Jaco-Bee-an Jacket: Testing Margo Anderson’s Waistcoat Pattern 024

NOTE: An earlier version of this post was originally written for Margo’s Patreon page in 2021. She recently announced that she will be discontinuing her pre-printed pattern service. This  waistcoat/jacket pattern will remain available as a digital download (026D), but the paper pattern version will be retired when the current batch sells out.

I have always coveted an early 17^th century waistcoat ever since I first discovered them a decade ago. I loved how “frumpy-chic” they were: comfy loungewear that was often completely over-the-top with polychrome embroidery, lace, and spangles.

I even hacked a thrift-shopped modern jacket into a facsimile of a Elizabethan/Jacobean waistcoat in 2013, with surprisingly good results considering I just basted up the side seams with giant backstitches—not out of a love of historical accuracy (clearly, considering I kept the original zipper front of the jacket which also happened to be made of a spandex/rayon blend), but out of pure adoration for The Look.

Also pictured: The Walmart eyelet lace ruff I made by gluing the folds like a book with Tacky Glue and the coif made from a recycled shirt. Sorry for the gaps in many of my old posts. Links and photos have changed/moved/been deleted over the years and I hadn’t yet learned hotlinking was considered rude…

I vowed to eventually do the fashion true justice and make a proper version, but I never seemed to get around to it.

You can imagine, then, my elation when Margo Anderson asked if I would be interested in pattern testing the new Elizabethan Waistcoat pattern. What excitement! I was thoroughly gobsmacked. Here was I, long dreaming of making another jacket of this very sort and here was the perfect opportunity!

Pattern testing is a curious business. I had no idea what to expect! Margo provided the rough draft of the pattern pieces and manual. The draft wasn’t complete since it was still in production—we were pattern testing for that very reason, after all—but it already had illustrations for the majority of the steps, so I could guess what needed to be done by looking at the pieces and illustrations.

Margo even has even kindly provided a comprehensive basic fitting and sewing guide available free for the enjoyment of all!

I have gained a bit more sewing and construction knowledge since my first baste-a-modern-stretch-jacket attempt, though only a smidgen more patience. However, my need for swift gratification was well-served and I found Margo’s waistcoat quite quick and enjoyable to construct. If I– an admittedly haphazard seamstress– can do it, I have confidence that anyone with a firm grasp of basic sewing techniques and a bit of ambition could make this pattern work. If you’ve ever made a Victorian bodice, 18th century bodice, or even a modern structured top, you would probably be comfortable making this pattern.

Pattern 024 contains different construction options like two sleeve choices (a two-piece slim/fitted sleeve or a one-piece full sleeve), high or low collar, and two different hip flare options (inserted gussets or a separate peplum).

I was asked to test out the separate peplum option which suited me very well since it eliminated the need to fiddle with inserting gussets. Margo, does, however, provide a clever method for doing so, should I opt to try tackling another version of the pattern in the future.

My measurements at the time.

I had no prior experience with Margo’s fitting system and feared that I might have some difficulty fairly testing the pattern since I normally have to perform quite a few major alterations to fit my large bust, short waist, and wide shoulders. As recommended, I followed her meticulous fitting guide, taking a multitude of measurements and filling in the appropriate boxes on the sizing chart. At first, I was anxious—my measurements were literally all over the chart! However, I trusted her system and cut out my mockup following Margo’s method.

To my absolute delight, with just a few minor tweaks, it worked!

I got an excellent fit pretty much straight away. The only alteration I had to do was a 1 inch Full Bust Adjustment (FBA)—considerably less than I normally have to do! Because of this, I was able to re-cut the front panels only and complete a wearable mockup of the pattern in a single weekend.

Additionally, because I did the peplum version, I was able to sew nearly everything by machine! While not historically accurate in the least, being able to sew the majority by machine means that folks like me who are impatient, messy hand-sewers, or needing to make it quickly can do so with little issue.

