#coutil

[clove-pinks]

Fashion plate c. 1830, The University of Rhode Island Historic Textile and Costume Collection.

Coutil, the fabric of his trousers, is described as "a French species of jean, but lighter in weight," by Valerie Cumming in The Dictionary of Fashion History.

#Eighteen-Thirties Thursday #1830s #fashion history #historical men's fashion #fashion #romantic era #1830 #textiles #coutil #fashion plate #this is the ideal male body

[digitalfashionmuseum]

Peach Coutil Girdle, 1942-1949, English.

Victoria and Albert Museum.

#peach #coutil #girdle #corset #1940s #1942 #1950s girdle #1940s corset #1940s undergarment #undergarments #extant garments #1940s extant garment #English #British #1940s England #1940s Britain #V&A

[bismuthburnsblue]

pencil on coutil always looks so sharp :)

#this is mostly an accountability post. if u know i am cutting my coutil now it might motivate me to actually. work on this

[discountalien-pancake]

Look at that lil curve! The goal of the padstitching in this case was to permanently secure the buckram to an otherwise incredibly flimsy lining, which the minimal boning would not be able to keep smooth and pretty. By padstitching across the entire panel, I ensure that the lining never pulls away from the buckram and never ever bubbles or creases inside when the bodice is on my body. The buckram provides the support and structure I need while being relatively thin and lightweight. Ideal for future ren-faire wear.

#a thicker canvas and esp a horshair or other tailoring canvas would hold a more dramatic curve #but i’m just trying to achieve smooth curves #if i had any coutil i would have just used that #but i did not so here we are

[bebemoon]

look for the name: ANETA

{vibes} simone rocha white lace veil from a/w 2o2o collection, ph. estelle hanania

hag & company sheer mnemosyne kirtle cut from vintage cotton-poly percale {"Printed with hand carved blocks representing pomegranates ... Velvet ribbon border at skirt hem. Bodice printed with pomegranates. Cotton coutil lining, synthetic whalebone and nickel plated grommets.}

john fluevog "cubist cupcake" black lace-up ankle boot w/ buckle

jo malone london "pomegranate noir" cologne

rebekah k. bide small ribbon'd metal pendant w/ hanging heart in .925 silver on a black double sided silk velvet choker

#aneta #name #request #outfit #looks #hope you like ! #meaning: grace;favour #hag & company #Rebekah kosonen bide #Jo Malone London #jewellry #footwear #John fluevog #simone rocha #vintage #handmade #queue

[poetryincostume]

Princess Zelda, 2020

False combinations with s-bend corset

Organic cotton/linen, cotton dobby, cotton lace, silk thread, satin ribbon

Silk matka, cotton coutil, cotton poplin, satin ribbon, cotton lace, antique brass suspenders

#project: Princess Zelda #media: Breath of the Wild #media: the legend of Zelda #the legend of Zelda #triforce #princess Zelda #breath of the wild #Edwardian #underpinnings #combinations #corset #historical sewing #historical dress #cosplay #needlework #hand sewing #costume #extant projects: 2020 #another of my favourites

[theghostparty]

Roméo et Juliette: de la Haine à l'Amour - Redesign - 2024

If you missed part one with Roméo and Juliette, click here. Once again, long design explanation.

When designing Mercutio specifically, I turned very explicitly inwards in my belief that Mercutio is not a Montague and should not be tied to the Montagues solely. Furthermore, Mercutio has FAMILY--he's the Prince's cousin and if we want to get really semantic about it, he also has a brother, Valentine.

All this being said, in designing Mercutio, I needed to tie him to Le Prince (Escalus) and I did that mostly in dictating that these are the characters who are allowed to wear black, mostly black leather. It's a distinction that goes mostly unnoticed until its pointed out, but no other designs incorporate deep black tones. There's also this strong, olive green tone that borrows from the Montague palette and gold hardware that borrows from the Capulet palette. The Prince's family gets to straddle the line between both worlds.

I thought very texturally for the Montagues and Capulets, so in trying to give the Prince's family something distinct, I landed on this brushstroke texture to give all the leather and denim pieces a custom feeling.

