DOCSLIB.ORG

Woman's Dress (Redingote) Pattern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Woman's Dress (Redingote) Pattern UNDERTAKING THE MAKING Woman’s Dress (Redingote) LACMA Costume and Textiles Pattern Project Woman’s Dress (Redingote) NOTES: . The sleeves are set into the armscye Europe, c. . Fabric grain follows vertical lines with small gathers at the top; the Silk and cotton satin of the graph paper. under sleeve and side-front bodice and plain weave . Pattern pieces are drawn without armscye show signs of alteration. Purchased with funds provided seam allowance. One ½-inch long and ¼-inch wide by Robert and Mary M. Looker . Five ¼ inch-diameter self-covered strip of baleen boning on both M.. buttons adorn the proper-left sides of the center back sti en the center-front opening of the outer en fourreau bodice from the neckline This hand-sewn woman’s redingote bodice. The center-front edge to lower back. The boning was of striped silk and cotton satin and plain is finished with a fold. inserted in folded casings at the weave is an exceptional example of center-back bodice lining of linen . The inner bodice of linen plain weave women’s fashionable dress informed plain weave. The center-back skirt is boned with a ¼-inch-wide strip by menswear in the th century. below the boning is box pleated. The dress features exaggerated revers of baleen at the center-front opening; . The skirt is made with full widths (lapels), a large falling collar, and sets of eyelet holes close the of -inch-wide fabric sewn selvage- a cutaway skirt in imitation of the tail center front with laces. to-selvage; the skirt is attached coats worn by male counterparts. The large revers are faced with silk to the waist with small knife pleats At the center back of the skirt are side and cotton plain weave; the grain from point A at the hem of the outer edges, decorative scalloped flaps that lines of both layers do not match. bodice front to point B at the end of often adorned the center-back vent The collar stand and fall are of the a side-back slash in the en fourreau in men’s coats. same fabric. A medium-weight bodice and skirt back. The center- The outer bodice was constructed interfacing sti ens the collar stand. front skirt opening is finished with larger than the inner bodice; although A small piece of silk and cotton ¼-inch-wide folded edges, whip- the outer bodice has fabric-covered plain weave sewn at the front-side stitched. The skirt hem is finished buttons sewn at the center front, the neckline conceals the seams of with ½-inch-wide twill tape. absence of buttonholes suggests that the collar stand to the neckline. the buttons were merely decorative. One ¼ inch-diameter self-covered . Side-edge details are stitched The center front was most likely closed button stitched through the collar within a fold at the lower side-back with pins like most silk dresses of the stand and fall decorates the front- en fourreau skirt. Three ¼-inch- time; the inner bodice of linen plain side corner of the collar fall. diameter self-covered buttons adorn the side edges; one is placed just weave was secured around the torso . Two layers of cape collars are above the side edge, and two are with laces at the center front. When attached to the center back and side placed at each scallop point of the the dress was worn with a fine cotton neckline under the collar fall; edges side edge flap. fichu (kerchief) around the neck and are finished with ⅛-inch-wide fold, over the wearer’s décolletage, the ends whipstitched. The redingote bodice is lined of the fichu could be tucked between in linen plain weave; the cape collar, the outer and inner bodices. This volume sleeves, and skirt are unlined. at the chest and torso enhanced a prominent pouter pigeon silhouette, similarly en vogue with fashionable French men. Although largely influenced by menswear, this redingote features a back bodice constructed en fourreau, a dressmaking technique distinctive to women’s robes à l’anglaise (closed- bodied gowns) of the late s. En fourreau is characterized by a narrow length of fabric along the center back that runs undisrupted from the top of the neckline to the bottom skirt hem with no waist seam. At either side of this center-back length is a finely pleated skirt into the waist, which creates the deep V-shaped volume at the back. Woman’s Dress (Redingote) Collar stand meets lapel at notch Attaches to top of collar stand Roll line COLLAR CB UPPER REVER CB STAND SLEEVE Current seam line (altered) Roll line Top COLLAR FALL OUTER CF BODICE Current seam line Neck seam edge FRONT (altered) CB UPPER CAPE UNDER A SS COLLAR SLEEVE Conceals seams of the collar stand CB UNDER CAPE SIDE EDGE COLLAR OUTER BODICE Current seam LINING CB line (altered) FRONT SS SS SS Original CF seam line BODICE BODICE CF LINING LINING INTERIOR BACK SIDE BACK BODICE FRONT Boning inserted here COLLAR FACING SS B Side edge inserted SKIRT SKIRT within fold CF CB Cut CB on fold EN FOURREAU BODICE AND SKIRT BACK Top cape with sample Key: fabric pattern to scale 1:1 inch CF Center Front CB Center Back SS Side Seam Pieced Fabric Decorative Button Placement Fold line Patterns re-created and drawn by Thomas John Bernard. © Museum Associates/LACMA. All rights reserved..
