The doublet sat, unassembled, on a shelf for 6+ years. In that time, I was introduced to the Bara System as detailed by Mather Gnagy and how to draft a better pattern. I also finally realized that modern sewing techniques such as bag lining were never going to get me to a better 16th century doublet. And that historical garments rarely (if ever) were lined in the same material as the outer shell or were made from a modern "linen". The linen doublets that I'm aware of are made of a linen canvas (different weave). The gold color is also a bit strong. Natural linens vary from brown to grey to gold, but not this bright.
Now that I've admitted all that's wrong, let's talk about what can be salvaged. It seemed a same to have the pieces still sitting on a shelf, and we determined that my husband hadn't changed sizes too much, so the only thing left was to make the best of it.
The long, straight seems were sewn by machine for speed. Everything else was sewn by hand using most of the Modern Maker techniques. Knowing that I was using the wrong lining and wrong weave of cloth, I was actually pleasantly surprised at how much shaping and structure I was able to achieve.
The collar standing tall with no padding or lining in yet. |
The shoulder wing. I did add a little inter-lining to help give it shape. |
I really did start of counting the time I put in, but lost track along the way. I estimate that I put in somewhere close to 40 hours prior to buttons and button holes. All in all, I'm rather please with how it turned out, and I look forward to seeing it finished with proper buttons.
I did convince my husband that it would be ok to have an interlining to back the button holes and to stiffen the shoulder wings and waist skirts. Otherwise, there is no stiffening or pad stitching.
Finished minus buttons and button holes and sleeve cuffs. |
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