In his Les Rois du Monde look (his base look--I imagine this explicitly directorial choice to have him and the Prince enter together at the top of Vérone and have Mercutio break away to join the Montagues), there is hints of this painterly texture in blue as opposed to the gold of the Prince. I wanted to feel like every alignment Mercutio has with the Montague family is an active choice on his part. I imagine him painted those swaths of blue himself. His trousers are a bleached faded, torn denim.

We see the true royal gold in Le Bal, like, I think it's just funny to think Mercutio already owned these trousers and said "Fuck it" and wore them to dress up in. His look is explicitly jester themed. It's a little bit "Earring Magic Ken Doll" coded, which delights me to no end.

This is also a good place to point out how fixated I became on closure methods in garments. In Roméo's initial design, there is a strong focus on zippers, Le Prince's jacket is held together with gold hook and eye tape at all the seams, and with Mercutio it's all about lacing.

Part of this is in reference to the explicitly gendered ideas around corsetry and playing with that in tandem with Mercutio's generally accepted queer readings. It's also an interesting metaphor to think about being bound--by duty, by honour, by friendship, by tradition--something that Mercutio is so explicitly caught in between in the Montague-Capulet feud.

His final look during Le Duel, is a take on a Jean Paul Gautier design, and is the most partisan look for Mercutio. Doffing his jacket exposes this soft satin and coutil corset top in the faintest hint of blue. A soft underbelly of allegiance that would take to stage blood SO well (and would make who ever was dressing and laundering this show absolutely hate me as a designer, but I digress).

I also think it makes him a nice mirror to Tybalt, who's overarching design element is gold chains.

Tybalt's design is wholly referential to Mark Seibert's Tybalt. Is it because I can never get that little gold and red cropped jacket out of my brain? Perhaps. But I also like to think that design for Tybalt acts as a reflection of Mercutio. The inherent softness assigned to the Capulet family's design (silks, velvets, chiffons) plays really nicely with how much machismo is implied in Tybalt's characterization.

During Vérone, we see him in a half doublet, likely of a low-pile velvet, a satin faced silk period shirt open in an absolutely impractical way, and a floral print denim trouser. I also gave him a little cuban-heeled boot. For fashion.

Tybalt is a good place to also point out that weapons are very intentionally placed in and out of scenes. Mercutio always has a dagger. Roméo leaves his behind during Aimer. Benvolio does not carry one. Tybalt has an ornately sheathed sword. There is this undercurrent of violence for these characters that is dressed up and dressed down, but persists.

In Le Bal, I really leant into the idea of chainmail for this character, in keeping with the concept of chivalry and Arthurian influences. There's a little bit of royal purple thrown in there for good measure as well as a jaw-bone mask that, at best, is foreshadowing and, at its shallowest, looks cool as hell.

During Le Duel, I wanted to strip our fighters down to exposed skin. A lot of this is to do with one of my favourite versions of this scene, Zeffirelli's 1968 Romeo and Juliet. What I love about the sequence is how it devolves from nobel duel to outright brawl--from a distance to something very close and personal. It's the type of step by step tension-building that I really enjoy: where there are moments (when they're just shouting words back at forth, when they're drawing their weapons, when Mercutio would doff his jacket, when Tybalt doffs his doublet) when the fight could have de-escalated. When they could have walked away. But of course, it's not the play if they do.

I just imagine seeing Mark Seibert and Bereczki Zoltán fight would be fun, ultimately.

And now onto Benvolio. I fixated on paring down his looks, and quite frankly, if it weren't for how much I enjoy his little twink clubbing outfit, I would have probably only given him one costume. My justification for this is that Benvolio gets to live. Ostensibly, he has a lifetime past this play of changing to do. I feel very strongly about the idea of Benvolio as a narrator, Benvolio as a passive presence that is forced to become active. He's not certain in the same way that Roméo and Mercutio are about love and hate. He literally spends a whole song stagnating and waffling on how the hell he's going to tell his cousin that his wife is dead. He runs around following their impulses, patching over their problems. I have a lot of feelings about Benvolio as a character.

He's really the softest of the Montague characters in textures: his doublet is torn and slashed denim, his shirt is some sort of billowy linen blend. He has a little bit of metal flair in the form of this thigh adornment, but really he's quite simple--and my comparison to Roméo and Mercutio, he's quite warm. That hint of magenta on Roméo is a full on feature on Benvolio.

