Keeping Warm: Fur Trimmed Velvet Short Cloak

In continuing my theme of upper sort warm winter wear--Here is the next garment in the queue--a 1760s velvet cloak.  These are some of the images I've been looking at.  There are a lot of images of silk cloaks with fur trim as well--one of which I've included.  I wanted a cloak to be about hip length and most of the period images I've found seem to be about hip length or shorter.

New York 1763

Philadelphia 1768

I decided to use Sue Felshin's research and draft my own pattern.  Here is the pattern that will be cut on the fold and pieced where it hangs off of the fabric.  Silk velvet is 45 inches wide so each layer will be pieced in different places as the the taffeta lining is 54 inches wide and the lambswool interlining is 58 inches wide.

Here is the velvet pieced.  You can see that it is basically a half circle and there are 6 extra inches added to the neck for pleating.

I cut the wool interlining and placed on top of the wrong side of the velvet.  It's pinned and then basted around the edge.

It isn't terribly visible, but if you look closely, you can see how the lambswool interlining stretched and ended up bigger than the velvet.  It will be trimmed to size.

I liked the size of the hood on my cloak that was made from the Kannik's Korner pattern so I just decided to use that, adjusting it a bit so the neck edge measured the same as the cloak neck edge.

Hand baste around 1/4 inch from the edge of both the hood and body pieces.

Stitch the back hood seam and turn in the edge of the opening. My seam and hem were about 3/8 inch.  Press seam open and pin hem in place.

Pleat the the neckline of the cloak and the hood.  Remember that you added 6 inches to the neck measurement so you will want to pleat that 6 inches out as instructed in Sue Felshin's article.  Then stitch the hood and cloak together at the neckline right sides together.  Press seam open.

It's time to apply the fur trim.  My trim is made like piping with a strip of tape that goes in the seam.

I pinned the trim to the right side of the cloak with the edge of the tape even with the edge of the fabric.  I snipped the tape when I got to the bottom front corner of the cloak so it would go around the corner smoothly.  I basted the trim in place.

After stitching, I went around the whole edge with a tapestry needle to pull the fur hairs out where it got stuck under stitches.  This is the most time consuming part of working with fur as this must be done wherever there is stitching.

I cut the lining and pieced it where necessary then I spread the cloak out flat on the floor wrong side up.  

The lining was laid down on top of the cloak (wrong sides together) and pinned in place, turning the edges under to butt up against the edge of the fur.  I did not pleat the neck of the cloak lining yet.

The lining was whip stitched to the edge of the cloak.  When doing this, make sure to pull the fur hairs out of the stitching with each stitch.  Two small pleats were placed at the neck and the lining was basted to the neck seam allowance.

Hood lining was cut and seamed with the opening in the back turned under and pinned in place to the opening in the velvet.  Lining was stitched into the hood using the same method as the cloak lining.  The neck edge was turned under and pleated and whip stitched over the raw edge of the cloak lining.

At the opening in the hood back, the lining was stitched in place using the 18th century edge stitch.

The pleats were done in the traditional manner.

Here are the final photos.  I'll edit when I have photos of it actually being worn.

Hood lining

Full lining

Detail--silk ribbon tie

Back

Back with hood up

Front

Final thoughts:
I'm pretty happy with this project but there are some things I would do differently if I were to do this again.  First--I'm not sure if I'd interline the cloak.  Second--I'd use a lining that isn't crisp like taffeta--most likely silk Persian.  I find that the different drape of the velvet and taffeta to be problematic in a garment where bias is concerned.  I notice that the velvet is hanging differently--as if the lining was too small--in spite of the fact that I hung both the lining and outer garment for 24 hours to allow the bias to relax and I smoothed both pieces carefully when pinning. This is disappointing.  I think the loftiness and soft drape of the velvet just continued to relax even more over time whereas the taffeta lining did not.  I think silk Persian would be a better lining for a bias cloak--the exception being if both the outer fabric and lining are taffeta.  Live and learn.  It's not perfect but it should be warm.  Also--working with fur is extremely time consuming.  I had the time so it wasn't an issue in this situation but I could've made a lined taffeta cloak with pleated or ruched trim in a fraction of the time this took to complete.  You will want to keep that in mind when selecting your trim.

2020 Costuming Goals

I always enjoy looking back on my costuming goals as I find that while I complete a good number of them, I end up with a lot of other unplanned projects instead.  Such is life.  Go with the flow!

I have several major events that are helping to inform my plans.  Here's what I hope to get done in 2020.

Between now and March 1,  I'd like to complete the following 4 projects:

Fur trimmed black velvet short cloak ca 1765.

I've patterned this cloak but have not begun constructing it.

Spotted worsted long sleeved Italian gown and pink worsted petticoat.  I had hoped to do this one last winter and simply didn't get to it.

