Tag: historical clothing

Blue Tudor Gown: Building the Plaquette

Sarah JoLeave a comment

If you’ve followed along on this series, we’ve finished work on the kirtle, outer gown, and foresleeves. Now, it’s time to indulge in all things dramatic and sparkly and wonderful: the plaquette. The plaquette is a stiffened panel that attaches to the front of the gown to hide the center front lacing of the gown while creating the smooth front characteristic of a Henrician gown.

The plaquette has a rounded shape on top and a pointed shape at the bottom and the sides should line up near the side seams of the gown bodice. It requires stiffening lengthwise to hold its general shape but needs to be moldable or soft widthwise to hug around the front body. Ideally, the kirtle and outer gown are providing all of the body shaping. So though the plaquette is stiffened, it’s for decorative purposes in the end.

The plaquette pattern is based on the bodice panels with the addition of 1″ at the center front, curved to either side to match the original side lengths. Additionally, the bottom is extended 1″ in order to overlap with the forebodies panels and elongate the torso.

A comparison of the plaquette (left) and forebodies (right) pattern pieces

It can be simple and smooth, elegantly embroidered, or heavy as heck with diamonds and rubies. I opted for a blend of all three. Because why not be extra?

In my mind’s eye of design, I initially wished to create the plaquette with embroidery with details of seed pearls and beading. Yet, the lace and embroidered pieces that were available to me at my local stores were far too modern for the design I wanted. I thought about teaching myself to embroider or commission a panel of embroidered material specifically, but I’d already far and above blown the project budget on the sheer yardage required gown. I couldn’t justify buying MORE material, no matter how much I wanted to indulge the desire for gorgeous fabric. Instead, I would use items I had in my stash for the project already.

You see, when I get an idea for a project, I turn into a crow. If I see something in passing that is even remotely related to the project on sale, clearance, or just THE perfect color, I buy it and stash it away in one of the many many baskets that take residence around my all-in-one living room/dining room/sewing room/guest room (basically the only room in the apartment besides my bedroom). Once the basket contains most or all of the inspirational materials I need, I start. Often this means I have more inspiration items than I need or use, but it leads to a wonderfully sorted creative process.

To build the plaquette from these materials, I start by deciding on the fashion fabric and structural layers. In all, I used four layers: the outer/front layer from blue velvet remaining from the outer gown construction, thin white muslin interlining, coutile, and blue linen for the lining.

The layers used in the plaquette from left to right: blue linen for the lining, coutile interlining, muslin interlining, and blue silk velvet front.

Now, a bit of explaining on the layers. I didn’t come to this arrangement naturally, nor does it seem necessary in hindsight. To start, I actually had a layer of buckram in the middle at one point too. I attempted to use that layer to provide the structure necessary to give the smooth shape and hold up the gems I planned to add. However, on the trial run of the layers (baste stitched together), the buckram buckled and folded weirdly with any movement. It was…too stiff. So I eliminated it and planned to add a few bones to the plaquette to support instead.

Since I planned to add boning to the center (essentially acting as a busk) and following the top curved seam, I added the layer of coutil which would give me a base to add twill tape boning channels while preventing any stretching of the plaquette overall. We’ll come back to this thought.

The muslin layer is added for a lining structure for the thin weave and delicate silk velvet to be mounted on while I added trim, embroidery, beading, or whatever creative embellishments I landed on. I baste these two layers together first and can begin the embellishment process.

The first item I pull from my stash basket is a navy trim I purchased on clearance from Joann’s. I thought to use it to create geometric style lines to meld with the diamond patterns on the outer gown. I fiddled around with it for a while, pining in places, holing it up to myself in the mirror, and adjusting until I was happy with the effect. In the end, the shape creates a triangle or v-shape mimicking the point on the plaquette as well as the diamond effects.

The final placement of the trim on the blue velvet. It ended up being at a 30-degree angle from the center trim piece and was quite flattering.

Finally, was the most fun part of adding beads on beads on beads and gems and more gems! Unfortunately, I don’t have a lot of photos of the beading process since I was so excited and playing with it as I went that I just kept stitching and didn’t record any. Looking back though, my process started by sorting through the beads I had available and having any that coordinated nearby, then testing how certain patterns of beads would look in sequence. I took a sequence that I liked from the seed beads and couch stitched them in parallel along the center raised section of the trim.

