I am demonstrating the design and construction of my handmade reproduction gowns and also a brief history of the people who wore them. I will also include reproduction underwear so thought  it would be an opportune time to give a brief outline of the underclothes I will be showing at my Tudor talk.

The Chemise

The first layer for everyone high or low was the chemise also called a “smock” or “shift” in the 16th century, which was a simple garment was worn next to the skin to protect clothing from sweat and body oils. As Elizabethans rarely indulged in full-body baths, and as the clothing of the middle and upper classes was not the kind one could pound on a river rock or scrub regularly with ashes and lye soap, the chemise was vital to Elizabethan costume.

Smocks were made of fine linen, as fine as the wearer could afford. Many of the better smocks were made of what we now call “handkerchief-weight” linen. Lawn, cypress and holland were three 16th c. varieties of sheer linen used for fine smocks. These smocks hung to just about knee to calf-length, on average. This is a low-necked gathered smock – it has a   very voluminous body and sleeves, I have gathered the fabric into a low neckband and wristbands. It was sometimes pulled through the slashing of the outer garments during this period.Resistance to fungus and bacteria – Linen has natural antibacterial properties and that is why it is used in medicine. It also acts against the bacteria that make you smell.

The Corset

Over the chemise was worn the corset – my corset has been inspired by the corset found on the ‘effigy’ of Elizabeth the First (below).

I have designed a tabbed waist corset, which is the type which is the easiest to wear. The tabs distribute pressure so the corset does not ‘dig in’ at the waist. The Elizabethan corset gave a period shape to the body and sometimes had straps to help lift the breasts.

It was made of linen (I have constructed it in cotton twill or linen. Spring steel boning has been inserted into channels to give strength.  During the 16th century corsets were stiffened with whalebone, reeds, steel or rope. I have used binding on the edges as Elizabeth’s corset was bound with leather. The lacing holes are reinforced with sturdy cotton thread and the corset is laced with cord. The corset was worn over the chemise to save it from perspiration so it didn’t have to be washed too often.

The Spanish Farthingale or Hoop Skirt

To create the correct shape for clothes of the period a Spanish Farthingale was worn. This was a bell-shaped hoop skirt worn under the skirts of well-to-do women during the Tudor and Elizabethan era. From 1530 to 1580, the farthingale played an important part in shaping the fashionable silhouette.(First Farthingale worn by Joan of Portugal to hide pregnancy – had two illegitimate children)

The Spanish Farthingale, as its name suggests, originated in Spain. Tradition holds that the Spanish Farthingale arrived in England in the 1520s, introduced by Katharine of Aragon, Henry VIII’s future queen. It is true that, beginning in the 1530s, clear evidence of hoop skirts worn by English noblewomen begin to appear in court paintings and portraits. 

The pattern for this farthingale is from Juan de Alcega’s Tailor’s Pattern Book, published in 1589. It has been created from sections of calico – which are cut and then pieced together.  The sections of fabric are placed so that no bias seams are sewn to each other. This was to eliminate the sagging which two bias seams sewn together would inevitably experience. I have cut additional pieces of fabric, 2 inches wide, to match the length of each piece of boning to create casings for the stiffening. After everything is sewn together, the farthingale would have been gathered at the top and the raw edges bound with a strip of fabric.  It is reasonable to say that the opening would have been in the back or in the front for a front-lacing corset.

Three materials were known to be used for stiffening farthingales in Elizabeth’s time: rope, bent rope, and whalebone. Most recreation farthingales are made using hoop skirt boning. Hoop skirt boning is 1/2 inch wide stiffened canvas or plastic with spring steel along the edges. It is very stiff and can hold out the heaviest of skirts, yet is lighter than other boning materials. After the boning is inserted the casings are tacked close.  The boning can however be easily removed so the farthingale can be washed.

The Bum roll

A Bumroll, which, as its name suggests, was a roll tied around the bum, was an essential piece of Tudor and Elizabethan underwear. In Elizabethan times, it was more commonly called a “roll”; “bumroll” is the modern term for the item.A bumroll is made from a crescent shape of non stretchy fabric such as calico which is stuffed with wadding and has ties attached to the ends.

The first hard evidence of a separate roll worn around the hips are a reference to them in Elizabeth’s wardrobe accounts from 1580. It was tied around the hips to make a woman’s skirt swell out becomingly at the waistline before falling to the ground. It was used throughout the 16th century and into the 17th, and considered an essential aid to fashionable dress.

• Without the foundation garments the shape of the dress of the period would be unable to be achieved so it is a very important part of the costumes.
• No type of panties or knickers were worn at this time -the first type of this type of underwear were in a  form of leggings or long drawers, they originated in France in the early 19th century, and quickly spread to Britain and America.
• “Tudor clothing was time-consuming to don and doff, stiff, heavy, hot, never comfortable, never really clean and probably never free of accumulated body odours and the perfumes to mask them. Patterned with decorative stitching, heavy with embroidery, jewels and trumpery, over garments lay layer upon layer over corsets, shifts, bodices and other undergarments, some exaggerating the body’s natural shape, others camouflaging it.” 

