Youtube comments of Bernadette Banner (@bernadettebanner).
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Hi All! Sorry for the delay in getting the captions back on this--it's a long one, so they're still in progress, but should be in by end of today if you require captioning.
ALSO apparently it is now a thing that YouTube INSISTS on automatically stuffing 12 midroll ads into every video which MAKES ME RAGEY. I've unticked the midroll ads box that keeps somehow re-ticking itself despite opting out of this new system entirely, so if you see any midroll ads in this (or any of my other videos) please let me know--I work way too hard on editing a nice calming story into my videos to have that constantly interrupted by ads. π
EDIT TO ADD: as much as I hate midroll ads, I canNOT condone the use of ad blockers on YouTube (especially). If ads are not getting through to you, creators are not getting paid . I used to be an ad block user myself but whitelisted YouTube when I found this out, before turning it off altogether, as I realise now how important advertising is in bringing us good online content to be accessed for free. That being said, it's up to creators and online distributors to be reasonable about advertising-- to let it exist in a way that pays the bills but does not interfere with enjoyment of the content (as I personally believe mid-roll ads do to my videos). But I leave pre- and post-roll ads on for a reason--because I do need to make a living if I'm to continue devoting my full time to creating complex videos regularly. This video alone took over 35 hours to edit--and that's not including the month and a half I spent sewing (and shooting) the dressmaking process. I'm paid only per thousand monetised views, and according to my analytics I'm receiving compensation for a bit under 2/3 of the views the video actually gets. Some of these are intentional--YouTube doesn't serve ads to viewers who have been watching a lot of content (because that would be annoying)--but the majority of this is due to users viewing with ad blockers.
Thankfully I'm doing just fine with ad revenue, despite adblock users and without midrolls--but not every creator is so lucky . I know ads suck, but...so does paying for 9028359074 subscription services to view all the paywalled content on the internet.
Thank you for coming to my TED talk :)
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I COMPLETELY AND UTTERLY FORGOT to address βbloomersβ which are NOT IN FACT UNDERGARMENTS! Youβll notice in the video that Iβve only used the term βdrawersβ to refer to that bifurcated undermost layer, because thatβs the term most overwhelmingly prevalent in history. Bloomers, the item of radical reform dress based off of Turkish fashions, were initially adopted in New York in 1851 by Elizabeth Smith Miller. So where does Amelia Bloomer come in to give them the βbloomerβ name we know so well today? She was just the editor of the temperance magazine, βThe Lilyβ, and responsible for printing an article describing theseβan article, by the way, which she apparently didnβt even initially create, as she writes, βthe first article we saw advocating [the bloomer style] was an editorial in the βSeneca County Courierβ, which article we transferred to our columns.β (The Lily, June 1851)
Yeah, I donβt really get it either. History is a troll sometimes. π
Oh, and βbloomersβ weren't even popularised in rational dress styles until the 1890s, nearly 40 years later.
TLDR: bloomers are not frilly underpants, they're a questionably-named outer garment.
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Hand & Lockβs Expert Embroidery Guide:
Throughout this film, many references have been made to various embroidery techniques & processes. Below, the Hand & Lock team have put together this helpful guide to recap on each.
Each process chosen for this project was carefully considered and utilised to replicate the 18th century waistcoat design chosen by Bernadette and her team, as closely as possible.
βHand Guidedβ
is a form of machine embroidery that requires a person to physically control the machine, and manually manoeuvre the fabric under the needle as the machine sews, creating fluid embroidered shapes. The beauty of hand guided, is that it has an organic aesthetic and often the embroidery artists individual style is evident in the work.
βDigital Machine embroideryβ
is a modern, computerised technique which requires expertise with both digital embroidery design softwares and complex machinery. Digital embroidery must be carefully designed and rigorously prepared to ensure a successful outcome where the two elements work seamlessly together. Experienced digital embroidery designers are able to manipulate their stitch files to mimic the effects of hand guided or hand embroidered stitching.
βHand Embroideryβ
is an umbrella term that covers many of the highly specialised techniques mentioned, all of which are created completely by hand. These include:
βGoldworkβ
is the ancient art of highly decorative embroidery using metal bullion wires. Bullion wires are tightly wound metal springs that come in long lengths.
It is another umbrella term that has many more specific techniques within it. The main Goldwork techniques we have used in this project are:
βCutworkβ- is a process where bullion is cut down to size and the embroiderer can use it like a 'flexible bead', passing their needle and thread down the centre of the spring to stitch it onto the fabric.
βEssingβ- is a technique where the bullion wire is manipulated by the embroiderer, stitching it down at angles to create curved shapes.
