Thursday, May 3, 2018

Middling English Ladies Waistcoat

     Haven’t touched upon the topic in a while, the historical significance of the English Ladies Waistcoat. The ladies waistcoat is noted around 1550-1600’s England. Its a short jacket like garment meant to be worn over a kirtle (dress) and petticoats (underskirts) for the ladies.(TT Pg 41) Many made of linen, flannel(wool) and silk, these were normally lined garments but not always worn for warmth and modesty (QEWU pg 145) The waistcoat was worn by all classes, from royalty to peasant. Noted various decorated waistcoats are found in Queen Elizabeth wardrobe accounts many of silk with embroidery and other fine lace and metalwork (QEQU pg 9.) Depending in the materials and decoration, one would know the station of the person who owned the garment.
Layton Jacket Extant
Victoria &Albert Museum
London England
      There were particular patterning cuts for men's which varies from women's waistcoats. So by looking carefully one would know which sex it was meant. (TT pg84,58) The ladies are cut in a particular way to accommodate the fullness of the hips. Using godets front and back just under the waist. Alternatively a peplum like cut to the fullness of the waist, would accommodate a growing belly depending on the pattern. (TCA vol 160) The men's are more angular and belly is shaped differently and worn over a shirt and doublet, which was tied on to under-hose.(TT pg58)

     My waistcoat is made of woven wool fabric and lined in cotton linen blend interlined in wool. Queen Elizabeth’s Wardrobe Unlock’d mentions blended fiber linings on pg 9. I spun the weft single ply in gray Ramie wool, woven the ramie wool fabric in a tabby weave, patterned the garment piecing all 6 yards of wool 12” fabric, then sewed it together. Many of surviving examples of waistcoats are black-work and ploy-chrome silk embroidery on linen, those of lower classes wouldn't be able to afford such a luxury so would need something more in line with their socio-economic standing. 

     I used the simplest tabby weave as I know it historically goes back to ancient times, also thought
Layton Jacket with
Portrait of Margaret Layton
Victoria& Albert Museum
London, England.
it was class appropriate. As it a simple weave though worked in 3 colors appears more complicated pattern in the fabric was to work. The ply of the brown and white weft wool made this awesome pattern as the subtle grey winks through. The significance of the colors of wool that these are the ones naturally available from the lucrative wool trade in England.

     Reinforcing the seams with heavier wool felt and decorated with couched wool yarn same colors as the waistcoat. Turned out to be quite a thick and heavier garment, which is great since they historically are worn for warmth (QEWU pg145) When I was envisioning the end product of all this cottage craft, I detailed it for a middle class English lady for unseasonable damp and cold weather.  

     In conclusion found it to be thicker that expected but wasn’t unusual for some bulk depending on lining choices(QEWU pg 9). In my outdoor test wearing at Lewisburg Arts festival, a cool to mild warm Pennsylvania spring day with a breeze among the damp. I felt warm and dry, not at all hindered by the thickness but was able to feel the breeze so it kept warmth but also allowed the sweat to wick and keep dry. A functional, practical, handmade garment that it also pleasing to wear. Would call this more than a middling success.
Bibliography:
QEWU- Queen Elizabeth Wardrobe
Arnold, Janet. Queen Elizabeth's Wardrobe Unlock’d. Maney Publishing, 1988. ISBN: 9781909662537

TT- The Tudor Tailor
Malcolm-Davies, Jane and Mikhaila, Ninya. The Tudor Tailor: Reconstructing 16th Century Dress. Costume and Fashion Press, 2006. ISBN: 9780896762558

TCA- The Compleat Anachronist
Kratts, Aimee. The Compleat Anachronist: A Survey of Late Sixteen/Early Seventeenth Century Embroidered Jackets.  Vol 160. July 2013.
Visual Bibliography:

Margaret Layton Portrait (1620) oil on Oak Panel. Victoria and Albert Museum item E.214-1994

Margaret Layton Waistcoat. 1610-1615 made, 1625 altered, Victoria and Albert Museum item T.228-1994



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Replica 1560's Venetian Italian Fashion Doll

Replica 1560's Venetian Italian Fashion Doll

Replica 1560 French Fashion Doll

Replica 1560 French Fashion Doll

Tudor Q and A

What is a Tudorosity?

A mashed combination of the words Tudor and Curiosity to create the word Tudorosity. Tudorosities is the plural form and the deffinition is as follows.

Tudorosity- an desire to learn or know anything about the Tudor dynasty associated with years 1405 through 1603.

Most people ask my why I make the Tudor garb ?

I find the clothing of this era not only beautiful but also challenging to sew. There is much more care and purpose put into making garments and wearing garments in the Tudor Era. I love the look of Tudor so much I wanted to explore the way clothes were made back then and the subtle changes in fashion and styles of time.

How did you get started in this interesting hobby?

I started with art first, I love to draw, paint, and sculpt all the traditional fine arts. So being able to draw helps me visualize the looks I want to create in my garb. History has always been a huge interest of mine and I've had a knack for sewing since I was 7 years old. It all started with doll clothes and I learned cross stitch embroidery from my grandmother when I was little. I am self taught sewer, crochet, knitting, embroidery and tatting. My methods are learned from books mainly and there is still so much more to learn.

What is my favorite outfit and why?

It would be like picking a favorite out of one of my future children, its impossible. I love all my gown creations and really like the distinct differences in all the styles clothing I make for the Tudor Era.

Do you make the whole outfit including hat, shoes, and undergarments?

I do have a goal of making a complete Tudor from the skin out. As of right now I make 90% of my gowns and accessories. The shoes and stockings, are bought online and the petticoats are a close reproduction but not made by me. .

How long does it take to make a gown?

It all depends on the type of gown. The making relies on the time period and class of the design. Generally if I work on it 8 hours a day on a sewing machine it will take 3 days to get the basics and another 5 days to do finish hand-sewing details and beading. So a week to a week and a half if working on it steady for that amount of time. I work a full-time job so it does take longer than a week to complete. I put over 40-100 hours per outfit depending on its complexity, its like its own full time job of sorts.

Do you make renaissance clothing for sale or custom orders?

No, due to new employment and changes in my lifestyle. Unfortunately, I have no time to support sewing for others. Though I recommend sewing lessons for those adventurous few. There are many fine folks who make and sell historical clothing. I suggest guidance with sew from many fine historical enthusiastic costumers out on the internet.

How long have you been making these elaborate costumes?

I have been in the Society of Creative Anachronism coming up on my 18th year. Active since 2004 working at demonstrations and volunteering when I could between working and other life's distractions. I really concentrated on Tudor sewing in 2007 and worked with patterns to learn proper fabrics, techniques, fit, and silhouette. I really enjoy the eras transition from a medieval form fitting layered cotterdie to the boned Tudor kirtle and then to structured Elizabethan clothing.

Replica 1490 Milan Italian Fashion Doll

Replica 1490 Milan Italian Fashion Doll
Based on art by Giovanni Ambrogio

O’Kealy Heraldry

O’Kealy Heraldry