Load more

Recommended publications
  • Convertible Collar Construction
    Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2.
    [Show full text]
  • Islander Sewing Systems: Tuesdays at Two with Janet Pray and Jessica
    Islander Sewing Systems: Tuesdays at Two With Janet Pray and Jessica Johnson Index Through June 2019 Subject Type Topics Video Date Alterations Charge at least $10 to hem a pair of pants October 2, 2018 Alterations Tip If asked to hem pants or sew on a button, show the person who asked how October 2, 2018 Alterations Learn how to do alterations for any figure "flaws" and make it a priority for April 9, 2019 one's sewing education Alterations One can just say no to requests for alterations. Give the person who asks for October 2, 2018 alterations a high price; the individual will accept or say no. If one accepts alterations, do it under your conditions Batting Tip Use two layers of Insulbrite or similar batting with a silver backing, not one December 18, 2018 layer. Temporarily adher fabric to back, quilt top, and then put on the binding Bias Tape Maker Demo Make bias tape strip twice as wide as needed using iron and Simplicity Bias July 10, 2018 Tape Maker Books & DVDs Connie Crawford's Patternmaking Made Easy is a textbook, but filled with 3/27/18 & 11/13/2018 good information Books & DVDs Easy Zipper class is available online or on DVD and includes five different 4/24/18 & 8/28/2018 zipper techniques. The class is also on SewBetter.com Books & DVDs Fitting and Pattern Alteration by Elizabeth Leichty and Judith Rasband is an 5/15/2018 & 5/30/18 excellent resource, or take a class from Lorraine Henry Books & DVDs Gail Yellen's It's All About Embelishments is a good resource for decorative April 24, 2018 serger techniques.
    [Show full text]
  • Taking Your Measurements \ I / \ I / ' ------/ / ' ,,,__
    • 1mp s __ ...,... ___ _. _____ ___ ,,.­ -, Bulletin 498 / January 1956 / ' : TAKING YOUR MEASUREMENTS \ I / \ I / ' ------ / / ' ,,,__..... --- ------- ./ _,."' / / --- --- 1 -------------- \ \ ' A good looking dress is a well-fitted dress. Achieving a good fit depends upon three things: knowing your own figure measurements, selecting the size and type pattern which most nearly corres­ ponds to your measurements, and then making any necessary alterations in the pattern before cutting your dress. This leaflet tells you how to take your measurements and provides a place for you to record them. What Is A Well-fitted Dress? A dress that fits you well adapts itself to your body. Ir brings out your good points and skillfully hides your poor ones. You will know a good fit by- Direction of grain of fabric. - Crosswise yarns are parallel to the floor at the center-front and back busdine, and at the hipline, unless the dress has unusual style details. lengthwise yarns are at right angles to the floor at the center-front and back of both skirt and bodice of a dress. lengthwise yarns on the sleeve cap lie in the direction of the arm when it hangs straight at the side . This varies slightly on different figures but in general the crosswise yarns are also parallel are straight in front and back of your arm except to the floor. when special style features, such as extended shoul­ Direction of seam lines. - Seam lines that ders, requir.e otherwise. lie and hang straight keep your dress in proper li~e The waistline seam appears to be straight around on your figure.
