A Felt Cloak
Taking a break from Historical Dress has been really good for my mental health. But try as I might, I just can’t stay away from it. Today, I started playing around with a pattern based on an image from a German Fencing Manual.
While I have had practice and great successes in cutting clothing of all kinds from all different eras, no era has stumped me more than the Regency period when it comes to developing the right pattern. The angles, drape and perfection of the geometry were at such a high level during the period that it can sometimes be difficult to understand why the shapes of the pattern pieces look the way they do.
Studying a different kind of drafting manual from the 16th and 17th century Spanish styles is pushing me to develop a whole new way of analyzing these shapes. While I have not arrived at the perfect answer yet, I’m getting closer than I’ve ever been before.
Challenging the status quo when it comes to understanding and making historical clothing has become something of a habit in my practice.
One of the least represented garments in the realm of historic dress is the Fieltro de Camino. It is a full circle cloak made of heavy felted wool. I have not seen a single image, surviving garment (there is only one) or painting that did not include an embroidered design of radiating lines on both the body of the cloak and on the hood.
I developed my pattern from the layout given in Alcega's manual of 1580. It is quite basic in its cut and easy to interpret. In the 16th and 17th centuries, felt was made and sold in pre-cut sheets so one was constrained to cut the garment with as few piecings at possible. The felt that I purchased was of a similar width (though ours is made by the yard now, not by the sheet). I was able to cut all of my pieces without need to join on extra fabric to complete any shapes.
There is one surviving example from the 1570's belonging to Stephan Praun III. It is housed at the Germanisches Nationalmusem in Nuremberg, Germany. It is actually a 3/4 circle garment. Its hood is made up separate from the cloak body. In the one painting that exists of Mr. Praun in his pilgrimage clothing with which this cloak was worn, the hood is nowhere to be seen. The second layer is made of leather and is also made separately. From the look of it, though I have no definitive proof, the second layer appears to be heavily oiled for waterproofing. In Alcega's manual, as well as Burguen, and Freyle, the Fieltro is shown in two different layouts, one that is cut with skirting/second layer, and one without. Due to weight, cost and wearabiity, I have chosen not to use a second layer of felt. I may make the second layer with leather, but for now, I just need to finish embroidering this garment and move on to the next piece to make for the book. I'm running out of time as the final photo shoot is at the end of September...right before the book is meant to be finalized and sent to the printer.
Here is my progress on my copy of this garment so far.
The 100% wool felt is 1/8" (3.2mm) thick. I originally purchased some 1/4" (6mm) and found that it was much too heavy and cumbersome. A friend who actually viewed the original told me that it was approximately 1/8" - 3/16" thick. So, I reordered and got the 1/8" thickness. It was purchased from thefeltcompany.com they have many different kinds of wool felt and it is a really nice product to work with. This is the page with the product that is shown in my photos, Specifically the f3 quality material. When its pressed, you can smell that it still has quite a bit of the natural oils still in it. It is absolutely not suitable for people with Lanolin allergies.
Developed and tested by The Modern Maker. Based on the portrait of The Tailor by Gianbattista Moroni. This doublet pattern has no instructions, but can be made following the tutorial on YouTube: Here
One of the most frequently asked questions here at The Modern Maker is “How do you know what proportions to use when there are none given?” When using a 16th or 17th century cutting manual, it is common that many of the proportions for different edges of the garment are not printed in the manuals. This served many purposes for the trade, to protect vital information as well to save on print setup for those old printing presses. Whatever the reasons, as modern people using these old books to develop our designs, we need to know what proportions we should be using. In this 60 minute lecture, Mathew will go over the various methods he uses to develop the patterns and know, with as much certainty as possible, what those proportions and measurements need to be to make the most authentic piece of clothing.
This lecture will delve into some technical elements of pattern making, but you need not be a professional to understand! Each element will be explained.