For this pattern, I used a mirrored pattern of 1 4mm pearl, 2 copper seed beads, and 1 sapphire seed bead at the center
Then because I loved the pattern so much, I used a similar style for the top curved edge with a mirrored effect of 4 gold seed beads and 1 red seed bead. The topmost line of beads then uses 8mm pearls to create a crowning effect that should meld with the gemstones and pearl pattern on the kirtle.

And of course, I want crazy using gems to my heart’s content. Again, this was a process of trying patterns to see what I liked and what I had enough glass gems for to have a cohesive pattern.

The gem pattern I decided on is shown on the left of the panel. Though I did toy with the idea of adding a few red gems, it felt like I was approaching the color scheme of Snow White once the bright red gems were added. Plus they were way too bright in comparison to the more burgundy tones on the outer gown.

Before moving on beyond the beading, I’d like to take a moment to appreciate the backside of the panel because I find it simply fascinating

The backside of the plaquette after finishing all the beads. Large basting stitches are visible in blue from tacking the trim in place, then smaller blue stitches for all the gems which I could use larger silk thread for. You can also see the smaller stitches in brown beading thread that the dead beads were stitched with. Finally, white silk thread was used for the last extra pearls I added.

Embellishments aside, it was time to add the structural layers and finish the piece. I placed my coutile on top of the finished beaded panel and traced the lines of the trim/beadwork under which I would add boning channels.

  • Tracing the trim locations, marked with yellow tailors chalk
  • 3/8″ twill tape is used to create 1/4″ boning channels.

[what boning made it to the final garment]

The lining and coutile layers are basted together for stability. With all layers finished, the lining layer and outer layer are stacked with right sides together and are stitched, turned outward, pressed, and slip-stitched closed for a final finish.

  • Basting the lining to the coutile
  • Interior of the basted coutile
  • all layers stitched with right sides together
  • After turning the stitched layers and prior to slip stitching the top seam.

The completed bead structure

The last step is to create a way for the plaquette to attach to the gown bodice. Historically, this was achieved with the use of straight pins that a lady’s maid would have used in dressing a noblewoman. But, it’s just me, and I like convenience. So I use a strong home decor thread to whip stitch one side of the plaquette to the gown and add hook and eyes to the other side. This was a tad of a process since my initial placement of the plaquette was not tight enough across the gown front and caused the hooks to, well, unhook when I moved. But the second time was too far apart and forced me to pull the gown front panels together when hooking. Third time was the charm and achieved the right tension. So don’t worry if it takes a bit of finagling to get it right.

  • Marking the hook locations the back of the plaquette. I placed these about 1″ apart
  • The hooks in place. Be sure you have hooks at the very top and bottom so there is no gaping. The chalk line for final placement of the eyes is visible on the main gown.
  • I used pins to mark the locations to place the eyes based on the final hook locations.

There it is, the completed plaquette. And I adore it. Aside from the laughable weight of the outer gown, it’s my favorite part of the gown.

Crazy to believe, but we’re nearly complete with this project. Only one more item to build and she’ll be complete

Keep following along to see the building of the:

French Hood

And return back to the:

Design Intro

Kirtle

Foresleeves

Outer Gown

Blue Tudor Gown: Building the Kirtle

Sarah Jo4 Comments

The foundation garment for gowns in the 16th century, otherwise known as the Tudor Era, was the kirtle. The structured garment precludes the bodies that were characteristic of the Elizabethan Period, stays from the 17th century up until the advent of the corset in the 19th century onward. The kirtle can be a structured bodice coupled with a petticoat or underskirt that would serve as the window panel for dresses like the Henrician lady’s gown or fashionable French Gowns. In the case of the underskirt, the structured bodice and skirt were joined to make one garment.

https://www.flickr.com/photos/33317700@N07/3689052608/in/photostream/

Historically comprised of tightly-woven linen and whalebone, the structured bodice created the shape of the period: low, square neckline; lifted bosom; and straight, angled waist. For my kirtle, I use the pattern provided by The Tudor Tailor book.

