroidering a number on shirts to track progress, and did that here, too.

Two pairs of PJs

Pattern: Drafted based on tracksuit bottoms

Fabric: Printed flannel

Haberdasheries: 1.06 m of ribbed elastic

Having a pair of tracksuit bottoms that I think have a very nice shape, and seeing a really cute flannel fabric with birds on branches, made me decide to make myself some pyjama trousers based on the trackie bottoms. Then I saw a dinosaur flannel as well, and decided to make two pairs!

I drew a pattern from the tracksuit bottoms, omitting the ribbed band of the original, but adding 3.5 cm at the top for a foldover band with elastic threaded through it, instead. I folded the band in at 2.5 cm. Here are some photos showing the steps of making the band; an easy method with a nice result, I think:

The selvedge of the fabric states: “not intended for children’s sleepwear”. Apparently this means that the fabric has not been treated with flame retardants. I think it very strange that there are countries where it’s compulsory that fabric be treated with harmful chemicals in order to be deemed suitable for children. But anyway, this fabric was not treated, so that’s good to know.

I had 2.3 m (2.5 yard) of each fabric, which was exactly enough! I needed twice the length of the trousers because the fabric was very narrow, only 1.1 m wide. I have a tendency to buy too little fabric, but this time I made a good guesstimate! I’ve got about 0.6 m² left of each fabric, so that should be enough to make a cute baby item some day, as well.

Ruffled curtains 2.0

A while after I made the curtains for our bedroom, I read about sleep quality, melatonin, and the importance of sleeping in a properly dark bedroom. Exposure to light at night can substantially lower your melatonin level, which lowers sleep quality, and can cause a variety of problems, from weight gain to depression. I’ve always had relatively thin curtains in my bedroom, and thought that getting as much light as possible into my bedroom would help me wake in the morning, which, er, isn’t exactly something I’m good at. But I didn’t realise the artificial light coming in as well, from street lights close to the house, may actually have been making this harder.

So I set out to replace the bedroom curtains by blackout curtains as soon as possible. I really liked the ruffles, though, so I added ruffles to these as well. Because the fabric is much thicker and less supple, they drape less well than the previous ones, but I still like them, and our health does come first.

Another nice way to improve your sleep quality is by installing the free f.lux software on your computer, smart phone or tablet. It’s not only the amount of light you’re exposed to that influences melatonin levels, but also its colour. Digital screens tend to give off blueish light, similar to daylight, so using them before bed can make you more awake. f.lux solves this by causing a sunset on your screen, and turning it slightly orange. I also find it fun that this way, I’m much more aware of when the sun actually rises and sets.