Although you would probably looked splendid in the 16th Century Court Fashions they certainly were I am sure you’ll agree not the most comfortable to wear or to wash!

My talk includes a fabulous display of exquisite gowns decorated with pearls and semi-precious stones, elaborate headdresses, jewellery and fans.

Perfect background for fans of historical fiction.

This event will take place at Community Hub Central, Hartlepool. 

Please note: Tickets will not be issued for any of these events, and you do not need to bring along a booking confirmation. When you arrive at the event, please give a member of staff the name of the person who booked for your party to gain entry.

If you are having trouble booking online, please phone ARC box office on 01642 525199 to book over the phone.

Hope you will join me for this very special event!

arconline.co.uk/whats-on/crossing-the-tees/tudor-costumes-with-julia-soares-mccormick?fbclid=IwAR0net2TiUvWfq5d_optw1K77quDToO5aX8mMwrjoYsxLRKFtSk–xosujY

Yesterday I presented my Regency Costume Talk and Display ‘Enter the World of Jane Austen’ for Sunderland Embroiderers Guild. We had a splendid afternoon and the ladies said they really enjoyed my talk. I described the fashions worn around the time of Jane Austen who was born in 1775 and only lived until 1817 dying at the age of only 42 years old.

It was an era immortalised by Jane Austen who adeptly used the new found diversity of fashion to enliven her characters – Mr Darcy’s understated elegance, Miss Tilney’s romantic fixation with white muslin and Mr Whickham’s military splendour.

I compared the different types of dresses worn during the period – the casual morning dress worn only in the house – created of old fabric or restyled dresses – why with all the money you saved you could spend it on your going out dresses!

 The afternoon or going out dress which would be of the best fabric and decorated beautifully to go out and be seen in. I created a very elegant gown in white windowpane cotton and lace.

I also included a very ornate and elaborate pure silk evening gown – which I created in lilac silk fabric decorated with crystal beading and gold lace which would be worn for a ball.

Not forgetting my set of Regency reproduction underwear  – it is extremely important to wear the right undergarments to give the correct period shape. I designed a short stays bra worn about 1800 – 1830 and a chemise which would be the first layer nest to the skin. I also included a set of the first pair of knickers ever worn in about 1790 – before then NO KNICKERS were worn at all.

They were separate legs tied separately around the waist – not a not a very sturdy arrangement, as one woman found out the hard way in 1820:

“They are the ugliest things I ever saw: I will never put them on again. I dragged my dress in the dirt for fear someone would spy them. My finest dimity pair with real Swiss lace is quite useless to me for I lost one leg and did not deem it proper to pick it up, and so walked off leaving it in the street behind me, and the lace had cost six shillings a yard…’ 

An embarrassing disaster for the lady, and a source of amusement for everyone else.”

My final costume was a very ornate masquerade costume which was commissioned for a friend as it was based on the coronation gown for Empress Josephine – wife of Napoleon Bonaparte who was crowned in 1801 – it was created in beautiful velvet with gold trimming.

I received the message below after my talk –

“Many thanks for coming to our Guild meeting yesterday. You gave us a splendid afternoon, your costumes were lovely and we learned a lot about the fashion of Jane Austen`s time. The talk was delivered with enthusiasm and a delightful sense of humour. `Mr Darcy` was great too, an added bonus!”

We had a super afternoon presenting my Regency Talk and we were very pleased that the ladies enjoyed it too.

France was one of the fashion leaders of this era. So I thought you may find it interesting to find out a little more about the face paints and hairstyles during the 18th Century. Included in my Marie Antoinette talk is a reproduction of one of the high wigs of the period as well as the lower wider wig known as the hedgehog!

Hair styling and cosmetics application had a particularly important function in France.  The toilette, or dressing, was a daily ceremony in which important persons were dressed (including hair styled and cosmetics applied) before a select audience, the ritual was created by Louis 14^th.

For the 18th Century ideal of beauty her forehead was high, her cheeks plump and rosy, and her skin was white. Fashionable eye colours included black, chestnut, or blue; eyebrows were divided (i.e. no monobrows), slightly full, semi-circular, and tapered at the ends in a half moon shape.  Her lips were small, with a slightly larger bottom lip creating a rosebud effect, soft, and red.  

The ideal woman of the 18th century had hair that was black, brown, or blond (particularly fashionable during Marie-Antoinette’s reign); strong red hair was unfashionable and generally would be dyed a different colour, although chestnut and strawberry blond were popular.  Her hair was of wavy or curly texture.

Wigs were introduced in the 17th century, when King Louis 13th (1610-43), who had let his own hair grow long, began to bald prematurely at the age of 23. They were made in general with human hair, but also with hair from horses or goats to make new headdresses every day of the week.

It is in the 1760s that hairstyles featuring height began to appear.  This height was generally equal to about 1/4 to 1/2 the length of the face, and is usually styled in an egg shape.