Mid century silk damask gown using this gown in the Met as inspiration.  Blue taffeta petticoat to go with it. This gown was also on my list last year.  A proper mid century cap will also be made for this gown.

I've decided to embrace my inner old lady and make the iconic New England upper sort old lady gown and accessories.

The gown will be the style of Mrs. Ellery's gown below and will have a sheer black handkerchief.  This is late 1760s-1770.

My silk is more the color of Mrs. Russell's gown.  I plan on also making a white silk handkerchief with lace border and a cap with lace like Mrs. Russell's. 

 White satin mitts lined with a warm gray silk will be the final accessory foe this outfit.

Other projects in the 2020 queue:

A gown similar to that worn by Mrs. Ralph Izzard ca. 1776

My silk is a shot silk with turquoise and gold.  Mrs. Izard's cap will also be copied for this project.

 1912 Tea gown based on the center model in this fashion plate.  I'll need to pattern this one.

Mrs. Hodge's gold silk gown and accessories.  This one is has been on the last 2 years' lists.  It's just a matter of getting the mojo to do it as I have the materials.

Reproducing my mom's WWII Red Cross uniform.

I hope to be adding some Regency items--and much of that depends on if we decide to have another Regency sewing event.

There will be "modern" sewing as well which is basically anything from 1940 and up.  This one is on the queue to make late March:

I think that's about it.  It'll be fun to look back at the end of the year to see what I actually accomplished from this list and the items that were not on the list that were done.

I hope everyone is able to accomplish your goals!

Keeping Warm: Hoods (downloadable pattern)

Happy New Year!  This is my last project completed in 2019 and my first post in 2020!

In my last post, I talked about winter accessories including hoods.  I've completed 2 hoods since then.  Hoods appear most prevalent in portraits before 1770.  I have found a few images from the 1760s and quite a few from the 1740s and 50s.  This is also the case when researching historical newspaper ads.  I've included a few below from the 1760s/70s.  The majority of ads that I've found, however, are from the 1740s when they were quite plentiful.

1749

1750s

1750s

1750s

1760s

Philadelphia, PA 1767

New York, 1770

Providence, Rhode Island 1767

My hoods are based on the images below.  The first appears to be velvet or plush.  It has a lofty appearance--as if it is lined.  Note the rounded cape and the lace edging

1760s

The extant below is in the Museum of Fine Arts, Boston collection.  It was worn by Abigail Robbins (1759 - 1850).  The description on the museum page is as follows:

DESCRIPTION

Black silk caped hood trimmed with lace; gathered at back with drawstring around face and one surviving ribbon tie; small shaped cape with pointed back. (Lace probably made in Ipswich, Massachusetts.)
Given that there is no mention of lining, I assume this piece to be a single layer of silk.  Apparently lace made for hoods was readily available as when searching the newspapers, I foundloads of ads for "black hood lace" and one for "white hood lace and black ditto."  Since thesehoods were to be worn as part of an upper sort impression, I decided to add lace to mine as well.

ca. 1770s

Click HERE for downloadable pattern!

Materials:
I used black taffeta for the unlined hood--it took about 1/2 yard--possibly a little more -- of 56 inch wide taffeta (1 yard for 45 inch wide),  black cotton French Valenciennes lace 1 inch wide or less--about 1 yard, silk ribbon for tie, and 1/8 inch black cotton tape or cord for drawstring.

I found my black cotton lace from Capital imports.  If you cannot find suitable lace, it is better to omit the lace altogether.  Also--remember that lace would be for an upper sort impression.  A middlin' sort would most likely wear a hood with no lace.

The velvet hood took about 1 yard of silk velvet, 1/2 yard of lambswool interlining, 1/2 yard of black taffeta lining, 1 1/2 inch wide silk ribbon for tie and about 2 yards of lace.

The pattern is drafted from studying the extant.  The hood is a smaller size and doesn't fit over high 1770s hair.  It should fit over a modest poof in the front of the hair however.

There is one interesting detail in the extant that I did not include.  at the bottom of the hood, there is a long triangular insert which I assume must have been put there for fitting purposes as it has no structural purpose.  See the detail below:

Because I was not able to examine or find photos of the inside of this hood, I had to guess at how it may have been constructed based on the photo and the description.  I used some cap construction techniques and general 18th century hand sewing techniques to come up with the construction that I used.

Instructions:

Print pattern and tape pieces together.  Note that there is a 1 inch square to check the print size.  When printing, make sure the pdf is at 100%. Do not choose a different scale or fit to page option when printing.

Assemble pages: There are 6 pages total. Tape 1 and 2 side by side then 3 and 4 side by side.  Tape 3 and 4 below 1 and 2.  5 and 6 are taped together side by side but they don't need to be attached to the others.  I hope that makes sense.  I have some small parallel lines between each page to help you line them up.  It should look like this when printed and taped together:

Note the seam allowances are on the pattern pieces.  Seams may be hand or machine stitched.

