construction and lining issues- in progress

Getting to grips with blogs, websites etc. A lesson in blundering, experimenting and hair tearing.

While I use the internet daily this is a whole new ball game.  not helped by everything deciding to reinvent itself just  as I start to get confident . Enough moan.  I love it!

Question 1 -
               Garment construction - flat lining, interlining, lining? seams!
 I am used to the idea that lining is to give a smooth, more elegant interior for coats etc, and to facilitate removing and wearing fitted garments. This comes with the idea of ease - extra width or length added to allow for movement. Lining can also support fabrics which may 'give', or are sheer. There are many ways of attaching lining. She uses different terms to the ones I've become used to so I am going to try to double check what is meant and how the different techniques are used. I haven't yet found the magic website which will explain in one go so observation will have to do for now. ( I know the information is out there in book form but the local library is having trouble tracking it down for me and really want to get onto making. It can be a struggle to be patient....)
Period garments were obviously lined and/or faced - as shown on fashion plates and included in descriptions
 - PROMENADE COSTUME   -A plain cambric robe, with long gathered sleeve and high arched collar,lined throughout with white sarsnet, and trimmed with a raised border of white velvet or swansdown. muslin. A Spanish lapelled coat of fine orange merino cloth; full epaulette ornaments on the shoulders: white spotted ermine or Chinchilli muff. Gloves grey or light blue kid. Half boots of orange coloured jean or velvet. ( Quick notes from The Repository of Art, Literature and Commerce etc 1814 - google book -  now just need to discover sarsnet, jean, merino cloth, and what makes a Spanish lappelled coat so Spanish. Also epaulette seems to have changed meaning a little)

The close up of an original dress bodice shows  the lining clearly. It looks to mirror the outer , the shoulder seam is flat with the allowance to the inside but the sleeve seam is worked differently with the lining caught over the seam to enclose the raw edges. On some garments the seams are exposed to the inside of the garment- the lining and outer treated as one, with raw edges whipped over and some held flat by top or edge stitching. Why the difference?  I can understand the sleeve - constructing separately and then fitting to the bodice.
Some garments have the second, inner layer of fabric  to support the outer which may be delicate - or often expensive, so extending wear- life would be prudent.

While the oracle of Janet Arnold gives some insights  she doesn't set out to give sewing instructions as such. I still am not sure of this one. I have bought a historically based commercial pattern really just to see how and what they do. (This I am in the process of making up - fitting issues are holding it up a the moment)


sarcenet, sarsnet.
sɑrsnɪt/ [sahrs-nit]
a fine, soft fabric, often of silk, made in plain or twill weave and used especially for linings.
1425–75; late Middle English sarsenet < Anglo-French sarzinet, probably equivalent to sarzin- Saracen + -et -et

excellent references at

No comments:

Post a Comment