La Mode Nationale, No. 17, 25 Avril 1896, Paris. Notre Patron Dcoup (Grandeur Naturelle). Corsage Pointe.

La Mode nationale, no. 17, 25 avril 1896, Paris. Notre patron découpé (Grandeur naturelle). Corsage à pointe. Bibliothèque nationale de France

Détails et Explication du patron découpé:

Ce modèle forme pointe devant très court sur les hanches; des coques de même étoffe, doublèes de soie assortie, forment petite basque; les pinces sont ornées d'un galon brodé. (This model has a pointed front shape, very short on the hips; shells of the same fabric, lined with matching silk, form a small peplum; the clips are decorated with an embroidered braid.)

Ce patron se compose de six morceaux. (This pattern consists of six pieces.)

No. 1. — Le devant. (The front.)

No. 2. — Le premier côté; un cran indique le raccord au devant. (The first side; a notch indicates the connection at the front.)

No. 3. — Le deuxième côté; deux crans indiquent le raccord au premier côté. (The second side; two notches indicate the connection to the first side.)

No. 4. — Le jockey de la manche. (The jockey for the sleeve.)

No. 5. — Le dos, coupé long de façon à former une coque en repliant le bas à l'endroit indiqué par un cran de chaque côté. (The back, cut long so as to form a shell by folding the bottom at the place indicated by a notch on each side.)

No. 6. — La manche ballon, demi-longue; un trait à la roulette indique le dessous. (The balloon sleeve, half-length; a roulette line indicates the bottom.)

Métrage: 1m,50 tissu grande largeur; 0m,70 soie ou satin pour l'intérieur des coques.

bodice, waistcoat

c. 1615-1618

linen, silk, silver, silver-gilt, metal, hand-stitched

Glasgow Museums

Jacket

1590-1630

Great Britain

This simple unlined jacket represents an informal style of clothing worn by women in the early 17th century. Unlike more fitted waistcoats, this loose, unshaped jacket may have been worn during pregnancy. A repeating pattern of curving scrolls covers the linen from which spring sweet peas, oak leaves, acorns, columbine, lilies, pansies, borage, hawthorn, strawberries and honeysuckle embroidered in coloured silks, silver and silver-gilt threads. The embroidery stitches include chain, stem, satin, dot and double-plait stitch, as well as knots and couching of the metal threads. Sleeves and sides are embroidered together with an insertion stitch in two shades of green instead of a conventionally sewn seam. Although exquisitely worked, this jacket is crudely cut from a single layer of linen, indicating the work of a seamstress or embroiderer, someone without a tailor's training. It has no cuffs, collar or lining, and the sleeves are cut in one piece. The jacket was later altered to fit a thinner person. The sleeves were taken off, the armholes re-shaped, the sides cut down, and the sleeves set in again.

The Victoria & Albert Museum (Accession number: 919-1873)

Le Bon Ton, Journal de modes. September 1854, v. 37, plate 7. Digital Collections of the Los Angeles Public Library

Victorian painting of a 17th century scene, with excellent seasonal vibes

Laura Theresa Alma-Tadema (English, 1852-1909)

At the Doorway

Hello, Stripes, you have my attention. ♥

La Mode: revue du monde élégant. Troisième année. Juillet. 1831. Paris. Pl. 166. Robes de Mousseline blanche et mousseline à raies brochées, façon de Melle Palmire. Coiffures de M. Hypolite — Bijoux de Chauffert, Palais royal. Bibliothèque nationale de France