Category Archives: Clothing

A Good Day for a Greatcoat

27 Wednesday Nov 2013

Posted by in Clothing, History

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A greatcoat or driving coat from 1812

A greatcoat or driving coat from 1812

It is lashing rain on the windows chez Calash, and soon enough the present-day chariot known as the Subaru will commence hauling Mr S to the train station and the Young Mr to school. Bikes and buses are unpleasant in the rain, though the Young Mr is always (and only) driven to school on Wednesdays due to a peculiar busing and schedule arrangement.

But what if they lacked this luxury, and had to venture out? The way it sounds out there, the smartest choice would be to stay at home by the fire, but someone  has to fetch the wood and the water, and someone has to milk the cow and fetch the fool cat in.

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Greatcoat, Chester County Historical Society. from Fitting and Proper, by Sharon Burnston. Scurlock Publishing, 1999.

If you could afford one, you’d wear your greatcoat (new or second-hand).

Made of broadcloth, this would be your non-flammable water-resistant choice for inclement weather. Woven and then milled, the fabric would be dense enough to resist water and hold a cut edge, which makes those capes a more winning proposition.

Over a slim-cut body, layered capes can emphasize and exaggerate shoulder width, making these utilitarian garments sexier than you’d expect. (Of course, I have a thing for guys dressed like this, so your mileage may vary. But by the Civil War, the lines are boxy and, well, yawn.)

Greatcoats aren’t even remotely on my list for this year, but someday I’d like to make one, if only to borrow it. Baby, it’s cold outside.

The Checkered Past

26 Tuesday Nov 2013

Posted by in Clothing, History, Research

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Coat, 1790s American CB: 38 in. Gift of The New York Historical Society, 1979.346.42. MMA
Textile Sample Book, 1771. British Rogers Fund, 156.4 T31, MMA

Some gentlemen I know should consider what they might want to do to avoid (or alternately, encourage) having this coat made for them. It’s really a lovely thing, found as the best things are, while looking for something else.

It reminded me, too, of the textile sample book at the Met, currently on display in the Interwoven Globe exhibition. (No, I haven’t seen it; I’m going to try, but…).

Wm Booth has a new linen coming in the winter, and as the men in my house have outgrown or outworn their shirts, I am thinking of making new check shirts. I did finish a white shirt at Fort Lee, which will go to the Young Mr (his small clothes being now his too-small clothes). I will have to make Mr S a white shirt for best wear, but they could each use a second working shirt. At least with checks you get “cut here” and “sew here” lines.

Last week, I found a weavers’ book in the Arkwright Company Records (Box 1, Folder 1, 1815). It’s a slim, blue paper-covered volume with small samplers glued in to the pages, and full of checks and stripes. Blue and white, red and blue, checks and stripes were prevalent in the late 18th and early 19th centuries. The more I look at extant garments, sample books, and ads, the more I think the streets must have been a vibrant, if grimy, visual riot.

(Not) Spencer Closure

14 Thursday Nov 2013

Posted by in Clothing, Making Things, Research

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Jacob Issacs by Ralph Earl, 1788. Dayton Art Institute

No, I still haven’t written to the museum in Sweden– I had fabric shopping to do. Well, not had to, but when someone offers to take you to a new den of iniquity crack house fabric store you haven’t seen before, you go.

Reader, I scored. Mr S will have a new fabulous and toasty waistcoat thanks to a 5/8 of a yard remnant of the coziest Italian double faced wool I have ever petted. It should be a kitten! Mr Isaacs here has a lovely black waistcoat and while I cannot achieve that fabulousness without a new pattern (sigh) and I think that waistcoat is silk, you get the general green-and-black idea. Mr S totally has that hat.

Coat, French, 1790s. MMA 1999.105.2

But in thinking about the Spencer issue (and yes, I scored some on-sale broadcloth so I can make another one on the way to cutting into that K&P wool), I asked Mr Cooke about clasps, since the Spencers I’m interested in are so very clearly grounded in menswear generally, and uniforms particularly. The answer was what I’d expected: buttons and buttonholes or braid loops on dragoons’ and hussars’ coats, hooks and eyes sandwiched between shell and lining on center-front closing uniform coats.