In the mid- to late-1770s, huge hair became all the rage.  The height of these styles was generally about 1 to 1 1/2 times the length of the face, and was styled in what was considered a pyramid shape (it also looks very much like a hot air balloon).

Hair was nearly always curled, waved, or frizzed before styling, to create texture.  Styling was accomplished with combs and curling irons, held with pins, and dressed with pomade.  When height was desired, it was raised over pads made of fabric or cork shaped like a heart or spear –  wool, tow, hemp, cut hair, or even wire were also used.

They were attached to the top of the head, and then natural and false hair was curled, waved, or frizzed and piled over and around the cushion.  Such elaborate hairstyles could be worn for days or weeks at a time.

Side curls angled up towards the top back of the hair.  The back hair was generally styled in a looped-up ponytail or braid.  Long curls were often left hanging at the nape of the neck.  French styles often had an extra “bump” in the front of the hair, right above the forehead.  In this period, both French and Englishwomen usually powdered their hair.

Powdering was introduced when King Henry 4 of France (1589-1610) used dark powder on his greying hair.  By 1715, wigs started to be powdered. Hair powder was originally used mostly as a degreaser.

White haired wigs were popular because they were expensive and rare, and so men and women began (in the early 18th century) to use white powder to colour their wigs and hair, as it was less destructive than dye.

Hair powder was made from a variety of materials, from the poorest quality in corn and wheat flour, to the best quality in finely milled and sieved starch. It was usually white, but it could also be brown, grey, orange, pink, red, blue, or violet. 

The application of white powder over dark hair produces shades of light to dark grey and White powder applied over very light hair produces a heightened blond effect.

Powder was applied with a bellows (the person being powdered being covered with a cone-shape face mask and fabric smock), with a puff for touch-ups and a knife for removal. To powder wigs, people used special dressing gowns, and covered their faces with a cone of thick paper.

 The high hairstyle ornaments included lots of ribbons, pearls, jewels, flowers, feathers, as well as ships, birdcages, and other items that evoked the theme.  In 1774, the Duchess of Devonshire created a sensation when she introduced ostrich feathers into her hair. The high hairstyle ornaments included lots of ribbons, pearls, jewels, flowers, feathers, as well as ships, birdcages, and other items that evoked the theme. In 1774, the Duchess of Devonshire created a sensation when she introduced ostrich feathers into her hair.

Fashion loving ladies of XVIII century were often decorating their hair with jewels. The most sophisticated beauties tried to come up with a more original decoration by attaching stuffed birds, figurines, frigates, ships with sails, mini-gardens with tiny artificial trees and castles models. The making one single piece stylists worked between 1 and 10 hours in a row. Marie Antoinette  even put a Frigate in her hair to celebrate a French naval victory!

Such elaborate hairstyles could be worn for days or weeks at a time The hair was not washed at all for months and was only combed with specially made tool resembling to a metal hand..
To keep this artistic work as long as possible, it was regularly greased with pork lard. A typical hairstyle was height of about one meter. Sleeping with such a haircut was possible only on special cushions. A metal grid was worn on the head to protect the sleeping beauty from mice. Because of the unusual shapes of each individual hairstyle, bespoke hats were made in order to not damage the hair.

• In 1781, Marie-Antoinette lost much of her hair after the birth of the dauphin. Famous coiffeur Léonard Autie later claimed that he created for her the coiffure à l’enfant, which she wore, along with her chemise à la Reine, in the famously reviled painting by Louise Elisabeth Vigée-Le Brun. 

• Growing interest in what were considered “natural” fashion, brought about by the Enlightenment, created what was a more “natural” style in the 1780s. During 1779-81, the shape of the hair started to become rounder and height began to diminish. This lower form of the pouf tended to be worn with fatter side curls than previously.

• This became the hedgehog style was fashionable in the 1780s and 1790s. This is the very big enormous hair full of curls that seems easily done and wildly styled, you can see it all the time in Thomas Gainsborough portraits

• The hair was cut shorter to form a large curly or frizzy halo around the head, which was wider than tall. A small hank of much longer hair, either left straight, in ringlets, or braided, hung down the back or was worn looped up.  These styles could still be very large, and false hair continued to be used to fill out a woman’s natural hair.

In keeping with this more “natural” look, powdering began to fall out of favour, although it still appears frequently in paintings and fashion plates.  Powder fell definitively out of fashion in France with the Revolution of 1789; in England. In keeping with the mood of the period, ornamentation became more restrained, generally a ribbon, or a few feathers, flowers, or jewels.

I hope you have enjoyed reading this post and that you will come along to my Marie Antoinette talk to see both the very high over ornate court wig and the hedgehog wig yourself! 

Wrapping Gown

When this most elegant of 18th century dresses first appeared in the 1710s, it resembled a wrapping gown. It had no waist and there were no fastenings as it was pulled over the head. The front was sewn closed from the waist down, bound with ribbon all down its front, or left hanging open. They were worn as undress, i.e. informal day wear. Sometimes sleeves had relatively simple cuffs of a rectangular shape with 2-3 pleats to make them narrower at the nick of the elbow or left plain.