Want to get to know more about Mathew and the work that he does? Come join us for a 90 minute discussion of his work, how he came to his passion for historical fashion and how it informs everything he does in his art, his designs and his life. In this talk, he will discuss his artistic discipline, successes, failures and methods for coping with adversity in his practice. These stories, experiences and pieces of insight are sure to help anyone in a creative field get inspired, get focused, and find a path to their own success! Zoom link will be emailed on Thursday Aug. 26.
This doublet is developed from patterns presented in the 1618 book Geometria y traça perteneciente al oficio de los sastres by Francisco de La Rocha Burguen. It has a soft line, a high waist and can be made in both a thin summer version as well as a heavier, warmer winter construction. PDF containing 85 pages of full color instructions included!
All chest sizes from 34 (44EU) to 60 (70EU) are contained in this zip file. Paper sizes include both US letter and EU A4 printout versions. Even though the garment itself is from a Spanish book on cutting clothing, it can be considered as part of the Elizabethan era. Patterns for shirt, breeches, hat, gloves, belt, and stockings are sold separately.
Materials/supplies:
• 1.5-2 yds/meters of 60” (1.5m) wide cloth for the exterior
• 1.5-2 yds/meters of 60” (1.5m) wide interlining material (linen is recommended)
• 1.5-2 yds/meters of 60” (1.5m) wide material for lining (handkerchief linen is recommended)
• 1/2 yd/meter of wool melton or thin wool felt for support structure of shoulder and collar
• 15-20 yds/meters of 1/8” wide narrow trim (optional)
• basting thread for temporary bastings
• Modern topstitching thread or historical linen thread for sewing seams
• Hand sewing needles
• Scissors and thread snips
• 18-20 buttons, spherical is best, no more than 8-10mm diameter. Smaller is better. This pattern will not work well with flat, modern buttons that have holes drilled all the way through.
Videos of the construction of this garment can be seen at:
https://www.youtube.com/playlist?list=PL4Tll7rLOSUdvQoOHBvB-scPo62AXS2Ks
This product is a digital pattern download.
The file contains both US letter and EU A4 paper sizes as well as a 49 page COLOR PDF of instructions.
The download link will expire after 24 hours so make sure to download them to a computer right away!
These breeches are developed from a pattern in the cutting manual of Diego de Freyle—1588, Spain. They are slightly round in silhouette and are meant to be worn either with, or without tying to a doublet. If they are worn without tying to a doublet, they will sit low on the waist and should be worn only with a jerkin or jacket which has skirting that is long enough to hide the waist of the breeches. When tied to a doublet, the leg opening will sit above the knee. The Ropilla pattern and the 17th shirt pattern downloads, also in the Schoolhouse Store, are the perfect accompaniments for these breeches.
This product is a digital pattern download.
The file contains both US letter and EU A4 paper sizes as well as a 49 page COLOR PDF of instructions.
The download link will expire after 24 hours so make sure to download them to a computer right away!
These breeches are developed from a pattern in the cutting manual of Diego de Freyle—1588, Spain. They are slightly round in silhouette and are meant to be worn either with, or without tying to a doublet. If they are worn without tying to a doublet, they will sit low on the waist and should be worn only with a jerkin or jacket which has skirting that is long enough to hide the waist of the breeches. When tied to a doublet, the leg opening will sit above the knee. The Ropilla pattern and the 17th shirt pattern downloads, also in the Schoolhouse Store, are the perfect accompaniments for these breeches.
This pattern was developed using two diagrams from the Livrustkammaren museum in Stockholm, Sweden. They are VERY high-waisted and should be tied or hooked to a doublet.
This pattern was developed using two diagrams from the Livrustkammaren museum in Stockholm, Sweden. They are VERY high-waisted and should be tied or hooked to a doublet.
This jacket/ropilla pattern has been under development for a long time. With tailoring techniques that will serve the novice well for many years to come, this pattern will walk you, step by step, through the making process. For those who are visual learners, there are links throughout the instruction PDF which take you to the series of videos that show how it is done.
Developed and tested by The Modern Maker. Based on the portrait of The Tailor by Gianbattista Moroni. This doublet pattern has no instructions, but can be made following the tutorial on YouTube: Here