I realize that instructions are far more helpful when you can print them out and put them on the worktable while you’re using them. I also realize that pages upon pages of full color photos do not a happy printer make. I’ve made a not-so-chatty (yes, I actually can edit) PDF version of the Basic Conical Draft directions, redone with black&white line art.
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Now that I’ve got all the photography done, it’s time to pick up where we left off in The Basic Conical Torso Block (Part 1). We’re completing a basic torso block that we can use for the simplified, conical torsos popular in Renaissance, Elizabethan, Jacobean, Pompadour, Colonial, and all other eras between the Sixteenth and Eighteenth centuries. (She says, throwing as many keywords into one sentence as humanly possible.) One block, three hundred years of fashion – how can you lose?
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Aiglettes are a great way to give a renaissance costume a very finished look (and keep your points from flopping about and untying). But why would you possibly want a removable aiglette? Laundry. It’s nice to be able to take all the metal bits off before things go into the wash…
Leave a CommentFor several hundred years, beginning where the High Middle Ages met the Renaissance and continuing through the eve of the French Revolution, fashion treated the female torso as something of an inconvenience. The breasts were flattened, first by bands of wool or linen, later by corsetry and boned bodices. The sides of the body were straightened and the tum controlled. The torso became a conic shape. In some decades, like the 1590s, 1690s, and 1780s, it’s a very long cone. In others, like the 1640s, it’s a very short cone that disappears into skirts below the bust. During these times, a very basic conical torso block can be used as a basis creating custom patterns.
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The Shoulder to Shoulder width is crucial for making wide necklines that don’t fall off the shoulder. It is also crucial for spacing the straps on corsets and bodices so that they stay on the shoulder and you don’t have to fuss with them all day.
3 CommentsSo for reasons that I can’t quite wrap my head around, I’ve fround myself making show-girl headdresses. This is great, except that I don’t fully know how to make a show-girl headdress. I’ve a notion that it’s definitely a wire-and-plier project….
17 CommentsNot all feathers are created equal. It’s unfortunate, but it’s true. You go to the craft store, looking to feather your cap with some amazing, lush plumage, and you find yourself confronted with an array of vacuum sealed ostrich plumes straight out of Flatland. So, what can you do?
15 CommentsThe Neck to Waist Length is to the back of the body what the Nape to Waist Length is to the front: the basic measurement of the back of the body. If you’re hoping to make a fitted garment work in back, the Neck to Waist and Neck to Shoulder Lengths are what you need.
2 CommentsThe Nape to Waist Length measurement is, basically, the length of material needed to cover the front of the body from the bottom of the neck down to the waist. It is a crucial to take this measurement correctly if one has any hope of drafting a bodice that fits correctly over the bust without riding up at the waist. Nape to Bustline Length tells us where the bust line is situated on the torso, and is also crucial to drafting patterns.
4 CommentsThe Neck to Shoulder Length is crucial to making shifts, jackets, bodices, doublets, and basically any other garment with a fitted shoulder and/or a sleeve that sits at the point of the shoulder. If your Neck to Shoulder Length is off, your finished garments will always look droopy-in-the-shoulder (too long) or have that entirely unflattering Ack!-my-sleeves-are-attacking-my-head effect (too short). The first case, the drop shoulder, comes in and out of fashion, but the second is pretty universally regarded as a bad idea….
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