Until the 1740’s, it gradually developed a waist, opened in front, became more decorated and, like all dresses, wider. By the middle of the century, the gown had developed variations that could be worn for formal off-court occasions, e.g. weddings and soirees.

La Robe Francaise – Court Dress

By the 1770’s the sack-back gown was second only to court dress in its formality. In front, the gown was open, showing off a decorative stomacher and petticoat. It would have been worn with a wide square hoop or panniers under the petticoat.

Scalloped ruffles soften trimmed elbow-length sleeves, which were worn with separate frills called with double and triple flounces, not counting the lace flounces attached to the chemise sleeves.

It now had the back arranged in box pleats which fell loose from the shoulder to the floor with a slight train. The painter Watteau was so fascinated by the play of the large pleats in back that he painted them over and over again. Today these pleats are known as Watteau pleats.

Making the Robe

Silk Taffeta, Damask or printed cotton 

The Française was not exclusively upper class, but the sheer amount of fabric that goes into its construction made it unaffordable for anyone who didn’t make a comfortable living. For the middling sort, it served as Sunday best. This means that the fabric should be of the better kind – either silk damask, silk taffeta or printed cotton. – I’ve been asked about the fabric weight. Consider that heavier fabrics weigh down skirt supports, especially wide ones, so that you may need stiffer (and heavier!) steels in the panier.

As for the amount, for those who want it in a nutshell: 10-12 metres @ 90 cm width will suffice, a small safety allowance included. 1-2 metres more for patterned fabrics. You may think that this is an awful lot of fabric. Yes, it is. You may think that you won’t need as much because you’re petite. No, believe me, you will need it. It doesn’t make much difference whether you’re slim or fat. Even if you’re on a budget, an 18th century robe is nothing to be niggard about.

Linen for Dress Lining/Petticoat

For the lining, you also need roughly 150 x 75 cm of a firm linen-weave fabric. The lining will hold the whole construction up, so it mustn’t be too weak or be distorted easily.  You also need to make a toile that is a mock up in cheap non-stretchy sturdy fabric so not expensive mistakes are made with the silk. It should be the colour of unbleached cotton or linen or match the top fabric or go well with the top fabric while being inconspicuous.

Sometimes the petticoat was made of plain linen and only covered with the fashion fabric where it showed, i.e. in front and partly up the sides and back.

Washing

Most books recommend washing the fabric before cutting in case it shrinks. In case of silk, however, that is risky: Silk tends to lose some of its shine and stiffness. 

Making the Pattern

The most important part of the dress construction is lining as it determines the shape and fit of the finished garment. If the lining fits properly, so will the robe as it is simply draped onto the lining.As the Robe, a La Francaise is only fitted round the front and can easily be adjusted to two or three dress sizes.

You should also have the corset finished first: The robe can only fit properly if it is draped on the corseted figure. And the panier should also be finished since its size and shape determine the length and width of the skirt and thus, the fabric consumption. 

LINING AND LACING AND PLEATS

Cut a mock-up of the lining out of cheap fabric like calico first. This is called a toile it allows mistakes to be made without wasting expensive fabric. Lightly baste or pin the back, sides and fronts including the under stomacher (not sleeves) together and put it on over the stays, allowances to the outside. Make sure it fits properly – so it lies smooth – adjustments, if any are necessary, should be marked directly on the fabric so this can be used as a template for the lining fabric.

The proper lining fabric is then cut out and sewn together to create the body and sleeves of the dress lining.  The under-stomacher is sewn into the lining – it has eyelet holes and is designed to take the stress often placed on fancy stomachers. Also, the purpose of the front facing on the under stomacher is somewhere to pin the decorative stomacher later.

Back Lacing

Ties have been added to the back of the lining for adjustability.

Cut 10 pieces of twill tape 12” long – pin each end of tape as indicated on the pattern – tapes will lie on the outside so it is easier to adjust for the wearer. Make a casing with twill tape stitch down over the tapes then insert boning.  I have used covered 6mm sprung steel – then pull the tapes in to make a perfect fit – The boning will keep the back straight and smooth. It should be necessary to adjust the back tapes only once.

The design should enable one to let out the torso of the gown sufficiently so it can be worn through early pregnancy or taken up an entire size. 

Draping the Robe – The back is pleated into two large pleats and must be symmetrical (as my fabric isn’t wide – I had to join it off centre).  Then sew the top fabric pleats onto the back-neck piece. The Front and back pieces of the gown also have had the fabric folded back from shoulder to hem – these are called robing’s – they will be decorated later.

The front and back are then sewn together along the shoulder seams and at the sides.

A side skirt extension which is a large rectangle of fabric is sewn to the back and front of the skirt sides to increase the skirt width and then pleated to make the side pockets.

