1830s reproduction fabric

1830s reproduction fabric

These included breeches, a waistcoat with short skirts, and a coat with curving back fronts.

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The dark, figured velvet continues a fashion in evening dress that began in the s. This tradition continued through the 19th century and well into the 20th. The sombre colour of this suit befits the sober profession of its wearer, Thomas Couttsthe founder of Coutts Bank. The notched collar and cut-away front of the coat reflect earlyth-century fashions. In the s, menswear accommodated the gigot sleeve of womenswear in its use of a new fullness at the sleeve cap.

The sleeves are long and tight, the collar is wide and the front opens very deep in order to show off the waistcoat.

Reproduction Fabrics

Although at this date the frock-coat is gaining popularity as formal daywear, the cut-away coat is still worn. Suit, Metropolitan Museum of Art. Alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety to the outfit. Stripes were particularly popular as they gave the impression of height, especially if they were cut fairly straight to the ankle like this pair which are strapped under the foot to keep the line. They were difficult to cut correctly as the stripes had to run straight down the leg and match at the seams and the best tailors employed specialist trouser cutters.

Less care has been taken to align the fabric here, probably because it was concealed under the coat. By the s the jacket was worn with matching waistcoat and trousers and had become popular for informal wear. In the early 20th century it replaced the frock coat and the morning coat.

The owner of this lounge suit was Sir Max Beerbohmthe English essayist, caricaturist and master of a polished prose style.We weave our fabrics in a wide variety of natural fibers — wool, worsted, silk, cotton, linen, alpaca, cashmere, mohair — and we use the highest quality yarns.

1830s reproduction fabric

We can even custom dye yarns to match wallpaper or paint swatches. We inspect and finish every yard by hand to ensure that you receive the very best custom fabric. Dimity was one of the most important and popular interior furnishing fabrics in 18th- and 19th-century America.

It was used for window treatments, bed hangings, and loose covers for furniture. We make dimity in pure white and natural cotton, natural and bleached linen, and custom colors.

Gossamer is a light fabric with an open weave strucure and a beautiful drape. Historically it was used for window treatments, bed hangings, covers on chandeliers and gilt picture frames, and even as early mosquito netting!

We weave gossamer in pure white and natural cotton and linen, and in custom colors. Gossamer curtain panel in natural cotton and linen trimmed with custom cut fringe. We also made the valance using one of our figured worsted fabrics in mustard and ginger worsted and silk, and the green and mustard worsted and silk cut fringe and tassels.

It is incredibly durable and beautiful, with a subtle sheen and excellent drape. It was a popular choice for upholstery and drapery, both on windows and beds. Plain woven worsted fabrics were also very important in early American interiors. Baize covered desks and game tables, and it was made into crumb cloths that lay on top of carpets underneath dining tables. Camblets and Harateens adorned windows, beds, and upholstered furniture.

Furniture checks were important for window treatments, bed hangings, and loose covers on furniture. In early America, furniture checks were made of cotton, linen, and worsted wool—and we still make them that way, in custom colors, of course.

Reproduction Fabric

Pure silk, in patterns and stripes, has been the choice high style fabric for interior furnishings for centuries. A woven damask designed by Marguerite Garthwaite in The painting is in the Victoria and Albert Museum.

The carpet is a reproduction of a fragment at Old Sturbridge Village but also appears in the Silas Burton draft book. This is a traditional Twill Block coverlet in cotton and wool featuring medium indigo blue and dark indigo blue. It is reversible. This is a drapery and upholstery fabric in a deep, rich cinnabar color. It is being used as drapery in Liberty Hall in Frankfort, Kentucky.

Sign up for our newsletter to get exclusive discounts, sneak previews of our latest products and upcoming dates of lectures and classes:. Historically Accurate Reproduction Fabrics Thistle Hill Weavers has been creating beautiful, historically accurate reproduction fabrics for more than 15 years. Dimity Dimity was one of the most important and popular interior furnishing fabrics in 18th- and 19th-century America. Gossamer Gossamer is a light fabric with an open weave strucure and a beautiful drape.