I transferred the pattern pieces using parchment paper and then scaled using a 1:8 scale as instructed by the book. Fortunately for me, the provided pattern is nearly my base measurements already (bust, waist, hip) but I did end up taking the pattern in by 1″ at the side seams and adjusted the shoulder straps quite a bit from the mockups. I also noted that the pattern would be at least 6″ too long and would address that later when cutting the skirt.

By this point, I had decided to use the navy blue, geometric fabric from the original project for the over-gown and wanted to combine this with a yellow and burgundy floral patterned upholstery fabric I had from a yard sale. The yellow/gold and burgundy/red in the floral pattern was the exact shade of colors as the center of the diamond pattern of the blue fabric and would complement nicer than the silvery gold geometric I originally planned to pair. In addition, the floral was close to being a damask pattern that would’ve been fashionable for the Tudor period. The only flaw in this thinking is that in most reference paintings for the project (see image above), the geometric pattern was usually in the window panel and accents while the floral/damask was used as the main fabric. I was really pleased with the combination though and planned to roll with it.

For the kirtle bodice, I used a mixture of fabrics to give the correct structure and look. The fashion side of the bodice is pieced with navy linen I had on hand ($6 for 6 yards at a rummage sale, score!) and the red/gold floral fabric at the neckline to match the window panel of the skirt. Since the linen was actually quite lightweight and I worried about the integrity of it once boning was added, I interfaced the pieces with scraps of tightly woven cotton. Finally, the interior of the bodice made use of heavy-weight tan linen from a drapery clearance.

The bodice is constructed of a front and back with the straps extending from the back to the front. I opted for two side closures rather than a single back lace-up since it would allow me to lace myself into the garment. The side closures also will allow the garment to adjust size easier. I cut the panels in the blue linen, minus 2″ for the pieced neckline, plus 1/2″ for seam allowance. The 2″ strip of floral was then cut and stitched in place.

In this image, the back panel has been cut into two pieces with a center back seam. I felt this would be easier since I was adding the pieced neckline in the floral fabric. Stitching the floral to blue and then center back seam was MUCH easier than attempting a mitered seam if the back were all one piece.
Here is the back panel with the center back seam. My seams with the pieces got a tad funky and caused the center back to not line up exactly, but I had given myself a generous seam allowance and was able to just trim and blend between the two sections.
Both the front and back panels were interlined with cotton and flatlined with tan linen. I made sure to only stitch the sides and bottom, leaving the top open for insertion of the bones.

To finish off the back panels, two 1/4″ boning channels were added at the center back and one on each side seam to support the eyelets that would be added.

The boning structure on the front panel was a bit more complicated. The front is fully boned (or cord if you prefer) under the bust. I used the grid from The Tudor Tailor pattern to plot out the bust curve and edge of the boning sections by marking the center of the front panel and then marking outward equivalent to the ratio on the grid (1 grid = 1″). The grid was also used to determine the bottom location of the angle lines.

With the outlines in place, the boning channels were stitched based on a 1/4″ spacing offset from the center and two angles, creating three distinct boning sections:

Here it is with the ungodly amount of bones.

I was actually shocked by how flexible the bodice was with this method. Since all of the bones are vertical, or at a slight angle, the bodice wraps nicely around the front of the body. It provides a good stomach structure and bust support without feeling cinched in. Surprisingly comfortable!

With the panels and boning finished, the straps were stitched to the front panel and all edges were surged to prevent fraying. There was a bit of finessing the fit of the straps when stitching in place and I found using a mannequin much faster than on myself. Nest, I added a strip of navy piping to the neckline edge before folding all the edges over and whip stitching down by hand.

  • Surging the edges with the cutting function on trimmed down all the fraying that developed while working the boning channels and gave a consistent cut edge with the multiple layers.
  • I use a zipper foot when adding piping. There is a specialty machine foot for piping, but I find this works just as well.
  • all the surged edges are turned in and pressed. I love clips for hems and finishing edges like this. They’re much faster to use than pins and don’t create ridges like pins do.
  • The edges are whip stitched (or felled) with silk thread.
  • The inner corners of the neckline were so hard to turn and stitch neatly. They had to be clipped in order to make the right angles and the clipping was so close to the edge it worries me that it’ll rip or start to fray. I added a ton of reinforcement stitches here and at the center back to prevent that.