The dress is now attached to the lining – along the neckline and down the front under the under stomacher. It is also attached at the top side seams, at bottom of side seam and on top of pocket pleats.

Sleeves

Sew the seam of the sleeve and then attach the sleeve into the armhole by 4-6 small pleats.

SLEEVES ENGEANTES

The sleeve engeantes or flounces then need to be attached – there are two on each sleeve a smaller and a larger. Gather the upper edges of the flounces and sew them on with a little head.  The smallest flounce sits on top. The longest part of the flounces is at the outside of the elbow, where the sleeve is longest.

Hem

Put on the robe over stays and pannier. Be sure to wear your period shoes or heels the same height as those of your period shoes. the front edge, the skirt should 5-8 cm above ground. At the sides, it should be floor length or 2-3 cm above. In back, the train length is a matter of taste All the more reason to attach a cheap hem protection fabric to the inside of the train.

 STOMACHER PATTERN

From about 1740, most gowns and bodices were worn to reveal a stomacher, a stomacher is a decorated triangular panel that fills in the front opening of a woman’s gown or bodice. The stomacher may be boned and cover the triangular front of a corset.  This stomacher is decorative, the bodice’s lacings would then criss-cross over the stomacher or be pinned.

They could be made of the same fabric as the dress or of a contrasting fabric. Depending on the period, their bottom point was at waist level, or lower; towards the end of the 18th Century they could be as deep as 10 inches below the waistline, making it impossible for the woman wearing them to sit.

Once the under stomacher is laced centre the stomacher over the lacing and pin to the top edge of the facing of the lining. The pinning line corresponds to the stitching line.

Making the stomacher

Pin stomacher interfacing together and sew boning channels, pin stomacher lining to stomacher. Pin interfacing to wrong side of lining stitch all layers together leaving top of stomacher open. Turn stomacher right side out and insert boning into casings. Fold remining seam allowance to inside of stomacher.

Decorating the Stomacher

For a 1750-1770 robe, the most common trims were bows and gathered or pleated strips of top fabric, So I decorated the stomacher with box pleated silk sewn waving down the stomacher and trimmed it with bows and very fine antique gold and pink trimming. Trimming was usual narrow and the same colour as the garment, as here many formal gowns were trimmed with metallic trims. The narrow band of lace sewn to the top edge was called a tucker.

Fabric was very costly so only the extremely wealthy could display such extravagance in trimmings. The stomacher is a very attractive item which you can replace quite easily – a different stomacher can ring the changes with any gown!

The result is a beautiful gown that can be worn for any court event!

I presented my latest costume talk twice during the last week – for the Yorkshire Embroiderers Guild on Saturday 10 March 2018 in Cottingham in Beverley and then again for the Royal Scots Club in Edinburgh on Tuesday 13 March. https://www.royalscotsclub.com/afternoon-tea-2/

My talk about Marie Antoinette compares the styles of two dresses she wore – elaborate and and ornate Robe a La Francais or Sack Dress and the simpler La Reine Chemise. I explore the character of Marie Antoinette in relation to the clothing she wore and the impact it had on the French Aristocracy.

I am always happy to include a question and answer session after my talks. You may be interested to read some of the questions and answers below. 

Questions included

How wide was silk produced in France during the 18^th century?

Silk today isn’t usually very wide – mostly 44” however I have bought some silk which is 60” wide although this isn’t very readily available.  I know that the width of silk produced in the past was generally dependent upon the length of the arms of the weavers as they moved the frame. So the silk fabric was usually about 28”during the 18^th Century but could vary from a narrow as 24” up to as wide as 36”.

Did the ladies of this period wear anything at all under their skirts?

The ladies of this period wore nothing at all under their skirts and petticoats.  The first pair of knickers or drawers were worn about 1795.  They were separate legs and not joined at all in the middle. They were tubes of fabric based on men’s trousers. As the skirts were lighter and sometimes see-through they were needed for cover and warmth.

Were the cocoons of the silk worms producing silk in China brought to France to produce silk?

Silk dying and weaving developed in ancient Syria, Greece and Rome but the silk itself always came from the East. Silk production first made it way to the West in the A.D. 6th century when monks working as spies for Byzantine Emperor Justinian brought silkworm eggs from China to Constantinople in hollowed out canes. Bursa in present-day Turkey and Athens, Thebes, Corinth and Argos in present-day Greece all became silk producing areas.

Silk production spread to Italy and France and continued through the Middle Ages, the Renaissance and Industrial Revolution but was devastated by a silkworm plague in 1854. Louis Pasteur discovered the cause and developed a treatment. The Italian industry recovered but the French industry never did.

I would like to thank my super son James for assisting me with the talks and my kind friend Dave for doing all the driving and there was a lot of driving! 

I really enjoyed presenting the talks  – I love meeting new people and enjoy chatting to them about my passion – costumes! 

We presented out talk in a large spacious hall in the centre of South Shields. 

The U3A is an organisation was established in South Tyneside in 2001 – it’s motto is ‘Friendship , Fun and Learning’. It was certainly fun meeting all the lovely members.