Baize, Camblet, Harateen Plain woven worsted fabrics were also very important in early American interiors. Historic Checks Furniture checks were important for window treatments, bed hangings, and loose covers on furniture. Silks Pure silk, in patterns and stripes, has been the choice high style fabric for interior furnishings for centuries. Embossed worsted wool upholstery fabric.

The above fabric installed on a chair. Figure worsted in Thomas Jackson diamonds. A close-up of the above fabric. Switch to Mobile Theme.Reproduction fabric lovers rejoice! We have all your favorite s reproduction fabric right here. This beautiful historic fabric hearkens back to a simpler time with deep, rich colors and graceful prints. From Regency fabric to Civil War fabric, take your quilts a step back in time and enjoy every stitch with reproduction fabrics.

Learn how Missouri Star is taking care of their customers, employees, and community during this time. Find it all HERE. Stay inspired while staying home! Every Friday, we release a new tutorial.

Go to www. Together we will make it - one stitch at a time. Share your creations with us using msqcshowandtell! We have closed our in-town shops, retreat center, and education center until it is safe to re-open. We are very sorry for the inconvenience these closures may cause, but believe this is the right decision given the information we have.

The closures are preventative in nature. Shop Now to stay inspired to create your next project! Together we can make it - one stitch at a time.

Make Project Planning Fun! Reproduction Fabric. Show Filters. Nancy's Needle Charm Pack. Nancy's Needle Fat Quarter Bundle. Nancy's Needle - Treadle Bluebird Yardage.Fabric Suggestions: The original drawers were made of a medium weight, high thread count, cotton muslin. Other fabrics used were calico [bleached cotton fabric heavier than muslin], linen, natural or white cotton or linen drill, wool flannel, particularly red, white and brown cotton broadcloth, China silk, Canton cotton-a napped cotton twill, worsted wool, merino wool and chamois or leather to mention a few.

This pattern is copyrighted and is for personal non-commercial use only. Dressmakers and other commercial users contact Past Patterns. The suggested fabrics are: Cotton sheeting for the body and a fine linen for the collars, cuffs and plaited fronts.

You may also make the entire shirt of a cotton calico and the detachable collar out of a cotton or linen. The two shirt styles are contained in one pattern package and are multi-sized 34 through 50 chest.

Look at our National Standard size chart for your size. Chest sizes require 3 Yds. If making the shirts using white sheeting, order eight small, white utility China reproduction buttons for the shirt with the detachable collar and five white utility China reproduction buttons for the shirt with the set-in sleeves.

If making the shirts using a calico fabric, consider purchasing matching calico buttons. While the trowsers were copied from the originals, the pattern was drafted from the trowsers draft in The Tailor's Masterpiece.

The construction is true to the originals. The fabric requirements are for a man who stands 5'6" tall. Add 2"-4" for every 1" of height above 5'6". In 45"- wide fabric, purchase: 3 Yds. A second pair was made from a copy of the first in navy blue wool broadcloth. Substitute fabrics are: cotton sateen; light-weight cotton duck; linen; drill in white or blue, or woven into stripes, check, or plaid; and fine wool jean.

1830s in Western fashion

Do not purchase worsted wool. Booth, Draper, at Ramada Dr. Phone:e-mail: wmboothdraper wi. This is a pattern package rich with information. Fabric Glossary - A small glossary of fabrics mentioned in the small-fall trower notes. Pattern Drafts - Illustrates trowser drafts from and the differences and similarities between tailor-made and ready-made garments. Construction Notes - Explains how to measure and how to wear midth-century trowsers.

Essentials of Tailoring Outlines the minimum tools needed by a journeyman tailor or a home tailoress, how to make them, and their uses. Historical Stitches Illustrates the stitches used to construct the original trousers. Making Up Describes and illustrates in detail how to make a pair of reproduction trowsers similar to the originals. Matching Patterns: If wearing the trowsers for the first quarter of the nineteenth century, order shirt patterns from Kannik's Korner at www.

This pattern is copyrighted and is for personal, non-commercial use only. The pattern contains a brief history of the paletot from the 's's which describes the difference between a paletot and a frock coat: hand sewing instructions, alterations and sewing instructions in 11 well-illustrated steps.