So I went back to look at menswear, because somewhere the phrase “miniature frock coat” rattled in my head, and I knew I wanted to re-draft the pattern for the front anyway, to get closer to the high stand and fall collar of the Swedish original.

The other collection that’s extremely useful is the LACMA collection, because they have patterns up on their website.

Man's Banyan Textile: China; robe: the Netherlands, Textile: 1700–50; robe: 1750–60 (M.2007.211.797)

Man’s Banyan
Textile: 1700–50; robe: 1750–60 (M.2007.211.797)

I’ve already started to crib a new two-part sleeve pattern from a frock coat pattern, so now I think the next step to getting the look I want is to crib from the LACMA banyan pattern. It’s earlier than the Spencer by some 30 years or more, but the neckline looks like a better place to start.

And, bonus, along the way I’ll learn more about menswear to the ultimate benefit of those guys I sew for.

About that Spencer…

13 Wednesday Nov 2013

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It's better on a human than on a hanger.

It’s better on a human than on a hanger.

Take my Spencer, please.

I’m close to being finished– all that remains are closures, but the sewing is done. It fits, though I haven’t yet tried it on over stays.  It looks less wretched in the mirror than it does on a hanger, I will give it that.

The wool is a yard and a quarter worsted remnant, and while it has a nice hand, it was sometimes annoying to press. It may have been the fault of the silk, though; I used a very light weight silk–even lighter than Booth’s “persians”– and that was probably a mistake.

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Last-minute peplum and button additions.

The Swedish Spencer closes with clasps, and while hooks and eyes are pretty common for center-closing garments (men’s and women’s) “clasps” was new to me. The double-breasted riding habit coat in Janet Arnold (from the Salisbury Museum, no photos online) closes with covered buttons. That seems reasonable for this worsted trial garment. I’m beginning to wonder if the Swedish Spencer is really finished, or if the clasps might be a later addition. Time to write a letter, I think…

Bust darts from Hell

05 Tuesday Nov 2013

Posted by in Clothing, History, Making Things, Research

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Spencer ca. 1800. MMS 1991.239.2

It all started out so well, in the muslin, but in the wool, not so much. I cut up a remnant, proving that a yard and a quarter of 60” fabric is enough for a Spencer, even for my arm length (but not less, thanks to that arm length and a respect for the grain).

The pattern I’m using has bust darts, which I haven’t sewn in years. They took some tweaking with the steam iron.

In 18th century clothing, one doesn’t see bust darts; there are some above the bust, shaping gowns at the robings, but for the most part they aren’t needed. Think cones, thanks to the stays. And later in the 18th century, a lot of work is done by gathers and drawstrings, as in the white and black  ca. 1800 French spencer at the Met.

Spencer ca. 1818-1819. MMA 1982.132.3

Spencer ca. 1818-1819. MMA 1982.132.3

But if you’ve got an endowment of the non-fiscal kind, and you want your military-inspired garment to fit smoothly over your endowment, what do you do?

In this example, you hide the bust dart under braid and buttons. Check out that diagonal seam—and that the fabric appears to have been cut on the bias.
Brilliant, right? Gain ease by using the stretchy quality of the bias and hide the shaping under decorative elements.

Here’s an extreme detail.

Spencer, 1813. MMA C.I.39.13.48

Spencer, 1813. MMA C.I.39.13.48

In the garment below, of wool, three bust darts of the same length help shape the front. And again, decorative braid hides the shaping. 

It’s only cataloged as “wool,” with no weave given. There is a detail image of the darts and braid as well; I think that might be serge, and not superfine broadcloth. Still, three bust darts help achieve a smooth fit.

The Swedish Spencer at the museum in Lund has but one grainy photo: it’s hard to imagine that it doesn’t have bust darts, but the photo leaves much to the imagination.