This in the time for the pattern.
I’d like to give you a step-by-step guide for the pattern starting from zero BUT somebody have already done it and is going to be SO much easier for you all: La Couturière Parisienne has this very easy to follow pattern based on the one in the book I talked to you in the past post (“Corsets and Crinolines” by Norah Waugh). So, I’m going to base the tutorial in that pattern and link that page every time I think you’ll need it, since I’m not gonna follow the entire process as she suggests it. Also I drew some diagrams because My pattern photos don’t look that good and this is easier to see. Ready? Let’s go!
Step 3 is drawing the pattern
This is how you should draw it, since it’s easier than both back and front drawn at the same side like La Couturière draw it. This measurements are pretty good for people of 82-90 cm waist and 100-110 cm bust (all measurements are in centimeters). It will look like this:
If you are bigger or smaller than this you need to resize it. HERE is how to do it in a very very simple way. I did it since I’m kind of skinny and this is how it should look (the pink lines are the resize and in pencil the original drawing):
In my pattern you can see some things that I didn’t do like the one in La Couturière’s version. First I did not follow the original form of the pieces as in Waugh’s pattern:
Instead I based mine in the red stays from the Victoria & Albert Museum:
That’s why you see I glued the back and front on the side line so I could draw the side piece and tabs properly:
Also you can see that I draw squared tabs at the bottom instead of rounded ones. You can do it as you please:
Step 4 is separate the pattern pieces
Now that you have the pattern ready you need to separate the pieces to be able to cut. I do this with a very light paper so I can see through it and draw on top of the original pattern.
Now is when you also draw the seam allowances. I left 1/2” all around all pieces, not only on seam but also at the top and bottom, except on the center back where I left 1” and the centre front where ther is no allowance because that piece is folded. Why did I do that? You may ask, but the reason in really simple and useful: Since we will make a mock-up for fitting first, we will need some extra fabric for adjustments (if they are needed) or re-drawing some lines. Also don’t forget to leave a colour mark at the waist and where you should stop sewing.
Now is the time to draw the boning tunnels. For my 1/4” boning I made 3/8” wide tunnels. You can follow the boning from the original pattern or something more like the V&A red stays (if you drew the variation as I did):
I decided to draw the tunnels according with the shape of my stays based on the distribution of the 1770’s pattern. This is how the separate pieces should look with the boning tunnels:
Now your pattern is finished! So go and grab your base fabric and cut 2 of each piece and remember that the front piece is folded in half.
Was it hard? Do you have any questions? Leave a comment here, ask me or tweet me and tell me: how is your project going?
So, you have spoken and I will share this with you (yeeeii!). For Halloween I’m making a robe à la anglaise, so I needed a new pair of stays (I’ve made before 2 other pairs but both suit me big nowadays). This time I wanna sew by hand and make the stitches visible over the top fabric. I’ll be posting this tutorial while I’m working on it so when I finish a step and then I’ll share it with you about the day after and if you want to you can do your homework and we’ll work together ;)
Step 1 is to collect your inspiration and make some decisions.
This might sound easy but is the key for a successful outfit. I made a pinboard with all the images and links that I think might work for me. I had a very clear idea of what I wanted and how to do it, so it was easy, but you have to think about some things first before making the pattern. Hey, don’t panic! I’ll help you through every stage alike if you can draft the pattern by yourself or if you’re really a beginner. Here are my recommendations:
Now, I collected this images that I think will be very useful to you for this stays, so if you don’t wanna loose yourself with lots of images of beautiful, please use these as references and inspiration.
First, historical references:
Let’s take a look at what good costumers have done before in stays with visible tunnels and not visible:
Step 2 is choosing the materials
I draw my stays before moving to the pattern mainly based on the red example from the V&A Museum (that’s the first photo on this post), and already had a clear idea of what I wanted them to look like, so this is what you have to think about:
Now you have a full shopping list and things to think about before starting the next task: the pattern.
xystitch reblogged your photoset and added:
I really want to make some stays…
For Halloween I want a Robe à la Anglaise and I need new stays, so I’m making a 1770-90s pair right now based in this existing pair at the Victoria & Albert museum with a few changes. So, If you wanna make some stays and you don’t knwo how to start, then I could make a tutorial :)
So, dear fellow 18th century obsessed followers, should I make a stays tutorial?
"Liutenant-Colonel Banastre Tarleton", Sir Joshua Reynolds, 1782.
You can see this painting in the room 36 of the National Gallery
Banastre Tarleton is famous for fighting at the American Revolutionary War and it’s said that we was an amazing fighter but with really bad temper. Back to England he became a Member of the Parlament of Liverpool, a Gerenal and a Baronet.
According to this portrait by Reynolds, he was very stylish too: he is painted in Tarleton’s Green Horse uniform (he was the commandant) and with the helmet that he introduced to the British Legion (made of leather and with a fur plume).
The flag is asumed to be of the British Legion and if you take a look at the first detail, you’ll see that Reynolds also descreetly shows that Tarleton lost in 1781 two fingers of his right hand.
The Withdrawing Room at Kedleston Hall, Derbyshire.
Some of the things I like the most about "The Duchess" is that it was entirely filmed on location, so for the scenes at Geogiana’s mother’s house they use this room at Kedleston Hall, originally used by the women of the house to entertain themselves. Being this house designed in 1765 by Robert Adam, not only the interior design but the furniture and some art was commissioned by Adam exclusively for the house.
1740s stays reproduction.
No secret for anyone Merja (from Before the Automobile) is one of my favourite costumers and bloggers and there is no one who can judge me for that: she sews by hand her reproduction garments and ALWAYS has the right shape, fabric, finishing, trims and (of course) style.
This is her reproduction of a pair of 1740s stays and my favourite part of this are all the quilted boning channels in contrast thread.
You can read her full post HERE.