The paire of bodys is mostly finished. I used 1/4" flat oval reed for the narrow channels, and 5/8" flat oval reed for the one wider channel. I've been told that two pieces of the reed inserted flat sie-to-flat side mimic the elasticity of baleen, which was used in the original.
The edges are bound with 3/4" and 1/4" linen twill tape. The eyelets were worked with a bone awl, and then whipstitched with rose-colored silk sewing thread, doubled.
I need to make longer, narrower shoulder straps. The originals are triangular, but I need less width at the base, and more length.
I also returned to the shift, which behaved this time. I knife pleated the ruffle between two collar pieces: although we have extant men's shirts which have gathered collars, I felt that the knife pleating gave it a thickness that is representative of the artwork of the time. I may go back and add an interlining of buckram or another stiffener, as the weight of the ruffle causes the collar to collapse on itself. However, the overgown I will be making to wear with this shift has a high collar, so that may support the weight of the ruffle without need for interfacing.
I also added smaller wrist ruffles. The wrists close with hook and eye, and the collar closes with two linen fingerloop-braided ties.
I like the bodys, the pink linen is a nice touch.
ReplyDeleteInstead of using buckram as a stiffener, you may want to look into the period manner - liquid starch. Here's an excellent blog I found; I love love love her embroidered cap with the dragonflies:
http://www.faucet.net/costume/period/ruff.html
Carrolly Erickson, in her book "The First Elizabeth," claims a Dutch washerwoman introduced starch to Elizabeth's court. Before that innovation, the ruffs were held up by little sticks that had to be taken out and reinserted after each laundering. BTW, if this book isn't part of your Tudor library, it should be; it's one of my favorites.