I accept any and all slander about my choices for his Le bal look, but by god do I think it's silly and it brings me joy. Suit of armour under ripped green denim, a little navy ribbed singlet with a silver chainmail crop top over it? Lensless silver glasses frames? It makes no real sense, but I stand by my "We're sneaking into the Capulet's ball tonight with very short notice, here's what we can cobble together" reasoning.

#romeo et juliette #romeo es julia #romeo und julia #romeo e giulietta #bereczki zoltan #mark seibert #cyril niccolai #leonardo di minno #retj #resj #joyce draws #retj redesign 2024 #boy oh boy I hope cyril niccolai who literally follows me never sees this post #tw: blood #I wish I could tell my younger self that watched this musical that I did in fact grow up to be a professional designer and this is my job

[woolandcoffee]

I've been using my time off for the holiday to start putting together the sweetest pink corset. I'm using the 1860s corset pattern from Redthreaded, leftover silk taffeta from my robe a la francaise, and a sturdy layer of coutil. I've made a lot of progress, but the dreaded worst step lies ahead - installing the grommets. Still, a small price to pay for back support.

#woolly rambles #a pretty picture #historical costuming #historical dress #I'm so glad I decided to use the taffeta a fashion layer it looks so pretty

[mint-corset]

We starting the final corset sisters!!!

I've made adjustments and right now I'm just tracing the pattern onto sturdier paper for archive purposes, for easy recreation later.

I decided my namesake, mint corset, will not be made this time. Since this is my 3rd corset I decided to keep this one simpler. No fancy satin on top or anything, just a peachy coutil. Also decided to add a place to add and remove garters with ease. Because I realized I cannot wear my usual stockings with a corset on.

#sewing project #corset

[periodcorsets]

Bespoke Corded c.1835 Ada in lavender coutil #bespokecorset #cordedcorset #regencyfashion #regencystyle #regencycorset #historicalfashion #historicalcostuming (at Seattle, Washington) https://www.instagram.com/p/Cpx-ySGvrX2/?igshid=NGJjMDIxMWI=

#bespokecorset #cordedcorset #regencyfashion #regencystyle #regencycorset #historicalfashion #historicalcostuming

[clove-pinks]

His and Hers sporting dress from 1837, Journal des Dames et des Modes (Rijksmuseum).

"Robe & pantalon en lasting" caught my eye (apparently referring to the woman's clothes), and Valerie Cumming's fashion history dictionary defines this textile:

Everlasting, lasting

Period: 18th century to ca. 1840.

A stout worsted fabric with double warps and single weft. “A cloth with a shining surface” (1829).

I usually don't focus on women's dress but I really love her outfit with the pantaloons beneath her shorter skirt, and the beautiful stock with masculine frilled shirt! (Sporting dress and equestrian dress for women are wonderful for their masculine tailoring). Women's sleeves are pretty deflated by the late 1830s, but hers seem extra-tight and very 1840s-looking, perhaps for practical considerations. It also looks like she has a feminine version of Albert boots.

If anything, the man's dress seems less functional for outdoor activities, with his light coutil trousers that not only have a footstrap but seem to be almost covering his shoes.

#Eighteen-Thirties Thursday #1830s #1837 #fashion history #dress history #fashion plates #sporting dress #romantic era #historical men’s fashion #lasting #textiles #fashion #don't look too closely at the dog

[digitalfashionmuseum]

Peach Coutil Corset, 1930s, English.

Victoria and Albert Museum.

#peach #coutil #corset #1930s #English #British #1930s corset #1930s Britain #1930s England #V&A #1930s undergarment #undergarments #1930s extant garment #extant garments #womenswear

[bismuthburnsblue]

inverted curve in coutil please kill me now :(

#does it look good on the costume???? SURE. but I had to break my seam into two sections just to make it possible #and i still missed my stitching line on one side by a couple mm #..... gotta do the other side now #YES. i am still sewing panels together. i am not fast

[rosemary-crane]

Pt. 1 of my (very belated) chaotic corset making process

so way back when in August 2023, I finally got the motivation to make a corset for historical costume purposes, which I’ve been wanting to do for several years now. Most(and not just more) specifically, I wanted a corset that would have been considered fashionable in ~1875-80, especially in 1879, had an elegant silhouette, and was historically accurate.