βPassingβ - is a thick goldwork thread made of a cotton core wrapped in metal. It can be used like a normal thread and stitched through the fabric, or it can be worked only on the surface and 'couched' down.
'Couching':
is the method of laying materials on the surface of your fabric, and stitching over them to attach them down.
'Embellishment':
refers to the application of beads and sequins.
'Silk shading':
uses colourful silk or cotton threads, in long and short stitches to create blending.
You can try all of these hand embroidery techniques for yourself with the Hand & Lock X Bernadette Banner Embroidery Kit. The kit includes a panel of pre- machine embroidered fabric for you to work on top of!
If you would like to find out more about Hand & Lock, including their bespoke embroidery services, ready made products, and worldwide embroidery classes, please visit: https://handembroidery.com/
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Fabric is definitely a whole other can of worms. I've personally been enjoying the 'buy less of better/natural quality' lately; the higher price means that you're less inclined to overbuy yardage and get more creative with piecing, which is completely historically accurate and much more conservative with usage! Thrift/secondhand shops are also great for fabric though in the form of curtains/tablecloths/sheets/quilts, &c. for a more affordable option. If you're in a big city with a garment district, Noelle (Costuming Drama) was recently talking with a small-scale clothing manufacturer who said that these independent shops often stock and resell the excess yardage overstock from fashion houses, so while the initial ethics of that large-scale production are questionable, it does make me feel slightly better for buying excess material that already exists in the world.
re: cabbage, I save everything--down to the tiniest scraps and loose thread clippings! Larger pieces can be used for patches, small projects, quilting, gift wrapping, &c. and the small slivers/threads are great for shredding and using as stuffing; great for pillows, padding/skirt structure--I think Cesario needs a good napping pillow. ;)
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The amount of yardage depends on what level of decoration you prefer (and I suppose what specific year you're going after). The later lingerie dresses are much slimmer and not nearly as fabric-intensive, with straighter skirts, smoother bodices and slimmer sleeves, while the late 90s - 1903-ish are SUPER FLUFFY. BIG SLEEVES. POOF BODICE. Mine is a bit in the middle, and could have done with 12 yards to make it as fluffy as I'd want it, and this is with the design of full-ish sleeves, a flared and modertely-gathered-in-the-back skirt with bottom ruffle, and lots of pintuck work on the bodice but not as pigeon-poofed as earlier gowns. I'm sorry that isn't a straightforward answer, but hopefully it helps! I'd recommend buying from a source that you know you can go back to, just in case. ;)
My cotton was not cream-toned but ever so slightly off-white; not stark-white but not exactly ivory either. I wanted it to look new, as if it's just been made in the 19th century, but not so stark that it doesn't look *right*, hahah.
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You're right, and that was poor wording on my part. As this video is focussing on corsetry primarily (as construction and shape start to differ in the realm of bodies and stays that complicate the comparison to modern corsetry), we're talking about the Victorian period in this video. And while, yes, there is no such thing as an 'always' in history--that we can't fairly claim all clothing was tight-fitting--the vast majority of photographs, extant garments, and portraits show garments that are fit snugly throughout pretty much the entire Victorian period, with examples spanning a range of classes. That's not to say that there weren't people then who detested tight fitting clothing, were in the habit of wearing older, looser styles, or lived in areas with regionally specific dress that wasn't tight-fitting in the manner of the general (English) stylistic trend of the time, but I think it is reasonable to assume that a vastly higher percentage of the population had regular daily experience wearing tight-fitting clothing and would therefore have no unfamiliar discomfort with it in the way that the majority of the population today would have.
But yes, this is also the Western (in my case, English) assessment; things were certainly different in other parts of the world, but alas, this is the particular region of dress I have studied in depth and am qualified to speak on with any nuance. I would love to hear the perspectives of those whose area of study encapsulates different geographical regions.
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If you haven't seen the first video in this series on comparing a Victorian corset to the medical brace I grew up in, that might offer some insight into this. I found in wearing the Victorian corset that I still had very ample range of movement with the flexibility of the bones, and, far from weakening my core muscles, that bit of resistance actually made my core work harder; my abdominal muscles were sore the following day from having to actually work against something to achieve the same movements. :)
Tight lacing is an entirely different story though, and yes, if you'd been tightlacing in a more rigid and restrictive corset to achieve a fashionable silhouette for a substantial period of your life, there would definitely be some muscular weakening as a result, as I experienced significant abdominal weakness after years in a hard plastic (nonflexible) brace; however, even tight-laced Victorian corsets were not as rigid and unforgiving as the solid plastic brace, and that thing was prescribed by a very 21st century doctor for the express purpose of -- health!
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