carefully matching all seams. Turn in and tack the raw outer edges, then topstitch or slipstitch the facing to the under collar. Tack the facing round the neck edge to hołd it in place before putting in the garment lining.
For a facing of fur, put the garment lining in first.
Cuffs - The cuffs on later women's gowns (Gowns, Fig 28) are madę up like collars. The under cuff is visible when the cuff is worn down over the hand, and the facing is visible when the cuff is drawn back over the sleeve. These may be extensions of the sleeve and its lining, or separate pieces.
These were worn by women, and sometimes men, in the middle and later 15th century. They consisted of a visible piece of materiał, usually brightly coloured or patterned, lined and interlined as described above. The shape is based on the pattern of the gown or doublet it is worn with [Gowns, Fig 24; Children, Fig 10).
15. Stomacher
Stomacher for a woman's low-necked gown, second half of 15th century. The shape will depend on the opening in the garment worn with it. The (embroid-ered) outer fabric is madę up over a fabric interlining and backed with a lining (as shown), see Fig 13.
There are different techniąues for real fur and fur fabric, which is madę on a knitted backing. Both are madę up with the pile running down the garment, and on collars and cuffs the fur is cut in wedge-shaped sections to keep the direction of the pile consistent.
The fur lining should extend beyond the edge of the garment so it can be turned to enclose the edge on sleeve ends and hems. For slashed openings on sleeves add a band of fur to bind the edge.
On both fur and fur fabric, mark and cut the pattern shapes on the wrong side. Lift the scissors slightly to keep the lower blade close to the backing and avoid cutting the pile morę than you can help. Cut fur fabric with normal seam allowances and stitch the seams as for other fabrics. Pick the pile out of the stitching and trim it off the seam allowances to reduce the bulk. Cut real fur with little or no seam allowances and oversew the edges together on the wrong side. You don't need a leather needle: if the skin is so thick it is too heavy for lining.
Many early garments had no fastenings, but were controlled by a belt. They might be held at the neck with a brooch clasp. In the late 13th century tight-fitting fashionable sleeves would be fastened by sewing round the forearm. Sewing was also used to fasten tight-fitting cotes round the body.
For sewn fastenings hem the edges of the opening and stitch them together with a strong thread each time the garment is put on.
Lacing and eyelets, Figs 16-18 As 14th century clothing became increasingly fitted, lacing tended to replace sewing as a fastening. It was discreet and purely functional. As a practical fastening, lacing is a good way to close a fitted garment and works best under tension. It is used on fitted cotes, doublets and kirtles morę often than on outer garments.
Lacing on doublets was normally at the centre front; on cotes it seems to have been at the side or centre back. On kirtles the position of the lacing depended on the style, but back lacing seems to have been unusual. It is possible to fasten side-lacing on yourself if you thread it from the top down.
The riveted metal eyelet is a modern invention: the medieval tailor worked eyelets by hand. The lace or cord can be a leather thong, a narrow tape, or a handmade cord (see below). A round braided boot lace will do, or for good quality clothing buy 3-ply rayon cord from a haberdasher and split it into separate strands. Anything other than leather will need aglets - tag ends which prevent fraying and ease threading. These can be madę from short lengths of fine brass tubing, obtainable from model shops. Work the end of the lace to a point with a little beeswax, or all-purpose glue, to insert it into the tubę. File the cut ends smooth and crimp the aglet firmly onto your lace or cord. If you buy your aglets, ensure they are of plain bronze and will fit through the eyelets.
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