There’s this one person on Etsy- ateliersylph- and they’ve got a ton of patterns taken from extant antique corsets they own, as well as some other fun sewing things like corset hooks, so I scrawled through their antique pattern offerings to find something that got as close to my specifications as possible. Unfortunately, there isn’t a corset that they dated to specifically the years I was looking for, but Ref P looked close to what I wanted: it had the curvy silhouette, wasn’t too curvy for my liking but still wasn’t too small proportionally for my hips, extended to ~just below the hip, spoon front-opening busk, was versatile enough to be used for more than just one decade in the Victorian era, and didn't support to only under the nipple. The spoon busk meant that it had to have been made in/after 1873, as that was when that style of busk was invented, and it fell out of fashion by the Edwardian era, so it should probably have been made between 1873- around 1900, and more likely closer to 1873 than 1900. It also didn’t have garters tabs attached to it, which became a thing closer to the Edwardian era. Thus, this was the closest pattern they had for what I was looking for, even without them having a date for Ref P’s original corset. I chose the pdf file option instead of a paper pattern to save money.

I also decided to go with a white-greige-light blue color scheme, so I got some white lace and bias binding and coutil, greige lace and cotton sateen(because silk would be even more expensive), and blue silk thread and ribbons for the back lacing, flossing, and decoration. I won’t lie, Bernadette banner’s adventures in ✨the joys of corset making✨ /s definitely inspired my choice of velvet ribbon threaded through lace as trim. Between the 3 commercially available options for boning nowadays, I (1) didn’t want to use plastic so synthetic whalebone was off the table, and (2) getting a smooth edge on the cut ends of steel boning was much simpler and cheaper than spiral steel boning, which needs caps and a cap-setting tool. However, Like A Fool, I didn’t remember that maybe, just MAYBE, I should have waited until I was able to print out the properly-sized pattern and measure to see what size bones I needed(because there are two different widths used, Apparently) before just purchasing a size that I thought was right, but. ://// so that was fun and not something I realized until I had gotten to the point of actually sewing the bone channels on all the panels, but I’ll come back to that later in another post. I also decided that because I couldn’t see the spoon busks in comparison to my body irl, it would be safer to buy a straight busk and just bend it for the curve, and that I was also going to use small-ass floral metal stamps on the busk loops because busks with decorative patterns on the loops were all sold out online to my knowledge :| this all happened over the course of a week where I was looking up materials online and debating whether spending all that money was worth it, until I said fuck it, I’m gonna make it, and bought everything, which took until ~late August/early September to all arrive. So, to pass the time, I searched up all the YouTube tutorials I had watched before of historical costubers making their own corsets for tips and watched them all again, and also went through ateliersylph’s blog posts for instructions and other resources, most of which are in French so get a google translator if u can’t read it like me lol. I finally got the pattern printed out after like, a week or 2, so after that, I was cutting and pasting it together irl, making mockups, etc. until everything else arrived. :D

#sewing #corset #fashion #historical costuming

[kittttycakes]

you know what, anon? I didn’t love my original fill for this, and it sparked something in me, so have some smut under the cut

10. Breathe again.

Contents: Hob Gadling x OC (Grace), referenced Morpheus x OC (Grace) x Hob Gadling. Corsetry, specifically tight-lacing, used for kink purposes. 0.9k

“Breathe again,” Hob said, and Grace tried, managing more of a gasp than a true inhale as Hob pulled steadily at the lacing, drawing the corset more tightly around her. She could feel the press of the boning, firm against her even though the fine linen of her shift beneath, and she shuddered when she felt Hob press a kiss to her shoulder, his fingers deftly tying off the laces and tucking them away.

“Perfect,” he said against her skin, his hands coming to rest on her waist. Hob had always run warm, the heat of him a steady presence against her back, and she leaned into him, looking up. This had been a bit of her own idea and a bit of his (and, admittedly, a bit of Morpheus’s as well, to do so in the Dreaming, where no harm could come to her—and, she suspected, where he could feel it, too. She could tell, now, when something was made of dreamstuff, and the silk brocade beneath Hob’s fingers undoubtedly was.), to put her in something Hob had rather fond memories of, and that she had always been curious about, although this was rather more extreme than anyone might have done for everyday wear.

