Cloak & Corset | Guinea Pig Review
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1800s - Naval Uniform
Created by Sara Cornthwaite of Carlsbad, CA
Review written by Jennifer Rosbrugh
Ginny was delighted to receive photos from our very own Sara who created a naval uniform for her husband, Jeremiah, to wear to the Jane Austen Evening in 2008. Being that this was Sara’s first attempt at historical menswear, we thought you’d love to read about her success (doesn’t he look dashing?) and troubles (how do you figure out those front white lapels?).
Here is what Sara wrote about the costume:
(Click on any of the pictures above to be taken to the National Maritime Museum's website to find out more about each article of clothing.)
I love how Sara began her project by searching out photos of existing military garments of the period to narrow down a style and shaping. Looking at extant historical clothing either in person or in photographs is a terrific way to notice details, trims, closures, fabrics and more. When reproducing a certain look, you can’t go wrong with primary forms of research. Be sure to study items from the entire period and/or decade to get a general feel for the designs before you narrow it down to what you want.
For example, after studying photos of original uniforms, Sara then took her basic patterns, like for the waistcoat, and adjusted the angle of the neckline and added a collar to get the design she wanted. She also decided on the white lapels and a single-breasted design rather than double for the coat.
According to Sara, she started with the following patterns:
Breeches: Drop-Front Breeches or Trousers by Tailor's Guide
Waistcoat: Wingeo Pattern #211: 1790 - 1820 Double Breasted Waistcoat
Coat: Tailor’s Guide 1790-1820 Frock Coate
All navy coats in the Regency period had brass buttons. It’s just the way it was. Other colors could have self-covered, embroidered or wood buttons; but the navy colored jackets (both military and civilian) “always” had the brass ones.
The white wool lapels were draped separately onto the coat mock-up and Sara made a pattern from it. For a finely tailored garment, the coat turned out beautifully.
The military waistcoat would have been a functional article and Sara has made Jeremiah’s this way in a basic linen fabric with two welted waist pockets. It buttons to the top as is military style. The brass buttons look fine but could also be cloth covered as are so many waistcoat buttons of the period.
The black cravat (a long, narrow hemmed strip of fabric) is also appropriate. A white cravat, or stock, was used for civilian wear.
From this angle it looks like his left pocket is placed a little lower than the other. A good habit when making duplicate items (such as pockets and trims) is to double check your placement markings on the two areas – even if they are drawn separately on the pattern. A number of historical patterns available will simply draw in placements without checking to see if they match and are the same distance from a particular edge.
Back fitting ties on the waistcoat are fairly wide. They could be narrower but functionality is their primary purpose so even wide ties will do the job of fitting the back to the person. Buckles came about a bit later in the Regency 18-teens.
Nice job on the breeches. The pattern seems good and the fit at the hips/waist is well done. However, they are a bit long. To correct this, a horizontal tuck can be taken out of the pattern just above the knee cap. The band should fit snugly below the knee. Instead of shortening from the hem that the band is sewn to and dealing with the placket opening, take out the excess above the knee. If Sara wanted to alter this pair she could cut a smaller band that fits snugly above the calf and below the knee cap. This would visually shorten the breeches as the excess length would simply hang out around the knee.
Being a formal evening event, the stockings and buckle shoes are appropriate. For daywear and other soldier duties, knee length boots would be proper.
Guinea Pig Review Archive
Created by Sara Cornthwaite of Carlsbad, CA
Review written by Jennifer Rosbrugh
Ginny was delighted to receive photos from our very own Sara who created a naval uniform for her husband, Jeremiah, to wear to the Jane Austen Evening in 2008. Being that this was Sara’s first attempt at historical menswear, we thought you’d love to read about her success (doesn’t he look dashing?) and troubles (how do you figure out those front white lapels?).
Here is what Sara wrote about the costume:
The British Naval uniform was a little difficult as I've never done anything so elaborate before, but I had some good help along the way to help me get through any stumbling blocks.