The side seams have spiral lacing with 1/4″ embroidered eyelets. I spaced the eyelets 1″ apart and used bright contrasting burgundy embroidery floss for the stitches. Why not add a pop of interest, they would be covered by the overgown anyway.

Structure completed, it was time to add some shine to the bodice. The area of the kirtle with the pieced floral fabric would be visible under the main gown. In paintings I looked at, the kirtle has a row of gems, pearls, or other embellishments along this area.

  • To start, I added a row of seed pearls along the edge between the material and the piping.
  • Then a row of alternating gold glass beads and . . .
  • …faux pearls! I used 6mm pearls alternating for the straps and 8mm pearls along the front neckline.
The neckline is finished with a row of large gems and pearls placed symmetrically

The skirt of the gown is relatively simple, and yet a place I made many errors. I had very little of the floral patterned fabric to work with; however, since I am short, I was able to cut back on the required yardage significantly. Perks of being fun-sized! I also did a bit of patching to make it work. Little did I know when cutting, that I had accidentally cut the piece on the fold with the fold going the wrong way. Luckily, the bottom hem is relatively square, but the seam with the bodice is not and this caused a lot of issues with how the skirt hangs. Even with cutting back to create the point, it still isn’t quite right. But, I only had just so much fabric and had to make it work.

An example of the piecing done on the skirt. This piece is at the bottom hem, side seam, and would be almost never seen, but less obvious.

The second major mistake was fabric choice for the unseen portion of the skirt. The yellow floral fabric is very stiff, and I needed something of similar weight so it wouldn’t get all funky. I chose a “linen-look alike” drapery fabric that I thought was on clearance at Joann. A lesson to check labels carefully. The roll I had grabbed was on sale, but the backup the sales associate grabbed when the first roll ran out, was not. I ended up paying full price on not-so-great quality fabric. It did its job, but certainly didn’t look or feel as good as it should’ve for the price. I often use fabrics not for their intended purposes (upholstery for apparel for example), but they are usually similar enough and the only way to get the look I want at the price point I can justify. I should’ve taken my time and found the right material rather than settling for the first thing that was slightly doable and then regretting it as soon as I cut it out.

Overall, the fabric was too heavy. Stitching the two fabrics together was no problem, but once the back of the skirt was pleated, stitching to the bodice was a hand-breaking nightmare.

To make the knife pleats, I measured and marked the pleat lines from the pattern and drew arrows to remind myself which line would be pulled where. My pleats were about 2″ each with 9 pleats on each side of the center back.
Once marked and folded, each pleat is pinned in place and basted with sturdy upholstery or buttonhole thread. The basting stitches can be seen on the front panel in yellow. I made three rows of stitching for the back panel due to the weight and amount of handling I knew would be necessary for attaching to the bodice.

The front and back panels are stitched together up to approximately 8″ below the waistline. The skirt and bodice are stitched together by machine using heavy upholstery thread again to support the weight of the skirt. The areas left open on the side seams of the skirt allow the wearer space to get in and out of the gown as well as the addition of pockets in the future.

Skirt stitched to the bodice, the garment is hung on Molly the mannequin and the hem is leveled to hit at the ankle bone. This is a bit high for the period, but my reduction in height and forgetting to account for seam allowance at the waist brought my hem higher than brushing the toes. In the grand scheme, this is likely for the best since I’ll be less likely to trip on the front hem now. To finish the hem, I create bias tape from a navy silk ribbon found at Joann’s on clearance. It is probably the most expensive bias tape I’ve ever used in my life, but it looks absolutely flawless when applied. To conserve the use of this material, I switch to a polyester satin blanket binding for the hem along the tan linen section of the skirt.

And that is it! After some careful pressing of the waist seam, surging of the last unfinished seams and lacing up the side seams, the foundation garment is complete. With this, the over-gown can be fit tested and work can start there!