    [Show full text]
  • Clothing, Conformity, and White-Collar Masculinity, by Erynn Masi De Casanova Trenton M
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of Spring 2016 Review of Buttoned Up: Clothing, Conformity, and White-Collar Masculinity, by Erynn Masi de Casanova Trenton M. Haltom University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Family, Life Course, and Society Commons, and the Social Psychology and Interaction Commons Haltom, Trenton M., "Review of Buttoned Up: Clothing, Conformity, and White-Collar Masculinity, by Erynn Masi de Casanova" (2016). Sociology Department, Faculty Publications. 559. http://digitalcommons.unl.edu/sociologyfacpub/559 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. CULTURE , S OCIETY & M ASCULINITIES 8(1) ■ 91 Buttoned Up: Clothing, Conformity, and White-Collar Masculinity , by Erynn Masi de Casanova. Ithaca: ILR/Cornell University Press, 2015. 275 pp. ISBN 978-0- 8014-5418-9 (hb) 978-1-5017-0049-1 (pb) Erynn Masi de Casanova’s Buttoned Up: Clothing, Conformity, and White-Collar Mas - culinity (2015) draws on white-collar men’s discussion of their fashion choices to shed light on how masculinity, work-type, class, race, and geographic region shape their styles of dress. Each chapter highlights a piece of what goes on in men’s heads as they dress for work: workplace dress codes (both official and unofficial), family inspiration, for whom they dress, and the pitfalls of being too fashionable or not trendy enough.
    [Show full text]
  • TREND SETTER 205464 ADORNED 215482 FEMME 1 $425 5 $325 FUCHSIA-CAMPARI RED-DEEP FUCHSIA Stretch Crepe Sheath RED Bi-Colored Twill Embellished with Sheer Lace Trim
    1 TREND SETTER 205464 ADORNED 215482 FEMME 1 $425 5 $325 FUCHSIA-CAMPARI RED-DEEP FUCHSIA stretch crepe sheath RED bi-colored twill embellished with sheer lace trim. Fitted. military jacket with sequined Shaped with bust darts, ribbon trim. Regular fit. Shaped princess seams, waist seams, with front and back princess side seams and center back seams. Stand collar with Red seam. Jewel neckline, short velvet facing, hook-and-eye raglan sleeves, pencil skirt, closures, long sleeves with hidden back zipper, hook-and- deep satin-faced vented three eye closure. Sheer lace, dyed snap cuffs. Banded hem patch to match lining at shoulders pockets at chest. Sequined and side panels from hip-to- ribbon trim at collar, placket, hem, sleeves unlined. 2” hem. pockets, cuffs and satin-piped Back vent. Fully lined. Length: hem. Shoulder pads. Fully lined. 23”. Sizes 00-16. Length: 20 1/2 ”. Sizes 00-16. 67% polyester, 29% viscose, 42% acrylic, 26% polyester, 4% elastane 17% wool, 15% viscose 2 | 8 | 10 | 2 | 8 | 10 | 4 | 6 8 | 2/14 | 8 | 6 | 10 | 4 | 12/0 | 10 203318 ARTISTRY 205475 RADIANT 210475 ROMANTIC 2 $225 6 $495 9 $195 FUCHSIA-CAMPARI RED– CAMPARI RED-FUCHSIA- FUCHSIA rayon-blend jersey SAPPHIRE BLUE-AUBURN- BLACK-DEEP RED-AUBURN sweater with point d’esprit lace BLACK Paisley print on silk large Paisley printed stretch mesh trim. Regular fit. Jewel georgette cami with scarf cotton velveteen tie-belted neckline with small knit bow neckline. Regular fit. Shaped trench jacket. Regular fit. Shaped and lace mesh insert at yoke, with bust darts, gathers at with front and back princess long sleeves.
    [Show full text]
  • ALDI Textiles
    ALDI Textiles ALDI Textiles Guideline 2 Aloe Vera. Recognises the demand all on its own. A Aloe vera micro capsules are attached to the textile fibres using a binder. The friction from wearing causes the microcapsules to burst and release the moisturising substance. The advantage of the microcapsules is the fact that the encapsulated substance is only released when the fabric is mechanically stressed. Through the addition of the aloe vera capsules, the garment hydrates and moisturises the skin. Anti-Pilling. Reduces pilling. A Anti-pilling is a special finishing process for reducing the formation of pilling, meaning lint, in predominantly synthetic materials. This is primarily achieved through a mechanical process or heat treatment. ALDI Textiles Guideline 3 Breathable. Keeps you dry and keeps moisture away. B Breathable fabrics are defined as textiles which possess certain physiological properties which above all wick moisture away from the skin. Such materials may also be water-resistant and therefore protect against rain. See also: Cool & Fresh, COOLMAX® ALDI Textiles Guideline 4 Cotton. The all-rounder among textiles. C Cotton is derived from the soft seed hair of the cotton plant. The plant thrives in countries with a sub-tropical climate, such as the USA, Egypt, India, and South Africa, and in terms of volume is one of the most important raw textiles materials in the world. The quality of cotton wool is dependent on its fineness, strength, fibre length and consistency. See also: Wool, virgin wool, organic cotton, Pima cotton PROPERTIES: It is skin-friendly: Due to its softness, it is very pleasant on the skin.