The patterns I used were for a men's civilian Regency outfit and they were modified to resemble pictures that we found of Naval uniforms (specifically a Lieutenant’s uniform). My sister helped greatly with the research to find the pictures to resemble (mostly from a museum in England) and Jennifer helped me modify my mock-ups of the Civilian pieces to make the outfit look like a naval uniform.
The patterns I used were for a men's civilian Regency outfit and they were modified to resemble pictures that we found of Naval uniforms (specifically a Lieutenant’s uniform). My sister helped greatly with the research to find the pictures to resemble (mostly from a museum in England) and Jennifer helped me modify my mock-ups of the Civilian pieces to make the outfit look like a naval uniform.
(Click on any of the pictures above to be taken to the National Maritime Museum's website to find out more about each article of clothing.)
I love how Sara began her project by searching out photos of existing military garments of the period to narrow down a style and shaping. Looking at extant historical clothing either in person or in photographs is a terrific way to notice details, trims, closures, fabrics and more. When reproducing a certain look, you can’t go wrong with primary forms of research. Be sure to study items from the entire period and/or decade to get a general feel for the designs before you narrow it down to what you want.
For example, after studying photos of original uniforms, Sara then took her basic patterns, like for the waistcoat, and adjusted the angle of the neckline and added a collar to get the design she wanted. She also decided on the white lapels and a single-breasted design rather than double for the coat.
According to Sara, she started with the following patterns:
Breeches: Drop-Front Breeches or Trousers by Tailor's Guide
Waistcoat: Wingeo Pattern #211: 1790 - 1820 Double Breasted Waistcoat
Coat: Tailor’s Guide 1790-1820 Frock Coate
The breeches and waistcoat mock-ups were made out of muslin and the frock coat mock-up was made out of a semi-stretchy jean material. (This both worked for and against me as the jean was a heavier material than the muslin so it more closely resembled the wool that I would be using as my fashion fabric, but because it was semi-stretchy, it fit slightly different than the wool, so I still had to do some adjustments to my final piece to get it to be just right).
All navy coats in the Regency period had brass buttons. It’s just the way it was. Other colors could have self-covered, embroidered or wood buttons; but the navy colored jackets (both military and civilian) “always” had the brass ones.
The white wool lapels were draped separately onto the coat mock-up and Sara made a pattern from it. For a finely tailored garment, the coat turned out beautifully.
The military waistcoat would have been a functional article and Sara has made Jeremiah’s this way in a basic linen fabric with two welted waist pockets. It buttons to the top as is military style. The brass buttons look fine but could also be cloth covered as are so many waistcoat buttons of the period.
The black cravat (a long, narrow hemmed strip of fabric) is also appropriate. A white cravat, or stock, was used for civilian wear.
From this angle it looks like his left pocket is placed a little lower than the other. A good habit when making duplicate items (such as pockets and trims) is to double check your placement markings on the two areas – even if they are drawn separately on the pattern. A number of historical patterns available will simply draw in placements without checking to see if they match and are the same distance from a particular edge.
Back fitting ties on the waistcoat are fairly wide. They could be narrower but functionality is their primary purpose so even wide ties will do the job of fitting the back to the person. Buckles came about a bit later in the Regency 18-teens.
Nice job on the breeches. The pattern seems good and the fit at the hips/waist is well done. However, they are a bit long. To correct this, a horizontal tuck can be taken out of the pattern just above the knee cap. The band should fit snugly below the knee. Instead of shortening from the hem that the band is sewn to and dealing with the placket opening, take out the excess above the knee. If Sara wanted to alter this pair she could cut a smaller band that fits snugly above the calf and below the knee cap. This would visually shorten the breeches as the excess length would simply hang out around the knee.
Being a formal evening event, the stockings and buckle shoes are appropriate. For daywear and other soldier duties, knee length boots would be proper.
Outstanding job, Sara, for your first menswear outfit! Thanks for letting us view it up close.
Guinea Pig Review Archive
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