Caraco Jacket and Petticoat

1790s, Colonial Williamsburg Collection

I suppose I shouldn't be surprised that I continue to be inspired by Felicity Merriman's wardrobe. I think most (if not all) historical costumers of a certain age owe a large portion of their passion to The Pleasant Company, and I am no exception. When Virgil's Fine Goods announced the return of their fabric, "Cait's Flowers," the original 18th century print that inspired the one used by American Girl, I had to have it. I was very kindly gifted 5 yards of it for Christmas by my parents, and spent my time waiting on the pre-order to arrive by deciding what to make with it. 

I didn't want to go full cosplay, in part because that's not quite me. Another reason was that I already have a calico round gown, so another felt...excessive. What did catch my eye during the research process were the many chintz petticoat and jacket combinations. This struck me as something a grown-up Felicity might wear. I began to do my research and assemble my sources.

1780-1790, MoMu Antwerp

Probably 1770s-1780s, location unknown.

1780s, the V&A

Above are a few of my favorites. Once I had decided on a caraco and petticoat, I truly couldn't picture the fabric as anything else (except maybe a Polonaise, and that's not quite my style). All I lacked once the fabric arrived was the block of free time needed to get things underway. 

As a quick side note, let me talk about the fabric. It's a beautiful cotton-linen blend that Amber has custom woven and custom printed in India. It has none of the stiffness and tightness of a modern cotton blend, but is light and delicate. Hand-sewing cotton is one of my least-favorite sewing experiences, something I learned and solidified making my 1780s round gown. This fabric leans much more to the linen side, and has been extremely pleasant to work with.

As I haven't made a jacket with strictly HA techniques before, I opted to use the Amalia Jacket from Scroop as my jumping-off point. Because I've used Scroop patterns in the past, I know how they fit and am familiar with the pattern pieces and instructional style. It turned out that this was a highly appropriate choice: many of my inspirations are the same garments that inspired the pattern.

I added about 3" in length to the skirts of the jacket before cutting out my fashion fabric. I was torn about cutting the fronts on the bias to mirror the angle of the center back pieces, but decided against it in the end, as this is more an effect to use with the zone-front option. I also considered horizontal stripes on the sleeves, as occasionally seen in later 1780s artwork, but didn't want to go too crazy. Maybe in a future project. I didn't get many photos of the construction process, but here are some highlights, with notes in the captions.

A quick fitting over my false rump to check the lay of the pleats.

 

Top-notch union help with bodice construction.

Since I'm familiar with the cut of Scroop patterns, adjusting the shoulder straps was as easy as comparing to an already-completed Angelica gown. Right first time.

My secret magical gift is that I've never had any trouble setting in 18th century sleeves.

Construction complete!

I ended up making two petticoats to go with the caraco: one of a simple green linen to be worn without hip padding (as seen in the fitting photo), and one of matching fabric to wear with padding. I liked the idea of being able to style the jacket a variety of ways, and the green petticoat goes well with a few other items already in my 18th century wardrobe. With the matching petticoat, I did try something new this time: leveling my skirts from the top. I've not previously taken this approach to petticoats, as I had not made any of the others to be exclusively worn with hip padding. While I had later worn some with my false rump, they had gone under gowns, and the length of the gown hides any hem-related oddities at the back of a petticoat. A caraco, however, leaves 360° of exposed petticoat hem. 

Pleats basted in, hem sewn, and ready to fit.

 

The main construction completed, Jane 2.2 models with some accessories.

In the past this would be the part where I stopped, content with successfully completing a project. However, in sewing and costuming, details are what really make a piece accurate, giving it that je ne sais quoi that really makes you stop and appreciate an excellent ensemble. I've focused on the details in my own everyday vintage wardrobe for some time now, and I've begun to move into that phase of my 18th century journey. As I was aiming for a middle-class look, trimming on the jacket (and possibly the petticoat) was the appropriate choice. The examples I looked at all used self-trim.

My quick and dirty trim samples

I had a couple different ideas regarding what trimming style to go with, so I made up several samples and took turns comparing them on the gown. While the ruffles (center) did appeal to me, the looser weave of this fabric made me worry that it wouldn't hold a pinked edge well. I also wasn't sure how it would lay with a rolled hem along the edges--it would likely lose the lightness that made it appealing. The compact box pleats (right) seemed a bit too heavy to trim the edges of the jacket with. However, they looked quite right on the cuffs of the sleeves. It was my first idea, the spaced box pleats (left), that I ended up going with in the end. 

There were twelve yards of trim altogether, and each piece had to be roll hemmed on both sides: 24 yards of delicate hand sewing. I'd sewn skirt seams and petticoat hems before, but this was a lot all in one go. I put this bit off for nearly two weeks, dreading it. Once I began, however, I was surprised with my own speed and finesse. I tend to discount my own skills, but that's a conversation for my therapist, not my blog. I finished hemming the trim for the sleeve cuffs in a morning. The pats on the back stopped when I started on the trim for the main body of the jacket, though. It was 5 yards each side, and I could swear it was growing as I worked on it. Ironically, if it had grown, things would have gone better. After I finished and pleated the piece, I discovered my math was flawed: I had made exactly half the amount I needed to go completely around the edges of the jacket. After an appropriate period of mourning at this revelation, I cut and hemmed the required 5 yards. I'm not sure if it genuinely took less time the second go-around, or if I just sort of blacked out during the process, but once I stopped putting it off, hemming the trim went quickly. I then pleated, pressed, and attached it. The results really were worth it.

She's complete!

Trim, two ways.

I've got a new cap to accessorize with as well, with ribbon to match the breast knot. I think I've successfully filled my personal brief of "grown-up Felicity Merriman." With any luck, this perfect fall weather will hold, and I'll be able to get some photographs modeling the ensemble while the weather is still nice. Perhaps down the road I'll add a petticoat ruffle, but I don't know that I have the stamina or the yardage at present.