    [Show full text]
  • My Bernette Sewing Machine Mastery Workbook – B37
    MASTERY BOOK SERIES SEWING MACHINES BERNETTE SEWING MACHINE WORKBOOK For bernette models b37 and b38 ©2017. Permission granted to copy and distribute in original form only. Content may not be altered or used in any other form or under any other branding. TABLE OF CONTENTS Introduction ........................................... 3 Sewing Machine Needles ...................... 4 Thread .................................................... 6 bernette Presser Feet ............................ 7 Stitch Selection ...................................... 8 Securing Stitches ................................... 9 Turning Corners ..................................... 10 Zigzag Stitch .......................................... 11 Blind Hem .............................................. 12 Triple Straight Stitch ............................. 13 Overlock Stitch ...................................... 14 Stretch Stitch ......................................... 15 Buttonholes .......................................... 16 Attaching Buttons ................................. 17 Stitching Zippers .................................... 18 Decorative Stitching .............................. 19 Satin Stitching ....................................... 20 Stitch Combinations/Memory ............... 21 Alphabets ............................................... 22 The information in this workbook applies to bernette models: b37 and b38. Double Needle Stitching ....................... 23 Note: Some exercises apply only to certain models Supplies .................................................
    [Show full text]
  • Tonbi) LACMA Costume and Textiles Pattern Project
    UNDERTAKING THE MAKING: REIGNING MEN Man’s Overcoat (Tonbi) LACMA Costume and Textiles Pattern Project Man’s Overcoat (Tonbi) during the Taisho¯ (–) and . The beaver fur collar is slightly Japan, Taisho¯ period (–) early Sho¯wa (–) periods among padded and underlined with black to Sho¯wa period (–); intellectuals, professionals, and the wool plain weave, full finish, with – wealthy, who often added a Western- horizontal stitches at the collar stand Wool plain weave, full finish, and style hat and walking stick or umbrella and broad zigzag stitches at the top beaver fur, sheared and dyed to their kimono ensemble. The con- of the collar fall. A felt under-collar Gift of B. Rich cealed center-front button closures melton is attached along the edge. M... and sweeping construction created . The armscye openings are long a fluid silhouette that was more Western to accommodate kimono sleeves; The Inverness coat, a sleeveless overcoat in make but Japanese in aesthetic. the interior front edges are bound with a hip-length shoulder cape, was in black silk velvet. The hip-length introduced to Japan during the late Edo NOTES: shoulder cape sleeves are raglan period (–). There, it was modi- . Fabric grain follows vertical lines in construction with back edges sewn fied with enlarged armscye openings of graph paper. along the back of the deep armscye. from the shoulderline to the waistline . Pattern pieces are drawn without The bottom edges are folded under. to accommodate the wide sleeves of seam allowance. Narrow double-welt slash pockets a kimono. From the front, the shoulder . The center-front closes with five are at each side-front.
    [Show full text]
  • Sewing Technique: Lock Stitch (Hem 1”)
    Sewing Technique: Lock Stitch (Hem 1”) The lock stitch is a hand stitch used for hemming purposes. It gives a secure hold with limited view of the thread on the outer side of the garment. STEP 1: Stay stitch ¼-inch from the fabric edge. (A stay stitch is a single line that is used for guidance and to keep the fabric from fraying. It is a normal stitch length and backstitching is a personal preference.) STEP 2: Fold the hem edge back 1-inch. Press fold in order to make a crease in the fabric. Press fabric 1 again ¼-inch. This press will follow the stay stitch seam. STEP 3: Secure thread to the folded edge of fabric on stay stitch line in order to hide the knot. STEP 4: Moving left, make a small stitch (1/2 to ¾ inch). The stitch should first go through the ¼-inch fold; then a small stitch is made that only goes through the outside layer of the garment. Pull thread gently back through to the inside of the garment. Avoid pulling the thread tight as the needle passes back through the loop created from the stitch. 5 3 5 STEP 6: To tighten lock stitch, pull thread to the left. STEP 7: Continue moving left and repeating step 5 until seam is complete. STEP 8: Once finished, secure thread to prevent it from unraveling. NOTE: The lock stitch can be used in place of a catch stitch. 7 6 Industry Standards for a Well-Constructed Hem: • Hem is level • Hem lies flat • No puckers, twists, or extra bulk • Hand stitching is not visible on correct side of garment • Hand stitches are evenly spaced • Topstitching is even and parallel to hemline References: Readers Digest.