Past Patterns' Summer Paletot makes up into a plain-cut, straight-front informal coat that is used for everyday summer wear.

1830s reproduction fabric

It is the unlined, starched, and washable variety worn with a starched shirtlightly starched washable summer vest and unlined, lightly starched washable summer trousers or Also consider wearing drawers The Fabric Requirements are for a man who stands 5'6" tall. The pattern is a multi-sized regular in waist The earliest styles that we make celebrate the Colonial era, the New Nation, and the Early Federal period in American history.

From the Revolutionary War in America through the end of the Georgian epoch, we make clothing suitable for Jane Austen enthusiasts and Early American reenactors. From to aboutfashions were still very traditional and formal in shape and style. Of red silk taffeta, it is worn with a white cotton underdress and lace cuffs, and ribbon sash. Angela's large hair and feather headress show a lovely evening look of the period. This style of dress, in a much more extravagant version, is worn by Marie Antoinette in this rendition below of a Wertmuller painting.

At the dawn of the 19th century, fashions were simple. Women's dresses were generally made of fine white cotton fabrics, with a high waistline, simple trims, and low necklines.

As the century progressed, color was added in the dress fabrics, jackets, shawls or overdresses. This simple white cotton day dress left is typical of the very early 's, with straight sleeves and empire waist. After the structured 's, the style shifted very dramatically to the plain white cotton "muslins" of Jane Austen's heroines.

Below, in the first row, are several examples of dresses that might have been worn between and Styles became more ornate after with colored and silk dresses becoming fashionable again for daywear. Waists began to drop slightly leading up to Suzannah right models a fine white cotton frock that has been accessorized with English cotton net at the neckline, jewelry, and a ribbon sash.

Suzannah and Jason below show off circa Regency-era fashions at an evening party, complete with long gloves and headdress on Suzannah and silk cravat on Jason. His cutaway coat is a fashionable blue color, and his white vest also very formal.

Her sheer overdress is worn over white, cotton period-correct undergarments. At the right, our photo shows off three different years of ballgowns within and around the Regency era. Shown from left to right, Kelly's maroon silk velvet dress is the simple but elegant look of the early s, copied from pictures of an original. Kay's pale blue ballgown and headress are styled from about Suzannah's is from the later s, with its more structured bodice and skirt. It was copied loosely from the s fashion plate print shown right.

At right, young women enjoy a ladylike game of "graces," a 19th-century game played with wooden tossing sticks and a lightweight wooden hoop often decorated with ribbons that flow through the air as you delicately cross the sticks and toss the hoop! The two on the right are Lavender's Green creations, the peach from —20 based on a Tasha Tudor original and the printed cotton close up below from about The simple printed dress left is typical of those worn in the mid to late 's and is modeled after originals at the Lowell Mill in Massachussets.

Its wide neckline, full upper sleeves, and slightly high waist are typical fashion looks of the time. The tucks near the hem of the dress serve as detail and add fullness to the bottom of the dress, which was worn with several full petticoats underneath.Colors include shades of blue. Description: Designed by Gretchen Hirsch for Michael Miller, this cotton print fabric features a vintage inspired design and is perfect for quilting, apparel, and home decor accents.

Colors include purple, pink, green, and white. Description: From Michael Miller, this fun collection of cotton print fabrics features vibrant colors and designs. Perfect for quilting, apparel, and home decor accents. Colors include blue, pink, green, yellow, white purple and black. Your Selections:. Quilting Fabric. Reproduction Fabrics. Use these reproduction prints that range from the mids to the s to make quilts with an authentic vintage feel, or create something that is the best of both worlds with a modern quilt pattern!

Featuring vibrant colors and reproduction prints, old is new again! Stitch In Time Notions Black. Not available for purchase. Only 4 left in stock - order soon. Michael Miller Fairy Frost Snow. Only 44 left in stock - order soon. Andover Riviera Rose Bee Black. Only 10 left in stock - order soon. Only 30 left in stock - order soon. Kaufman Eaton Place Flourish Blue. Only 17 left in stock - order soon. Kaufman Charlotte C. Only 12 left in stock - order soon. Only 19 left in stock - order soon.