Unlined Hood

Cut out and mark dots on hood with chalk.  Mark center back neck edge of cape. 
Narrow hem the neck and back edges of the hood piece.  Turn in a scant 1/8 inch, press and turn in again.  Stitch with running stitch or whip stitch. These hems will be part of the seam allowance and will not be seen.

Stitch back hood seam next to the hem so that your seam allowance basically consists of the hemmed part.  Use a combination stitch (small running stitches with a back stitch taken every 3 or 4 stitches for strength).

Using the same seam allowance, you will pleat the back of the hood as follows:  Use doubled thread and make large running stitches about 3/8 inches in length or so starting where the back seam ends on one side of the hood and ending at the other side. You are almost stitching in a circle.  Begin and end your stitches on the wrong side of the hood.

Draw up your stitches, arranging them so they look like cartridge pleats. 

Line up the ends and run your needle through all of the pleat "bumps" on the inside at least twice.

Check the pleats to make sure they are even.

Turn the hood to the outside.  Bring your thread up to the outside at the seam and run the needle through all of the pleat bumps very near the edge (about 1/16 inch from the edge.  The point is to make the edges line up since they are visible on the outside of the hood. 

Do this twice then push the needle back to the inside and securely knot the thread.

On the inside, press the back seam open then put hood aside.

Take your cape piece and finely hem the neck and bottom edges as you did with the hood:  scant 1/8 inch folded in twice stitched with running or whip stitch.  Do NOT hem the front edges. The neck edge hem will be hidden in a seam allowance.  The bottom edge will be visible. After hemming, seam the neck edges of the hood and cape right sides together using a combination stitch (running stitch with a backstitch every 4th stitch or so).  Stitch just next to the hemmed edges of the seam.

Press the neck seam open.

Press the front edge under 1/4 inch then turn under 1/4 inch again.  Open out the 2nd fold and make an eyelet on each side just above the neck seam.  The eyelet will go through 2 layers of silk. The eyelet will be inside the hood when you fold the hem over a 2nd time.

Apply lace by laying the right side of lace to the right side of the hood -- scalloped edge facing away from the edge and slightly within the seam allowance. Make sure to turn the short ends of the lace up. Stitch the straight edge of the lace in place with small running stitches.

Turn the hem under, turning the lace away from the hood.  Stitch the hem in place with small whip stitches.

Using a bodkin, feed your 1/8 inch tape or cord through one eyelet and out the other.  Cut to whatever length is desirable. 

Sew black silk ribbon at the neck seam about 1 inch in from the edge.  If the ribbon is wide, take a tuck where it is stitched to the hood.

Finished hood inside:

Finished hood outside:

Instructions for lined velvet hood:
Note:  I did not take pictures of this hood in progress.

1.  Cut out hood and cape in outer fabric (silk velvet) and lining (taffeta).  If you are interlining your hood in lambswool interlining, cut out both pieces in that textile as well.  Make sure that the nap on your velvet is running in the direction of the arrows on the pattern.

2.  Flat line the velvet pieces with the lambswool interlining, basting the lambswool to the velvet within the seam allowances.

3.  Stitch the back seam in the velvet hood and in the hood lining.

4.  Make the hood pleats as indicated above--EXCEPT pull the pleats to the inside of the hood as the edges are raw.  You will not stitch through the pleats on the outside of the hood.  Do the same for the lining.

5.  Stitch neck seam of the velvet hood and press open.  When pressing velvet, it's best to steam and finger press unless you have a needle board. 

6.  Starting at center back of the cape, pin lace around the entire hood with the straight edge of the lace just within the seam allowance and the scalloped edge facing away from the edge.  Remember to gather your lace around the points at the bottom front.  Stitch in place with running stitch.

7.  Turn and press (steam) front and bottom hems and baste or pin in place.

8.  Press the front and bottom hems in place on the cape lining.  Pin in place on the inside of the hood cape.  Stitch the lining in place using the Point a Rabattre Sous le Main stitch (18th century edge stitch).  Baste the lining neck seam allowance to the hood neck seam allowance.

9.  Press under the front hem and neck seam allowance on the hood lining.  Pin in place inside the hood and stitch in place as you did the cape.  Secure the neck seam with whip stitches.

10.  Stitch silk ribbon ties at the neck seam 1 inch from the front edge.

Finished lining:

Finished hood:

Here's the hood on.  Sorry about the quality of the pic.  If I get a better one I'll update. 

I wore my velvet hood to the Grand Illumination at Mt. Vernon.  It was a cold night and the hood added just the warmth that I needed.  I'm very pleased with how this project turned out.