The best sources for cage crinoline supplies, corsetry, fine cotton fabrics for undies, and wide eyelet and cutwork lace for frilliness.
Details on where to get quality materials to re-create all kinds of extant ruffs, collars, smocks, shifts and chemises.
Monochromatic Embroidery is an umbrella term used to describe a type of embellishment popular during the 16th Century.
Making a new outfit for a young Tudor lady.
Part 2: foresleeves, forepart, kirtle layers, and revisiting the smock.
Making the entire ensemble for a young Tudor gentry girl (all techniques and patterning can be applied to adult gowns.)
Comparing sixteenth century corset patterns to determine the advantages and disadvantages of each one on the body.
In the final poignant installment, Julia brings Mrs. Gainsborough and her daughter home to the Georgian artist's historic Suffolk base, to show the complete outfits in all their glory.
After a brief diversion last month to Gainsborough’s daughters, we return to Mrs Gainsborough’s own Georgian wardrobe and explore her 18th century underwear.
Working from the skin up for Mrs Gainsborough's 18th century ensemble, Julia takes us through building her stays - the key to the classic Georgian silhouette.
The shift as we know it emerged in western European fashion by c. 1000 CE. Here, Sharon shows us how to make one to suit early-mid 18th century styles.
How to make 18th century hoops - small, pocket and medium sized - and some humorous period stories about their use.
Examining and challenging myths and assumptions about the petticoat’s style, use and nature during the Regency period.
Myths about Victorian clothing can be pervasive. Here, Lisha sets us straight on 9 common misgivings about Victorian dress.
Not every urban legend is true: Lisha clears up some common misconceptions about Victorian corsets and underpinnings.
Woodruff-Fontaine House has one of the most extensive costume collections in the American South. We take a tour.
The lobster tail bustle is a classic for a reason. Here, Christina shows us how to put some junk in that trunk (includes free pattern).
What's not to love about a bustle gown? Christina puts aside the lobster tail, makes some different bustles and compares the effects.
Constance concludes her exploration of the Victorian cage crinoline with the recreation of a large covered crinoline from 1868.
Constance explores how, during the mid C1800s, skirts expanded - supported firstly by stiff petticoats and then cage crinolines.