South Tyneside U3A offers many opportunities to explore new interests, expand old ones and learn something different. Learning for fun rather than qualifications or exam results.
They say it is never too late to learn and research has shown that remaining active; both mentally and physically; is hugely beneficial to our health and happiness in later years.
Members share their skills and life experiences with a wide range of activity groups all organised by members themselves.

There were over 100 people who attended my talk- a mix of men and women- they were a lot of members keen to speak to me and have a close look at my costumes   The ladies all said they really enjoyed it – I also had a couple of gentlemen state they found it very interesting – success indeed as I don’t usually have a lot male interest in costumes!

Part of my talk mentions the undergarments of regency ladies – I include a chemise, corset and pantalettes – which were the first type of knickers ever worn!  They were two tubes of fabric which were based on men’s trousers.  They were separate legs and not joined at the top at all – a lady at my talk mentioned that the term a ‘pair of knickers’ might have originated when the knickers were separate legs and she is probably right!

The group were very hospitable and friendly.  I would like to thank Cheryl who booked me for all her help. She also asked me for information regarding my new talk ‘Marie Antoinette and what she worn to the Revolution’ which is I will be presenting for the first time later this year.

We really enjoyed visiting the U3A and look forward to visiting them again.

Last night we presented our Regency Talk and Costume Display for Heighton WI – Heighton is a very pretty village quite close to Newton Aycliffe.It was for a special WI event called a friendship evening and we were happy to present the entertainment.

The ladies enjoyed special cake and gateaux baked specially for the event  – enjoyed with prosecco wine. We were of course asked to join them however an alcoholic beverage is possibly not the best idea prior to presenting a costume talk!

I presented my Regency Talk which included costumes inspired by  Jane Austen and Empress Josephine among others.

After the talk I was pleased to offer a question and answer session.

One of the very interesting questions included –

What types of lace were used in the regency period? 

We will be returning to Heighton WI to present my new talk “Marie Antoinette and what she wore to the Revolution” – we are certainly looking forward to it!

Last Friday  21 October we presented our Tudor Talk for a ladies group in Brancepeth.

My talk included Tudor Underwear and costumes inspired by King Henry VIII, Anne Boleyn, Elizabeth I and Mary Queen of Scots.

Quite a few questions after my talk were relating to the Tudor Under garments and laundering of the clothes.

What did they wear under their outer garments?

Could the clothing be washed?

Did the ladies wear any type of knickers?

How were the skirts held out?

The chemise, called a “smock” or “shift” in the 16th century, was a simple garment was worn next to the skin to protect clothing from sweat and body oils. As Elizabethans rarely indulged in full-body baths, and as the clothing of the middle and upper classes was not the kind one could pound on a river rock or scrub regularly with ashes and lye soap, the chemise was vital to Elizabethan costume.Smocks were made of fine linen, as fine as the wearer could afford. Many of the better smocks were made of what we now call “handkerchief-weight” linen. Lawn, cypress and holland were three 16th c. varieties of sheer linen used for fine smocks.

These smocks hung to just about knee to calf-length, on average. This is a square -necked gathered smock – it has a  very voluminous body and sleeves, I have gathered the fabric into a square neckband and wristbands. It was sometimes pulled through the slashing of the outer garments during this period.Resistance to fungus and bacteria – Linen has natural antibacterial properties and that is why it is used in medicine. It also acts against the bacteria that make you smell. Regarding washing of the garments – the silk and heavily embellished fabrics could not be washed.  They outer garments were heavy to don and doff, stiff and uncomfortable to wear and to be honest very smelly.  Without the essential chemise next to the skin they would have been even worse

This corset has been inspired by the corset found on the ‘effigy’ of Elizabeth the First. I have designed a tabbed waist corset, which is the type which is the easiest to wear. The tabs distribute pressure so the corset does not ‘dig in’ at the waist. The Elizabethan corset gave a period shape to the body and had straps to help lift the breasts. It was made of linen (I have constructed it in cotton twill or linen. Spring steel boning has been inserted into channels to give strength.  During the 16th century corsets were stiffened with whalebone, reeds, steel or rope. I have used binding on the edges as Elizabeth’s corset was bound with leather. The lacing holes are reinforced with sturdy cotton thread and the corset is laced with cord.

To create the correct shape for clothes of the period a Spanish Farthingale was worn. This was a bell-shaped hoop skirt worn under the skirts of well-to-do women during the Tudor and Elizabethan era. From 1530 to 1580, the farthingale played an important part in shaping the fashionable silhouette. (First Farthingale worn by Joan of Portugal to hide pregnancy – had two illegitimate children)

The Spanish Farthingale, as its name suggests, originated in Spain. Tradition holds that the Spanish Farthingale arrived in England in the 1520s, introduced by Katharine of Aragon, Henry VIII’s future queen. It is true that, beginning in the 1530s, clear evidence of hoop skirts worn by English noblewomen begin to appear in court paintings and portraits.