Only 6 left in stock - order soon. Kaufman Penny's Dollhouse 24" Panel Sweet. Kaufman Ten Squares Teapot Garden 42pcs. Only 22 left in stock - order soon. Only 13 left in stock - order soon. Only 5 left in stock - order soon.

Only 29 left in stock - order soon. Kaufman Southern Belles Daisy Aloe.Conner Prairie has extended our temporary closure of all the buildings and grounds in response to the COVID pandemic until further notice. The health and safety or our members, guests, staff, animals, and community remains our top priority. Every stitch of the sewing had to be done by hand; Elias Howe didn't even invent the sewing machine untiland Isaac Singer's version didn't come about until Of course, ordinary people didn't have the large wardrobes we expect today.

They made do with one outfit for every day, one for Sunday best, and perhaps one other, or parts of another, for seasonal change.

Even wealthy people didn't necessarily have lots of clothes, although their money allowed them to purchase ready-made items from the storekeeper, or to hire custom sewing done outside the household, or by a temporary live-in seamstress. Where a family lived determined to a great extent where and how they obtained their clothing. City and town dwellers usually purchased the fabrics, if not the entire garments, from specialty or general stores.

People in rural or remote areas were more likely to undertake the whole process themselves. Still, it was possible for nearly anyone to order nearly anything to be sent to them from a merchant in the next town, or even from a merchant oceans away.

Historically Accurate Fabrics, Carpets, Furnishings and Trims

It just took a very long time to arrive. There was a great variety of fabrics available for making clothes in the s. They were all "natural" fabrics; wool and linen were most common, with cotton and silk were scarcer and more expensive. Hundreds of weaves and patterns were available. A rich selection of colors existed even before synthetic dyes were developed in the late s. These early colors were made from plant parts-leaves, stems and blossoms of woods and meadow flowers; roots, barks, nut hulls and tree galls; berries, fruits, pits and skins; mosses, lichens, and fungi and non-plants, such as insects and shellfish.

Many dye sources were imported from tropical areas, and were sold in general stores. They were widely available to both home dyers and professional dyers. The professional dyers sometimes supplied services even to home spinners and weavers.

1830s reproduction fabric

Really, every combination of home and outside professional endeavor went into the providing of fibers, fabrics, and garments in the s. Often the whole family helped to produce the cloth used for their clothing, especially if the family were rural or frontier. Sheep were fed and sheared by the men of the household. Wool cleaning and carding were done by young children. Spinning yarn on the high wheel, dyeing it over the cooking fire, and loom weaving of "homespun" fabric were done by the unmarried daughters and aunts.

Mothers, sisters and grannies sewed up trousers, coats and dresses; all the women and young boys and girls knit caps, mittens and stockings. Several sheep could provide enough wool for the needs of the average family each year.

A quarter acre of flax plants was enough to clothe the largest family. After harvest, the plants were rotted in water to break down the cellulose in the stalks. Then they were "broken" then scraped or "scutched" with a knife, and "hackled" or across several boards covered with sharp metal teeth to separate and align the fibers for spinning. These processes were difficult work, and required strength and determination.

When the fibers were all prepared, they were spun on a low wheel, and then loom woven into linen shirting or sheeting, or table linens. Since the only capital investment in linen fabric was for flax seeds, with all the labor being supplied by the family, it was cheap to produce, and was the cloth most used by poorer families, or those on the frontier. It was also the cheapest fabric to buy.

Cotton was grown in India, where there was plenty of cheap labor to perform the backbreaking field work and then the tedious picking out of the cotton seeds from the harvested cotton bolls.

England developed a monopoly on cotton and sold it to other countries at great profit. The early American colonies were forbidden to produce their own cotton fabrics, and were forced to purchase them from English merchants. Later, after the American Revolution, the growing of cotton and the manufacture of cotton cloth encouraged both the slave population of the southern states and the industrialization of the New England states.

But, because cotton cloth production was not a family industry, it was expensive to buy.

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