    [Show full text]
  • Carli Coatigan ______
    Carli Coatigan _______________________________________ Ladies XXS to 5XL What’s Inside ____________________ Getting Started 4 Printing Your Pattern 5 Settings 5 How to Print Only the Size You Need (Using Layers) 6 Printing the Instructions 6 Carli Coatigan 7 Size Chart 7 Finished Garment Measurements 8 Materials & Tools 9 Cutting Instructions 10 Fabric Tips 11 Tips for Sewing with Knit Fabrics 11 Quick-Glance Cheat Sheet 12 Sewing Instructions 13 Preparation 13 STEP 1 – Back Darts 13 STEP 2 – OPTIONAL Pockets 16 STEP 3 – Back Seam 19 STEP 4 – Shoulder and Back Neck Seam 21 STEP 5 – Sleeves 23 STEP 6 – OPTIONAL Belt 25 STEP 7 – OPTIONAL Hemming 29 Pattern Pieces 33 Website rebecca-page.com Facebook Page facebook.com/rebeccapageofficial Facebook Group facebook.com/groups/mummykinsandme Instagram instagram.com/rebeccajpage #rebeccajpage Pinterest pinterest.com/rebeccajpage Twitter twitter.com/rebecca_page Newsletter rebecca-page.com/newsletter Email [email protected] YouTube youtube.com/user/rebeccapage1 Product Sales & Licensing Information ____________________ This pattern is copyrighted 2019 to Rebecca Page by rebecca-page.com. Please feel free to make garments from this pattern to sell. If you do, we’d love you to include a credit to rebecca-page.com as the pattern designer, but it’s up to you. The finished product may only be sold by crafters. It may not be mass produced. You can only sell the finished product; you cannot sell the pattern or these instructions. Best of luck and happy sewing! Getting Started ____________________ Need help? Have a question? Join our Facebook Group at https://www.facebook.com/groups/mummykinsandme/ You can get help, ask questions, share your tips and shortcuts and share your creations! We’re a friendly bunch and we love helping out and seeing what you’ve made.
    [Show full text]
  • Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
    tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content.
    [Show full text]
  • That Was a T-Shirt!!! We Need Tops! While Cotton Tops Are Easy to Make, Knit Tops Are the Most Versatile Due to the Forgiving Stretch
    That was a t-shirt!!! We need tops! While cotton tops are easy to make, knit tops are the most versatile due to the forgiving stretch. Because of the challenges in working with knit fabric, updating a t-shirt is the perfect compromise. Our goal is to have someone look at our top and say “that was a t-shirt?!” All hemlines need to be removed and restyled and the neckline needs to be either ruffled (size small and some medium) or trimmed. Here are some guidelines that we are looking for. Simply sewing a decorative stitch or zigzag over the existing hemline (sleeves and bottom hem) does not make visual changes to the t-shirt. Please cut off the existing hemline and if you like, you can make it shorter. If you have a serger, you can finish the edge prior to hemming but because the knit does not ravel it is not necessary. You also do not need to turn over the edge prior to hemming. Sleeves Match the sleeves and cut off both hems at the same time. You can cut straight or at an angle and make it a cap sleeve Use a decorative stitch for the hemming, variegated thread looks great! Use either white or black thread in the bottom as variegated thread is expensive. Remember to sew on the right side with your finger on the bottom feeling for the fabric edge. Watch for those sales and coupons!! Sulky blendables, 30 weight, 100% cotton is very nice to use. If you hem with a straight stitch, make it a little longer perhaps 3.0 and add some elastic to make it gathered at the hem edge.
    [Show full text]