Connectica International Co., Limited
18th century stay (reversible)
I don\'t know if reversible is accurate historically, but as a modern woman I feel it is a good feature, especially since the accommodation is time consuming.
I made this by hand, but machine sewing is definitely a good time-saving option.
Brief introduction to general accommodation (
: From the end of the 17 th century to the beginning of the 20 th century, this is the main clothing in a female wardrobe in the Western world.
I call it an 18th-century accommodation, but its design is really similar from the 17 th century.
The accommodation itself is not worn as underwear, but during the shift (
This is all-in-
A lady\'s underwear.
Is the accommodation dressed in beautiful gym clothes for women or is it a corset for yourself (
Depending on the time period and economic situation)
Provide support and image building.
Accommodation is equivalent to a combination of modern sports bras and suspenders, which provide support before and after.
I don\'t quite know the exact difference between accommodation and bodice, but in my experience, accommodation tends to have labels on the bottom, no bus in front, and unlike most bodice, sometimes shoulder straps.
I also learned that while the bodice have more French influences, the accommodation is of British descent.
The first dress that really resembles these two gym clothes for women is clearly the first in Spain in the early 16 th century, just fixing the wooden lathe together with linen tape, so whether it\'s left or a corset, it must be more comfortable than that.
Supply: pattern: I built my stay on the butter pattern.
My first check in was completely out of mode, but it wasn\'t suitable and inconvenient because it was too thick and too heavy, it wasn\'t on my waist line, this caused it to lean uncomfortably against my ribs.
For this, I modified the pattern to align with my waist and made some other adjustments based on some research.
I found Carl Kohler\'s book History of clothing, what should I wear?
Guided by Mara Riley.
In addition, this website is very inspiring.
In my own mind, one of the things that took me a while to figure out was that the apex of the cut that made the label in the lower part was the waist line.
The laces can only pull the waist to that point, and the label on this line will open to follow the natural widening of the hips below the waist line. (
More about this in step 3)
I cut one of each pattern from the main fabric (blue), the lining (red)
Interface with canvas.
After that, I sewed the canvas to the main fabric and pieced together the middle part.
The channel is formed by stitching the interface with the fabric.
I used a pencil to sketch the boning channel on the back of the interface, and then run a continuous stitch on each line, creating a channel between the interface and the main fabric.
The location of the boning channel is really a bit casual.
According to historical examples, the only rule is that the bones are within about 40.
Five degrees vertical.
Based on the problems I encountered during my first stay, I made sure to extend the bones that extend above the label to the top of the label.
Otherwise, they fold up, uncomfortable and look terrible.
At this point, I cut the crack out of the lower hem of the waist line to make the label.
I find it important to remember that the label is cut to the height of the waist line, because the label will open the bottom of the hip.
To make the bones, I cut off the tie-band part of the cable tie-band and left a square end.
I then cut corners with a wire cutter and archive the ends. (see pictures)
Then I put the bones on the channel I am filling, the end of the circle is aligned with the end of the channel and marked on the tie that is consistent with the other end of the channel.
I then repeated the process of ending the rounding, starting with cutting the tie on the mark at the end of the square I just made.
After both ends of the bone now of the correct length are rounded, I insert the bone into the channel.
I make sure to leave the bones in the channel that touches the edge of the fabric, about a quarter of an hour from the edge margin of the roll.
I also made all the longest bones in the first place, so that I could use the extra parts that make these bones to make smaller passages.
After Boning, I changed the gear and made the lining (
For the sake of clarity, I call it the reverse).
The lining is exactly the same set of parts, stitched together with the exact same seam allowance, so that the lining produces exactly the same size as the other (
I don\'t have it in theory, but it\'s close enough to work just a little trim).
The lining is located right on the main body and is connected by the edge of the wrap/binding.
I think traditionally the edges of the accommodation are bound in quarterly inches, but in pursuit of the reversible nature of the two very different colors, I folded the edges below and stitched the edges with a whip
I like it because it is inconspicuous and the edges combine strongly.
I used a leather punch and cut the lace hole along the back.
The hole starts at the top of the back and continues to extend down the waist line every about 1 inch half, except for the last hole about half an inch.
Something like this, I don\'t really like metal eyelets, but they are a replacement for hand-done eyelets, just like me.
Note: the waist line is also the top of the tap slit, and the lace hole needs to end here so that the label at the back does not pull too much.
It took me a while to realize this.
For more information on laces, see next.
It is at this point that I have also attached shoulders that I have deliberately done for a long time so that I can adapt to the present length at the end of the rest more or less.
I tied myself up and found the right length, cut two holes in the shoulder strap, and cut two matching holes in front of the shoulder strap attachment.
By holding a small strip thread of the hole of the strap. (see pictures)
From the historical examples I have seen, in zig-
The glyph is not a criss-crossing,
But I prefer the standard modern version of criss.
Because it pulls the laces in evenly.
From the bottom to the top, they are included in almost all historical examples.
The front lace stay is easier to let yourself in and out than the back lace stay, but it is possible to let yourself stay in and out.
It takes about ten minutes for me to go in alone, but if you have a friend (
Or a servant in the past days)
Help, it takes less time.
In order to get in by yourself, unstrap the straps, tie the laces at a distance of about 1 or half of 3, and then pull it back to help.
Starting from here, you can finish the front lace, then rotate the hold in the right way, grab the end of the lace, continue to tighten, and rotate the hold in the right way.
If I was alone and could not tie the lace to the top, I would pull the lace down, circle it under my arm, tie it to the front, and tuc lace under the top edge of the accommodation.
Then I tied the straps back.
You can put it completely lace first and then pull it in the right direction, but it takes a long lace to make it wide enough to cross your shoulders or hips.
I tried this and it took me about six and a half yards of lace to squeeze in instead of two yards on the photo.
Two yards of leaves are enough to plug in at the end, and when I was completely tied up, six yards had fallen to the floor.
In this way, the rest really depends on the personal taste or the exact representation of the historical period.
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