By far my favorite part of sewing Margo’s waistcoat pattern was the incredible sleeves! I absolutely adore full, fanciful sleeves! These are not only beautifully shaped and perfectly tapered (which is harder to achieve than you might think), they are easy to set and only one piece! Plus, as she pointed out, they offer an incredible full range of motion.

You can pick apples, bend down to tie your shoes, raise your hands fix your hat,  stretch your arms out to the steering wheel over 4 layers of 4 yard petticoats, and, if anyone quips about “A lady never had to raise her arms,” you can whirligig at them in a righteous rage with ease.

My jacket is made from a lighter-weight cotton duck printed with bees. It’s lined with an old curtain/sheet/something scrap. It is not interlined or boned in any way. I did opt to wear mine over a corset, but that’s personal preference. These sorts of garments would have been worn over stays or over just a shift to relax at home. To gussie it up a bit, I made some bows out of poly-satin ribbon and blinged them with some rhinestones rescued from an old sweater.

Elizabethan and Jacobean jackets can close with actual ribbon ties, but I am horrible at tying bows, so I opted to close my jacket by pinning my pre-sewn bows on instead. Hooks and eyes would also be period-appropriate. I also pieced together a collar and cuffs from a thrifted silk shirt and Walmart lace.

I made up a “pattern” for my collar by heedlessly hacking up the fabric until it fit the neckline that way I wanted. If you’d like a smarter approach, try one of the many free detachable collar patterns out there, like this one that’s a similar shape.

I am not a perfect seamstress by any stretch, but I was still able to create a lovely, comfortable garment I can be proud of, and it was just a first-try mockup! Margo has since updated, refined, and published the completed pattern and manual on her website and other folks have made awesome waistcoats of their own from it.
Many thanks to Margo for affording me the opportunity to test her waistcoat pattern!
You can visit Margo’s shop here.

Unique Embellishments and Passementerie Through the Centuries: 17th Century Swag

Addicted to Trim: 17th Century Ribbon Loops

If you could describe the 17th century in one word, “swag” probably wouldn’t be the first to come to mind, but the term– which is American slang for “fashionable, ornamental excess”– actually describes the era particularly well, especially the use of trims and ribbons that swelled to ridiculous proportions by the 1650s. During the 17th century, trim became a major player in the fashion game. Early in the century, the fashion for all-over abundance of embroidery, metallic lace, and jewels was de rigueur for the upper class, but by 1610, different tastes were beginning to prevail: the iconic black silks and velvets with wide lace ruffs and collars we’ve come to associate with “pilgrim fashions” of the 17th century.

“Portrait of Mary Radclyffe” by William Larkin, circa 1610-13

This black-and-white world is a faux reality, since 17th century fashion was as brightly colored as any century before or after and was, perhaps, more heavily textured. However, solid colors including black, powder blue, pink, and yellow gowns and coats gained popularity over the polychrome brocades and embroidered smorgasbord of the late 1500s. During the 1600s, texture and volume became immensely important. It was no longer enough to throw on all your finery and be done with it. Textures had to compliment and contrast each other. If you wore a fitted black silk gown, you would contrast the smooth dark with a frilly, soft white lace. Rosettes, which had blossomed in popularity during the Elizabethan era, soared in popularity and offered a lady or gentleman yet another opportunity to play with texture. Rosettes of ribbon could be worn nearly anywhere: sleeves, garters, necklines, shoulders, belts, or shoes. Many rosettes were quite large, 6 inches in diameter or even larger!

Detail of “Amalia van Solms” by Sir Anthonis van Dyck, circa 1631
Notice how carefully “choreographed” the play of texture is on Amalia’s gown. The smooth silk bodice has ribboned sleeves which would reveal glimpses of an undersleeve. On top of that, golden rosettes tame the volume of and huge pinked cuffs soften the stark look. Her abundance of jewelry is symmetrically placed, contrasting with her offset belt rosette.