Grace tried to take a full breath, and found herself unable to, the rise of her chest impeded by a wall of beautiful spring green silk and cream coutil. She knew, intellectually, that had she been used to it and had she not been quite so tightly laced, she would have been able to breathe with ease. That wasn’t entirely the point.

The point became incredibly clear when, thighs bracketing Hob’s waist, shift bunched around her hips, hands braced on his shoulders, she was unable to catch her breath with the rise and fall of her hips. Held perfectly between breathlessness without becoming dizzy, every sensation approached near overwhelming intensity: the grip of Hob’s hands on her hips, helping her move on him; the press of his body against hers, the warmth radiating off of him in waves; the press of his cock inside her, positioned in such a way to make her nearly see stars each time she sank down on him.

She closed her eyes, attempting to hold on, her nails digging into his shoulders, but this only served to make her more aware of his voice, the steady stream of words that had not let up since they had fallen into the bed together.

“You’re so wet, love, you’re practically dripping. Can feel it, feel you, all the way down your thighs. Do you think you could come like this? Just this, with you bouncing on my cock and not a hand on you?”

“Please—”

“Please what? Please touch you? Please let you come?”

“Hob,” she managed, voice caught in her throat in half a sob.

“Am I being cruel to you, my darling girl? Come however and whenever you like, love. I’m not stopping you.”

She was so close, nearly there, but something was missing. Grace pulled one of his hands from her waist, guiding it between her legs instead, and the moment his thumb pressed against her, she came, nearly crying, his name the only word she could remember. She couldn’t catch her breath. Every point at which they were touching became electric, and he was still touching her, thumb moving in tight circles, and she sobbed, tears gathering at her lashes but refusing to fall, as she clenched around him, coming for a second time.

She reached for his wrist with clumsy fingers, thighs shaking, still managing an unsteady roll of her hips. He laughed, staying exactly as he was.

“Oh, love, you didn’t think we were done, did you? I told you I wasn’t stopping you,” he said, the maddening press of his thumb unrelenting. “I never said anything about me.”

If she wanted him to stop, really stop, she knew exactly what to say. She thought she might truly cry if he did. Despite having come twice already, in short succession, she wanted, aching with it.

“I want,” she began, gasping, unable to find the words or the breath to continue, and that was enough, wasn’t it? Didn’t that tell him everything he needed to know?

“Tell me, and I’ll give it to you. Anything you want, you just say the words and it’s yours.”

Grace’s nails dug into Hob’s shoulders, hard enough to leave a mark, had they been in the waking world. She rocked against him, uncertain whether she was trying to take more from him or push him away. Perhaps it was both. Everything was just so much.

“More,” she managed, at the exact moment Hob’s hand shifted and he pinched, not hard, but enough to feel. Her entire body was one nerve, she thought, raw and pulsing and oversensitive, as she cried out, tears at last spilling, and came so hard she swore she saw stars.

When she came back to herself, slowly realizing that, yes, Hob was still gently moving her in his lap, both hands now on her hips and bouncing her as easily as if she were weightless, Grace realized they were not stars at all, but Morpheus’s eyes. He stood beside the bed, one hand possessive and cool on the back of her neck, watching both of them, and she let out a soft, wanting noise, hands already reaching for him.

More, she had said, and she meant it, the word on her lips even as Morpheus bent to kiss her. She had never understood the meaning of moderation anyway.

#oc: grace talbot #ot3: the dream team #hob gadling x oc #morpheus x oc x hob gadling #kittycakes writes #this is just unedited smut #but did I have a good time? oh yes

[womanexile]

So is giant megaphone like the one in 22 video?

Is that a red ceramic jaguar head near trailer (made me think of HS tattoo)?

Probably not related...

Corset sign near trailer is of a San Francisco business anonymousworks.blogspot.com/2010/04/mrs-wp-rutherford-maker-of-corsets.html

opensfhistory.org/NeighborhoodPhotos/Financial_District/advertising

Victorian Circus Corset in Black Satin Coutil c. 1880 Alice, burlesque etsy.com/listing/453565002/victorian-circus-corset-in-black-satin

Politically addressing dress reform- 1st wave of feminism? Or Woman Suffrage and the 19th Amendment? Fashion has a history w/ politics & culture

https://en.wikipedia.org/wiki/Corset_controversy