The Ornamented Being
Ornamented: -verb: Adorn; beautify. Be·ing: -noun: Fulfillment of possibilities; essential completeness.
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‘Corps à baleines, vers 1760, en toile de lin bis et damas bicolore vert à dessin d’arabesques de fleurs et oiseaux, piqûres rectilignes soulignant les baleines. Découpe crantée en pointes devant et basques étroites. Laçage à oeillets dans le dos, (doublure déposée, usures)’.
My bad google translation: Whalebone bodies (stays), circa 1760, in linen and bis-color green damask design with arabesques of birds and flowers, straight stitching highlighting the whalebone. Cut into wedges notched front and narrow skirts. Lacing eyelets in the back (lining filed wear).
If you don’t mind the quick history lesson I find these to be one of the most interesting items for sale simply because of the decoration. If you will note like the previous pair of stays I posted from this site (where three tabs are left in plain in fabric) the only decorative fabric on this pair of stays is the center front where they would actually be seen. Covering the entire surface would have been considered a waste of money as the gown would have covered the fabric.
One of the things I talked about when I interned in the Margaret Hunter Millinery Shop in Colonial Williamsburg was about fabric. Everyone could dress the same but it was the fabric that was expensive. So in the 18th century (and previous centuries) the parts of your clothing that would never been seen would have been covered in a plain or different fabric.
Another good example of this is a petticoat from Whitaker Auctions here:
(Source: catalogue.drouot.com)
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Ah ha! In a stroke of genius I found a reference for the final costume I am working on to complete my BA.
Corps à baleines, début du XVIIIe siècle,en damas ramagé rose, piqûres rectilignes soulignant les baleines. Devant en pointe arrondie à effet de corset lacé matérialisé par des dentelles aux fuseaux en sorbec argent, basques gainées de peau. Laçage à oeillets dans le dos, (quelques usures).
(Source: catalogue.drouot.com)
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c. 1790
I’m thinking this is part of a Regional costume. I took notes on what Jenny Tiramani and Luca Costigliolo were saying about a pair similar to this. The over skirt would go over the hip pads and either the front or the back would be pulled over the top of the skirt. I just can’t find my notebook from that session.
(Source: objektkatalog.gnm.de)
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In order to leave early and start my internship at Colonel Williamsburg I had to turn everything in a month early (which was easy because I was already done anyway).
The only bad thing about turning things in that early is having to wait for everyone else to turn theirs in before you can post photos of your project!
Here is a sneak peek because I am ridiculously impatient. This was my first time using wire and I’m rather pleased with the outcome! Unfortunately I had to crop the entire top of my head of but once the deadline is complete I promise to post proper photos!
A random fact about this photo: self-timers on cameras are AMAZING! I used the ten second timer and had enough time to push the button, run over, and set myself up!
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1. Corps, Alsace, vers 1770-1780
2. Paniers à charnières, France, vers 1775-1780
LAD
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Corsette1600/50
Disclaimer: I did not name it a corsette, the AIoC did. Please keep in mind if you don’t like that title, don’t write me and tell me my source is wrong. Kindly write them yourselves and tell them they are wrong. I even saved you the trouble and found the contact form: Here!
It’s very frustrating to constantly have people write and say your source is wrong. What do you expect me to do?
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I spent the last week being taught to scale Janet Arnold’s patterns by those who knew her best. I was taught how to look at a tiny flat drawing, to draft, and then re-create the red Kyoto stays by the great master himself. We ended the week by drafting and re-creating Queen Elizabeth’s effigy panniers.
I can’t even begin to express how much of a privilege it has been to be taught by Luca Costigliolo ( the man behind The Borgias etc.) and I can promise that whenever I take a stitch I forever remember “Precise! Precise!”
It took me two hours of fighting London rush hour to get to class every day and then two hours of fighting rush hour again to get back. By the time I walked in the door my bed was a siren’s call. I haven’t kept up with my email, facebook, or The Mended Soul. I will try to be better about posting this week but I make no promises!
This week will be a bit busy because I am leaving for Southampton on Friday for the Titanic Memorial Cruise. Lizzy and I will be giving two small presentations on 1912 fashion on Saturday so if you are there, drop by and say hello, you can’t miss us! We will be traveling in full costume from London to Southampton. The entire weekend will be spent in 1912 clothing!
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What is on todays agenda? A pair of 1730-40 stays!
The first pair are the closest to the colour I’m working with. They are late 17th–early 18th century via the CI.
The second pair are c.1730-40 and come to us via LACMA
The third pair are also from LACMA. They are a pair of French stays also from c.1730-40 and are closest to the pattern I’m working with.
I’m slightly apprehensive about the stomacher as I have never made one before. Oh well! We all have to start somewhere!
I’m fond of contrasting and unusual binding, I find it visually to be more pleasing ( perfect example here). I am trying to decide whether I want to do the binding in a beautiful french blue that goes well with the yellow brocade or a creamy whiteish/beige. Any thoughts?
Decisions, decisions!
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Dulcinea del Tobos by Charles Robert Leslie, 1839, V&A
