Fisher women 3

extending the saga.

So far-

sketchbook reference page. Pinterest page. Research page, painting page.

jacket put together – poorly back – remedied, unpicked and handsewn.

Skirtless – made! Just requires hem.

Poor copy of Sutcliffe painting – given up on.

2x paintings of costume – done. Not too bad.

2x portraits with costume . Ummm.....

The jacket is quite sweet – still some problems to sort – boning! I began with the plastic boning but it was too wide. Cut it in half and it becomes angry and then aggressive. Instead of a jacket with some boning it was some boning with a jacket. I've tried various substitutes but it is not quite right. There is some semi rigid plastic packaging to try but opening the packaging will mean putting up the roller blind that's in it so I'm hoping for another idea to arrive. Once boning issue is sorted then it can be hemmed. Fastenings are the usual headache. The original had 12 self covered buttons down the front. Getting small buttons is a pain. The small ones tend to be very thick in proportion to their size so still need larger buttonholes and I promised never to go near the small cover buttons ever again for sanity's sake. The centre front will end up all buttonhole. A solution would be to cheat – blind buttons with hooks and eyes inside. Not happy about this but..... I have some 10mm fake mother of pearl 4 hole ones that might do.

I do like the jacket and skirt together, the jacket just comes down over the skirt waistband at the sides with the front and back points fitting snugly over the pleating. The fullness of the skirt is giving Gwendoline a softer, curvier  shape. She does look shoulder heavy from the front but the back is flattering.

Some evil thought drifted by and I ended up mixing a self portrait with found images. Trying to paint while wearing a scratchy wool shawl was not fun. Another problem was that when concentrating I frown and pull faces – this comes across in both paintings. Smile dear!

 

Things to be done -  Try last ditch boning solution or discard idea.

Fastenings on centre front and cuffs.

Finish hem on jacket and skirt.

Try self portrait without looking somewhere between rejected spaniel and mad axe murderess.

 

 

Distractions -  Bought a copy of Nancy Bradbury's book and have spent hours matching drawings to photos of extant garments from the National Trust,(another pintrest board) and then comparing notes and images with Janet Arnold's  patterns.

Hedge cutting, mad pruning.

Losing glasses, finding glasses, losing glasses, finding glasses, losing glasses, finding glasses, losing

 

 

fisherwomen project 2 - attack of the paintbrush.
Having said that this week was to be sewing - it ended up being painting, drawing, research and painting. Very simple questions have stalled progress and of course I got distracted by all and sundry.

Task one - put in more depth and shape into the skirt on the first painting. Done. Still think it looks 1940s in style but it does have an airy, summery, breezy quality. It was worth sitting shivering in the garden watching how the skirt moved in a wind! Also tried with the original illustration - bit better but still oops. Might cut the right hand figure completely.


Task two - making. Progress is made although not as much as I had hoped. the darts were sewn in bodice and lining, boning channels made, fronts attached  and then shoulder and back seams. The lining was then basted to the inside of the bodice to act as a flat lining.  Side seams were  done, collar and cuffs attached and sleeves put in. This worked incredibly well until I tried to fiddle, to narrow the centre back panel. Some unpicking is needed and more fiddling to correct the correction! Another adjustment is in my expectation. I have a tendency to make things like a second skin and quibble about any looseness. Not the way to go in reality,  yes a 'good' fit but there has to be ease as well. Quite a lot of ease is needed  for outer garments or nothing could be worn underneath and any movement would tear the seams.  This was a working garment worn over chemise, stays and petticoats so some ease has to be allowed. I still tend to put it on Gwendoline and tug it tighter.


Task three- The second illustration.  I wanted it to be more gritty, less generalised, and to show cap and shawl. What began to bug was were the cap and shawl worn at the same time in Yorkshire, and how to use the shawl. There does seem to be regional variations in garments and customs, the folded apron seems to be a Scottish trend and the cap more of a Yorkshire thing. The costume had two caps included so a guest appearance seemed necessary, but no apron. In the found images some have caps, some have shawls as headwear but many have bare heads, I've been trying to work out if it was seasonal wear, Sunday best, or whether there was a decline in their use across the period I've been looking at. A lack of specific location and date for many of the paintings was a problem with that one!