The pattern for this farthingale is from Juan de Alcega’s Tailor’s Pattern Book, published in 1589. It has been created from sections of calico – which are cut and then pieced together.  The sections of fabric are placed so that no bias seams are sewn to each other. This was to eliminate the sagging which two bias seams sewn together would inevitably experience. I have cut additional pieces of fabric, 2 inches wide, to match the length of each piece of boning to create casings for the stiffening.After everything is sewn together, the farthingale would have been gathered at the top and the raw edges bound with a strip of fabric.  It is reasonable to say that the opening would have been in the back or in the front for a front-lacing corset.Three materials were known to be used for stiffening farthingales in Elizabeth’s time: rope, bent rope, and whalebone. Most recreation farthingales are made using hoop skirt boning. Hoop skirt boning is 1/2-inch-wide stiffened canvas or plastic with spring steel along the edges. It is very stiff and can hold out the heaviest of skirts, yet is lighter than other boning materials. After the boning is inserted the casings are tacked close.  The boning can however be easily removed so the farthingale can be washed.

A Bumroll, which, as its name suggests, was a roll tied around the bum, was an essential piece of Tudor and Elizabethan underwear. In Elizabethan times, it was more commonly called a “rowle”; “bumroll” is the modern term for the item. A bumroll is made from a crescent shape of non-stretchy fabric such as calico which is stuffed with wadding and has ties attached to the ends.

The first hard evidence of a separate roll worn around the hips are a reference to them in Elizabeth’s wardrobe accounts from 1580. It was tied around the hips to make a woman’s skirt swell out becomingly at the waistline before falling to the ground. It was used throughout the 16th century and into the 17th, and considered an essential aid to fashionable dress. Elizabeth I wore one with her gold gowns.

Gold Elizabeth I Gown

By the way no type of panties or knickers were worn – If you are interested – the first type of this type of underwear were in a form of leggings or long drawers, they originated in France in the early 19th century, and quickly spread to Britain and America. Without the correct underwear, the shape of the dress of the period would be unable to be achieved so it is a very important part of the costumes.

You simply can’t look like Lady Jane Grey, Anne Boleyn or Mary Queen of Scots without the right foundation garments. If you make the attempt, the most you’ll achieve is the look of a poor and cheaply made fancy dress costume: A lumpy and ill-fitting mess. It’s impossible to achieve the lines of an Elizabethan gown without a corset (as well as a host of other “underpinnings” such as bumrolls, farthingales, or hoops).

I would like to thank the super ladies of the group especially Janet for their help in setting up the costume display.

I had a great time chatting to them all afterwards – I also enjoyed a couple of cakes, fruit cheese and two glasses of Elder flower wine with them as well  – beautiful!

We really appreciated your kind hospitality and hope we meet again!

With Ann at Thropton WI

Earlier this week we presented our Tudor Talk with costume display for Thropton WI. Thropton is a very pretty village in Northumberland which is next to the picturesque town of Rothbury.

We were located in the newly refurbished Thropton memorial Hall – a lovely venue with perfect facilities for our talk- a large stage, a spacious hall and plenty of changing rooms.

The ladies really enjoyed our talk and sent the feedback below

The ladies also had quite a few interesting questions – 

What is one of the differences between the making of film, theatre and TV costumes?

In my opinion one of the main differences is that theatre costumes aren’t usually seen close up so they don’t need to be so detailed – for example embroidery on a stomacher for Queen Elizabeth I could be artfully glued with jewels and gold paint could be sprayed on to give an impression of embroidery as the first row of the audience in a traditional theatre is usually quite a distance away. In a TV production or film the embroidery needs to be more realistic as the dress can be seen in more detail- intimacy is gained through camera angles and close ups. I noticed in the recent TV series “The White Queen” starring Max Irons that the actress playing Elizabeth Woodville had a zip at the back of her dress- not a good look considering the first zips were invented hundreds of years later! 

The White Queen TV Drama

Re-enactment Costumes are different again – they need to be accurate close up – right down to the type of thread used to sew the seams – no polyester/cotton thread – it must be pure cotton! This type of costume is not the type I would wear as re-enacters are not allowed to use make up or modern hair straighteners  – which wouldn’t suit me!

Do I visit exhibitions of extant costumes?

Of course I do – I love seeing any type of costumes.  I recently visited two costume exhibitions while on holiday in Harrogate. I visited Normanby Hall- a beautiful 300 acre estate set in the heart of North Lincolnshire. Normanby Hall’s costume gallery featured the exhibition ‘Victorian Vogue’.

http://www.tudortalkandcatwalk.com/normandby-hall-haute-couture/

I have included photographs of the display and more information on my website – to read more just click the link above..

It took items from Normanby’s extensive costume collection to document changes in fashion from the 1840’s to 1890’s.

