Sleeve supports: Arms
When using a bust form arms will be needed to support the garment sleeves. A simple two-piece pattern can be used to create a basic arm shape representing an arm in a relaxed natural position. The pattern is an adaptation from a tailored jacket sleeve. It can be easily adjusted to different size arms. The overarm sleeve pattern is slightly larger than the underarm pattern and has a box pleat at the sleeve head at the top. A circular or oval card disc covered with the same fabric as the arm forms the wrist cap. If the arm is long and quite thin a circular disc works best but if the arm is thicker for a larger garment, often an oval wrist cap is better. The longer side of the oval is placed seam to seam when attaching it to the edge of the arm (see figure 8.33). A basic pattern for this type of arm can be found in the Patterns section in the Appendix. Armature wire5 can be incorporated into the arm to give ‘attitude’ or lift the arms away from the body. If using armature wire attach a 2-centimetre wide tape over the seam allowance on the inside of the front of the arm before joining the outer seam around the elbow (see figure 8.29). A small gap is left at the top of the front seam for inserting the wire when joining the seam across the sleeve head. The hole is closed using hand stitching after the arm is completed and the wire has been inserted. The wire can be subtly bent to give added shape to the arm.
Figure 8.27 Overarm and slightly smaller underarm panels with a circular wrist cap. © Author. Photography Robbie Pettigrew.
Figure 8.28 Cotton tape casing stitched over the seam allowance on the seam on the top side of the arm showing optional armature wire. The wire is inserted after the arm is completed. © Author. Photography Robbie Pettigrew.
Figure 8.29 Arm pinned with right sides together showing the box pleat inverted at the top (shoulder end). © Author. Photography Robbie Pettigrew.
Figure 8.30 Stitched arm left open 10 cm at the top showing box pleat. © Author. Photography Robbie Pettigrew.
Figure 8.31 Calico-covered card wrist cap. © Author. Photography Peter Greenland.
Figure 8.32 Calico-covered card end cap attached at the wrist. © Author. Photography Peter Greenland.
Figure 8.33 Finished arm for a ¾-length sleeve, with end cap and open seam at the sleeve head machine stitched and the edge finished with a close zigzag stitch. © Author. Photography Peter Greenland.
The arms can be attached to the shoulders of the bust form by stitching directly through the seam allowance at the top of the arm or by adding a wide (approx. 2.5 centimetre) cotton tape over the seam allowance and then stitching this to the bust form using a herringbone stitch. The tape method gives a smoother line over the shoulder (see figures 8.34a and b) and works well under delicate garments. It is important to position the arms correctly when attaching them to the bust form. For late eighteenth and early nineteenth-century dress, the top of the arms should be positioned towards the back of the shoulders on the torso. This will correspond to the very narrow across back measurements found in garments from this time. From the mid-nineteenth century into the twentieth century the arms can be set in a more natural position central to the end of the shoulders.
Figure 8.34 a and b Eighteenth-century arms set towards the back of the shoulder and mid-nineteenth-century arms set more centrally on the shoulder. © Author.
Detail: Eighteenth-century shoulder seam sits towards the front of the arm.
Detail: Mid-nineteenth-century shoulder seam sits towards the middle of the arm.
Summary and finishing touches
Petticoats are essential when displaying any type of garment with a skirt and often more than one petticoat will be needed. Choosing the correct combination of petticoats is essential to guarantee that the skirt will maintain its correct profile for the duration of the display. When the bust form is dressed, stand back, look critically at the result and compare its shape to the images selected as references for its silhouette (see Chapters 3 and 4). Is the bodice creating the same fashionable shape as seen in the images or are there areas of the garment needing extra support? This could be something as simple as adding a small silk-covered wadding pad inside the bodice to smooth out an area that has wrinkles where it should be smooth.
If the garment has a wide collar that falls open, does it need a discrete silk-covered wadding roll underneath to support the fold where it rolls back?
If the sleeves are wide or have a frill at the bottom edge, do they need anything in addition to the padded arm to support the edge? A gathered net frill, or shaped MelinexTM6 cone can really help give form to a floppy sleeve edge.
Is the hem of the skirt correctly supported or is it collapsing inwards? Does it need an extra net frill to support the edge?
Finally, are there any areas that need to be protected from each other? For example, a beaded dress displayed under a jacket or bolero may need a layer of lightweight silk habotai over the beaded bodice to protect the lining of the jacket. This does not have to be complicated. A simple gilet (waistcoat) shape is often all that is needed.
If the garment skirt has a train extending along the floor, inserting a MelinexTM barrier underneath will protect the skirt from the showcase floor. Trim away any visible MelinexTM to the edge of the skirt at the point of contact with the floor.
NOTES
1. Petticoat steel is a fabric-covered flat steel wire and is available from suppliers of corsetry materials like MacCulloch
and Wallis, https://www.macculloch-wallis.co.uk/c/815/boning-busks?p=3&q=815&me=p.
2. An Oddy test is an accelerated corrosion test which can help to predict whether particular materials are safe to use with objects inside enclosed spaces such as showcases. It was developed by conservation scientist Andrew Oddy at the British Museum in 1973. British Museum Research Repository https://britishmuseum.iro.bl.uk.
3. Calico is an unbleached, 100% cotton, plain-weave fabric. It is available in three weights: light, medium and heavy. Medium weight is most commonly used for support petticoats in conservation.
4. An inert, closed cell, cross-linked polyethylene foam used in conservation.
5. Pliable aluminium wire used in model making and theatre props, available in different thicknesses. Size: 4.76 mm (3/16) square profile works well for arms.
6. MelinexTM conservation approved polyester film, available in different widths and thicknesses. Also known as MylarTM.