 Homer, Tynemouth 1891
 Still in search of a contemporary style - the obvious group The Staithes group but I have been looking at a variety of art from Portsoy in Banff, Scotland, Cullercoats, to Newlynn and even New England.  The most influential artists being Walter Langley, George Murray and Winslow Homer. Most of the images I worked from are on my fisherwoman pinterest board.  The styles are varied, impressionistic, highly coloured, to realism and delicate watercolour, so it was a case of pick and chose and experiment. Comparing the artists' impressions to the Sutcliffe photographs there were more similarities than differences - the poses are similar, the photography tends to be still and calm while the artists go for more dramatic weather and situations.
 Getting the details right was a pain, working out how to show the shawl folds and bulk, and then of course it had to be a plaid example! Lacking a mannequin with a head, it was back out into the garden to work with the costume set up on a body with an upside down  vase taped on place for the head. The neighbourhood cat fled. Haven't seen it since.

The setting of the photos is so specific so I have set it near the creek mouth in Staithes, very distinctive and with plenty of contrast, texture and scale to make it a challenge but didn't quite feel upto beaching a fleet of cobles (but have placed a few figures in the background, Having listened to the "Women's Voices" having an empty space seemed wrong, the women never stopped working in one way or another whether the boats were in or out)

I'm not happy with the result - the setting works well, the pose too wooden  rather than the worker-for-the-soviet-revolution stance of some of Winslow Homer's. The face works well in close up but not from a distance. The freedom of the background has become too tight on the figure, having tried out the various approaches to painting the face shawl I then go and mismatch them. Pah! Far too Catherine Cookson. Will try the main figure again and grump down the sunny background.. It's the angle of the head, or is it?



Distractions - 1- making for the library event in November.(giving up trying to follow written patterns for the time being)
                       2- making little hats etc for the Innocent Smoothie Big Knit fundraiser for Age UK. Followed a pattern and got it wrong - back to improvising.
                       3 - trying out a new stitch from a vintage shawl pattern from Whitby. Hmm.
                       4- Barbara's picture -
                       5. trying acupuncture.





refs - "Women's Voices" - www.fishinarts.co.uk
          www.ganseys.com
BBC and Wikipaintings
www.sutcliffe-gallery.co.uk
 www.tbrj.co.uk
Memories of the Yorkshire Fishing Industry - Ron Freethy.

Plans for next week - sort out little jacket, sort 2nd picture figure,  find neighbour's cat, try more challenges, send little hats, present things for sale, more acupuncture. How did I find time for a job?and I'm still pacing myself not to do too much at once! Might try to squeeze in some housework? Umm.....

Fisher women of Yorkshire - a less gothic version of Whitby.

 

Stephen Friend has loaned  a costume to me, made for the "Women's Voices" project by York St John University. It was based on Frank Sutcliffe's photographs of the 'fisher folk' on the east coast around the 1890s. It is a jacket and skirt, worn over a bright red petticoat, with heavy boots and large shawl. It is  a practical outfit of drab striped fabric, rather like a soft cotton ticking. The jacket style is conservative, fitted with two darts each side and boned. It has centre front opening with 12 self covered buttons, high neck with a small simple folded stand collar and tapers to a v at the front and centre back hems. The shoulder seams are set a little back from the top of the shoulder and the back has curving seams from the armhole to the hem.  The sleeves are long, gathered onto  unstiffened, buttoned cuffs. The bodice is lined, except the sleeves, the boning inside  the lining under the lower buttons and darts, and mounted on top of the under arm seam and lower centre back line. These have a narrow cotton casing. The skirt is quite full, gathered onto a waistband with a flat centre front section. It is made in three parts, with a centre back seam, open at the top and closed with a mother of pearl button on the waistband, and a side seam under the bust dart.  There are several images showing woman wearing similar skirts, some with rows of pleating or deep frills around the hem, most with large aprons, often large shawls, and in various states of repair. The skirts seem to be relatively short, well clear of the ground showing the stout leather boots, a far cry from the delicate Regency styles I've been making recently (can't image these ladies being held up as aspirational fashionistas in a ladies' periodical). From the look of some in the photographs clothes were worn until worn out, remade and worn again.(take a look at the photo of Polly/Fanny (ref 24-29 in the Sutcliffe gallery) and see the repaired and tattered state of her under layers)

 

I'm using this as a practice exercise for working from an extant garment. A page of notes, diagrams and images was first, looking for seams, pattern shapes and construction details. These should have been done to scale but ... but at least I did pay attention to proportion and placement, spent longest on colour matching! I saw this as a 'getting to know you' phase. The seam lines and darts were transferred onto long suffering Gwendoline and then pattern pieces made to fit. Trying to find a suitable fabric was not a happy morning, could have made it in plenty of Halloween spiders or Christmas holly sprigs but a simple stripe? Ticking seems to be endangered species, so much is quilting or crafting cotton and I object to insanely cavorting teddy bears in waistcoats. I did find one that was suitable-ish, but it was a delightful lightweight wool herringbone at £36 per yard – oops.