I also visited a fabulous new Costume Exhibition at York Castle Museum called ‘Shaping the Body’. An iron corset, crotch-less pantaloons from the time of Jane Austen, bum rolls and a killer dress are a few of the items that featured in this major new exhibition which charts the way fashion, food and fitness have shaped the body over the last 400 years. I am currently designing an 18th century Sacque Dress for my new talk Marie Antoinette and Fashion.

A 1775 Dress at York Castle Museum

There is a wonderful extant 1775 Sacque dress on display complete with a set of panniers (boned hooped underskirt).   It was wonderful to see an actual dress of the period similar to the pink silk Marie Antoinette gown I am currently making for my new talk.  The display gave an invaluable insight into the fabric, construction and design of the period!

My Pink Silk Marie Antoinette Gown

What did Tudor women wear under their underskirts?

Ladies of the 16th century wore nothing under their skirts as nothing was deemed essential, necessary or had even been thought of at that time.

In her book ‘Knickers, An Intimate Appraisal’, Rosemary Hawthorne records that before 1789 and the French Revolution that long skirts, a petticoat or two, a corset and linen chemise were the only forms of underwear women thought were desirable. As a result, women began covering their lower regions simply because it was warmer to wear some undergarments in the cool north European climate.

During the Regency era women began wearing pantalets. Pantalets originated in France in the early 19th century, and quickly spread to Britain and America. They were thought to have been based on men’s trousers. Pantalets were tubes of fabric which were not sewn together which they tied around the waist.

At Thropton WI

Is the Henry VIII clothing comfortable to wear?

I have asked my husband this question today and he gave this reply

“It is a fairly comfortable costume to wear and not particularly restrictive”.  There is no boning in this costume just some padding in the sleeves and body of the gold doublet. There is also copious padding  in the top of the sleeves of the outer robe – Tudor gentlemen liked to both emulate and flatter their their stout monarch by adding padding to their clothing.

“The costume does to seem to become heavier after being worn for about an hour” Today we are not used to wearing such heavy clothing on a day to day basis – we usually dress for comfort the exception being a formal event like a Wedding , ladies may wear a boned corset to change their shape and gentleman a stiff high necked shirt.

Mick as King Henry VIII

“The costume can make you feel very hot during a costume event particularly when worn in the summer months.” The Henry VIII costume becomes hot and uncomfortable quite quickly. There are at least four layers of clothing on the torso alone – the shirt, the padded doublet, the  jerkin and finally the very heavy robe of velvet, trimmed with fur and lined with satin. I have read that the climate in the Tudor period was on average quite a lot colder than it is today, during James I’s reign the Thames froze completely, people skated and had fairs on it!

 “The shoes are very comfortable”  They have been commissioned from Pilgrim Shoes. They are designed in soft black leather slashed with gold silk puffs. They were made to measure for a very reasonable price. In fact my husband had to stand on a piece of paper and draw round both feet- the papers were sent to Pilgrim shoes and the shoes that were sent are very comfortable. I would not hesitate to recommend them.

http://www.pilgrimshoes.co.uk/

Finally he said “The tights/hosen do feel awkward at times” I suppose as my husband is used to wearing modern trousers every day tights would feel rather odd to a gentleman!

Talk at Thropton

Did I present a display of costumes at Belsay Hall?

Yes – I have presented two large displays of my Tudor Costumes for English Heritage at Belsay Hall in Northumberland  – other venues for my displays have included Raby Castle, The Royal Armouries in Leeds , Lauriston Castle and Kedleston Hall.

I also presented nine- yes nine! Tudor Fashion Shows over a bank holiday weekend at Belsay Hall.  It was very hard work but my team and I really enjoyed it!

Costume Display at Belsay Hall

Do we present talks to mixed groups – ladies and gentlemen?

We do indeed present talks to mixed groups of Ladies and Gentleman.  Not only women are interested in history and costume!

Admittedly we present the majority of our talks to ladies groups however have presented a large number of events to the general public including The Royal Armouries in Leeds, Belsay Hall and Kedleston Hall.  We also presents events for the U3A (University of the Third Age) and there are usually an even mix of ladies and gentlemen . For our Regency Talk at the Army and Navy Club in London to commemorate to bicentenary of the Battle of-Waterloo there were no ladies present at all and the gentleman said they really enjoyed it!

Costume Display at Raby Castle

Where do I source my fabrics?

I use a large amount fabric mainly silk for my costumes. I used to buy James Hare Silk which is amazing however this has become very expensive – I need at least 10 yards for a Tudor Gown which can cost quite a lot.  So I now buy my silk from India for a much more reasonable price- the only problem is that it isn’t very wide – only 44 inches.  I am currently making a Marie Antoinette Gown that required 16 yards of pure silk brocade and managed to buy it from a fabric retailer based  in India for a very reasonable price!    http://www.puresilks.us/

If anyone would like a list of my suppliers I for fabric or haberdashery I would be happy to email them a copy.

Thropton WI

We really enjoyed presenting our talk for Thropton and hope to see them again in the future – thank you Ann for all your help and hospitality!

I hope you have enjoyed reading this post – if you have leave a comment – thank you