Rosettes are carefully sculpted into shape with folds and stitches, but when they become quite large, it’s much harder to control the stiffness and shape. Naturally, the rosette took on a softer incarnation, halfway between a rosette and a bow. It became fashionable to attach long aglets (metal tips) to the ends of the bows, adding yet another textural feature to the outfit. This popular embellishment could also be functional, tying sleeves to a bodice or stays, for example.

Loosely looped rosettes in “Portrait of a lady” by Jan Anthonisz van Ravesteyn, circa 1630-50

Doublet and Breeches Suit with loose bows, circa 1635-40

“The Cheat with the Ace of Clubs” by Georges de La Tour, circa 1630-34
Rosettes and bows were fashionable for both men and women. This painting, as well as the later version, show the aglet-tipped bows that exploded in popularity during the 1630s.

Stays and Sleeves with Metal Aglets, circa 1660-70

Perhaps the most interesting use of ribbon during the 17th century, however, was the ribbon loop. Developed out of the bows and loose rosettes, by the 1650s, these loops became the mark of the most fashionable, Cavalier gentleman. Cascades of these rustling ribbon loops were hung low around the waist to bridge the gap between relatively short doublet and high-waisted breeches.

Outfits belonging to Charles X (1622 to 1660)
These rich outfits were the height of fashion for men during the mid-17th century. The popular shape for men was a bowed-forward posture with thick limbs for a jaunty appearance. I’ve heard plenty of comments that these outfits make men look like toddlers since there is no strong waist delineation and the form is very puffy. However, the rounded appearance, coupled with large accessories like feathered hats, turned-down boots, and wide capes all served to make a man as large and grand looking as possible. The ribbon bows/loops added even more swagger and size to the picture.

Livery uniforms, circa 1672

Men weren’t the only ones to indulge in ribbon loops. Ladies closed their jacket fronts with a boa-like line of ribbons and hung ribbon tassels from their bodices and hair. By the 1670s, the loops had ceased to be distinctly bow-shaped and were applied like tassels. The ribbon strips were often wider for men and thinner for women and children.

“The Eldest Daughter of the Artist” by Claude Lefebvre, circa 1672

“Maria van Oosterwijck” by Wallerant Vaillant, circa 1671
This amazing woman became a floral still-life painter of great renown by her own volition at a time when painting flowers was a fine female occupation, but not one a woman was expected to do unmarried. Her paintings are bright, lifelike, and still quite collectable today. Her biography is well worth a read!

“Portrait of a Woman with a Moorish Page” by an unknown artist, late 17th century

“Elizabeth Freake and Baby Mary” by The Freake Limner, circa 1671-74

“Portrait of a Young Boy” by the studio of Henri Gascar, circa 1680-90
Note the matching ribbon puff attached to the hat.

Ribbon loops even trimmed hats, purses, and gloves. Anywhere embellishment could conceivably go, a swathe of looped ribbon could be–and often was– applied.

Gloves, circa 1660-80

Purse with ribbon loops and love symbolism, circa 1650-1700

The fashion for looped ribbons fell out of favor around 1700 as a new century rolled in and the fashion of choice changed from the full and voluminous Baroque silhouette to longer, leaner waistcoats for men and mantuas for ladies, eventually evolving into into the 18th century’s signature Rococo look with plenty of swag of its own.

“Marriage Portrait of Isaac Massa and Beatrix van der Laen” by Frans Hals, circa 1622

“Mr and Mrs Andrews” by Thomas Gainsborough, circa 1750

Learn more about 17th century fashion

“The 17th Century” on Wikipedia – Explore the expansive entry, including a fabulous world timeline, or skip straight to the fashions

“Passementarie” on Wikipedia – What the heck is that?! Find out.

“The 1660s Dress” by the Aristocat – View this lovely recreation of an 17th century gown from start to finish

“1660s Dress” on Rossetti – Another late 17th century style dress

For those of you who use Pinterest, there are a few lovely passementerie boards containing examples and tutorials here, here, and here.