I have used a compromise fabric from the stash – a blue cotton pinstripe, a roll end of shirting, not beautiful, a lighter weight and not as dense, but at least I'll be happy re-cutting pieces if/when I go wrong.

The pieces are cut and ready to assemble, and there it stopped – streaming head cold has claimed another victim. I tried to continue making but having put the dart seam allowance to the outside three times in a row- quite a feat in itself – I am giving up until the head clears and the eyeballs fit their sockets again.

I hate colds.

I really hate colds.

I have tried to paint from Sutcliffe's photographs inbetween sneezes but with little success. I like the concentration on the seated figure but the standing figure is one that I guess was used as inspiration for the costume, so I've altered some details to match the made skirt. A lot of the images show the women knitting, she is meant to be holding a skein of wool for the other to wind or work. Unfortunately in my version she seems to be having an out of body experience!  I haven't found a late Victorian portrait genre that I find inspirationally different from the earlier styles. That is this afternoon's job, BBCpaintings and Wikipaintings be warned, as long as I can stay awake.

Hopefully by next week the self pity will have passed, the cold will be vanquished. Doing 1890s clothing means that machine sewing is the way to go, so this garment should be quicker than the previous ones apart from the fact that I'm trying to match inside and out. The jacket should be in the process of finishing and the skirt blocked out ready to work by the time I post again.

Many happy sneezes of the day.....

Gwendoline's  muslin. - she definitely needs underclothes before any public appearances.

And here it is ! No wonder these dresses caused a sensation!

Just added Gwen's imagined portrait, based loosely on  Thomas Lawrence's of Sarah Goodwin Moulton ( Pinkey) of 1795. Decided to keep her brunette or else the painting would have had hardly any colour but the dress does show up well. The dress would date a little later so there is a bit of  an argument between pose and fashion,  I did try to calm the sky and take some of the theatricality out of it . What I would like to do is match the degree of modelling on the face to the clothing. More practice required again!

Even though I can not cut tight under the bust because of Gwendoline's fixed shape, this dress does wonders for her. The fashion for separated, high breasts (rather than the modern squish together and hoick) suits the low centre, plenty on show but without the desperate attention seeking. The line of the bodice emphasises the shape. The neck is as wide as I could make it without it falling off the shoulder and as low at the back as at the front. It sits as high on the bust as it can, some of the fashion plates make this seem generous, the bodice should be reduced to a narrow band with sleeves. The skirt is a round, gathered at the centre back with a little gathering along the front, it falls better with this extra ease, but is an aberration from the straight column of the early classical styles. The decoration at the hem is useful to help to balance the gown, it did look  very top heavy in the initial stages. The sleeves are a nod to Medieval and Tudor styles which was popular at the time,  with a puff on the shoulder, a narrow secondary puff around the upper arm and then the lower sleeve is long and tapers to the wrist.  They were  a menace to make – they went together well, the experiment was well worth it, but it took for ever. The muslin has no strength and just pulls apart on the curve so  had to be anchored onto the inner sleeve before being assembled and fitted. The muslin outer was in 2 parts , head and cuff, not three. The second gather was stitched to the lining. What I hadn't considered was how to press the sleeve - so the crinkle look I'm declaring deliberate! The portrait will have to be redone to match. Blonde this time?

I think this is one of the more successful outcomes. It has the right feel and shape compared to the extant muslin shown last post. There are still areas to resolve – dealing with the internal seams, fastenings, the sequence of construction. The amount of sewing in what is a simple enough shape is amazing. Mounting the muslin onto the lining meant sewing before tacking before sewing. Then doing French seams  means sewing everything twice as

well.  The final insult was having matched off white muslin to the slightly cream lining and off white embroidery, when I washed the marker pen out the muslin has dried toothpaste white!! Still like it though.

 

 

Really, really want to get down to Gloucester to see that wedding dress and check these things out first hand.

 

The draping technique was good, it became a practical puzzle, all the shortcomings were my own. Although I need more knowledge about techniques and finishes before  I  feel confident about getting from the drape to the finished garment I don't think that is going to stop me trying. Some of the fashion plates are looking at me, challenging, teasing......

 As for why this is indecent - take a look at the last photo. The are rumours that some dampened their petticoats to make them even more revealing (Gwen wouldn't of course, yes she would, shameless!)