Janet Arnold Patterns of Fashion

Janet Arnold Patterns of Fashion Award

For this project I had to choose a pattern from Janet Arnold’s ‘Patterns of Fashion’ and produce a reconstruction of this garment. My pattern was taken from ‘Patterns of Fashion 1560-1620’, a ‘pair of bodies’/corset, 1598. The corset was worn by Sabina Doretha Neuburg Pfalzgrafin. She died in 1958, aged twenty-two and was buried in the corset. Her family were Royal her father being Phillips Louis and Mother Anne of Cleves (previous wife of Henry the viii).

I found images from the Bayerisches National Museum in Munich where the corset is held to help with my construction process

Constructing the corset

My corset consist of three layers; the silk, interlining and linen. I drew out my pattern using my pieces and cut it out. With the three layers I tacked them altogether leaving a large seam allowance to prevent my silk from fraying away. For the silk pieces I had to overhand sections together the same way in which they would in the 16^th century. Silk was only ever 16 inches in width so this meant the pieces wouldn’t be big enough. Overhanding allows the seams to be as discreet as possible. On the underside this seam isn’t shown as the interlining and linen disguises it.

 My next step was to mark the channels for stitching, to keep it as pristine as possible I used tacking points to mark the channels. This proved tedious but I was pleased with the results. For the channels I used backstitch and after sewing each channel I inserted boning to make sure it was the correct width. I sewed the top outline of the front channels leaving the bottom open so I could insert the boning. Next I finished the seams I cut down the layers leaving one seam longer I folded the seams into the lager seam hiding all the raw edge. I used slip stitching to create a nice finish.

All my seams I folded towards the back of the corset.

The corset is bound with silk ribbon, I trimmed all my seams down ready for the binding, it the silk facing upwards I used backstitch to attach it to the linen side then folded it over slip-stitching the ribbon to the silk front.  I found the binding difficult as it was hard to create a perfect edge in the corners at the front and back. But after practice I was happy with the result although next time I would like to have the binding in one complete piece as the joins were so difficult. Unfortunately when it came to binding the tabs I didn’t have enough silk ribbon so had to find a substitute, I found a silk ribbon the same colour to the original that was the same weight and width from Marigolds. Next time I have to ensure I buy enough of my binding to prevent this from happening again.

I left the bottom unfinished to allow me to insert my boning I had to cut the boning using the channels on the corset as a guide. Unlike steel boning synthetic whale-boning is a lot easier to work with. I cut my pieces easily with scissors I cut them into a point at the top and filed it with a nail file to create a rounder edge. This ensures the boning won’t pierce the material or the wearer. After inserting all the boning in the front I sewed the outline again insuring that the boning didn’t move out of place. I inserted the boning into the back pieces, leaving the bottom open for the binding.

The corset includes a busk which you can remove I had to make sure I left an opening to access the busk. I bound all of the bottom but the channel for the busk I folded over the linen layer and slip-stitched it down. The silk and inter-lining was bound in the ribbon. This left an opening to insert the busk.

Before I did bind the silk and interlining I had to insert the tabs on the back and sides of the corset. Looking at the top of the corset the binding isn’t visible but lifting the tabs it is seen underneath. The tabs were made with a layer of silk and linen for strength, I bound the edges leaving the top raw. The tabs were very difficult to get right as they were so small to bind I had to make several before I was happy with the result. When binding the bottom all this material from the tabs were included, this created a nice edge the same as the original corsets.

My final task was the eyelets; I pierced the material with scissors creating a hole. I then put my eyelets on the front and backside pinning them in place. I used then sewed over the eyelets for the silk finish. I had to refer to the original pattern taking care in which holes used eyelets and those that didn’t.

Overall I am pleased with my result; I have learnt that with a lot of practice my hand-sewing skills have greatly improved. If I could do the corset again I would make sure that I had enough materials.

My costume has been entered into the Janet Arnold Competeion from my class im excited to see the results!!

Headpiece Inspiration

The raven costume will include a headpiece and for this I found inspiration from Fashion and Film.


I want the costume to show the Brother in transistion of becoming a Raven I want to create a magical and fantastical result that instead of relying on graphics like films use today I want to use my costume skills to create this.

Costume Inspiration

Before starting my designing I had to establish a style/mood for the production. I decided that my interpretation of The Twelve Brothers will be on screen. This effects the construction process as everything is seen on camera.

The setting is in the forest during Autumn/Winter, the clothes of the brothers would have to be heavy and warm, but capable of working in them.

The period I have decided on for the costumes is Victorian Britain. During this time very little colour was used in male costume, the dark/muted colours reflect the dark nature of the Grimm Fairytales.

I wanted to include aspects of Victorian fashion, as the brothers are royal the quality of material and construction was important at this time for the upper class, Britain had experienced commercial and industrial expansion, I want to incorporate this in my designs.

This image influenced me greatly, these garments are appropriate for the character of the brother

This image provides an intimate understanding of costume, my costume will include jacket waistcoat and shirt similar to this male. 

Through the beginning of the 19^th century men’s costume hadn’t changed, in the second half of the nineteenth century male costume was dominated by the frock coat, trousers, shirt and waistcoat. I have researched Victorian men’s fashion for more inspiration. From looking at images I want to adapt the Victorian fashion to add a timeless effect to the story, incorporating different colours or pockets I think the brothers would adapt themselves to live in the forest and the fairytale context has a timeless quality.

I want to use the frock cost and transform the collar to standing, the waistcoat I would keep simple I’ve been looking at single and double breasted designs, the shirt loose and easy to move in this would be reciprocated in the trousers. I want my designs to not be historically accurate and when considering the raven costume I have been inspired by the work of Alexander McQueen and other designers but I found his work with feathers has a fairytale quality which I would like to reciprocate in my designs. I have looked at female fashion with feathers I think this fit well with the designs of Victorians men’s fashion as it has a feminine cut in coat designs. So far I have started drawing my designs but need to continue developing until I reach a final idea.



i love this piece but for my project i feel anything this drastic could appear propp-like



This jacket is fantastic i want to reciprocate the fantasy quality the feathers achive

this image is more subtle but effective in result