Alternative Collars in Men's Doublets

Alternative Collars in Men's Doublets, Fall Collegium Caidis 2007

These are the class notes that I used to teach the Alternative Collars in Men's Doublets at Fall Collegium Caidis, Sept. 15-16, 2007.

Introduction.

During the 15th and 16th centuries there were a variety of collar styles besides a simple band collar. 15th century collars travelled down into the back in either a triangular or a scooped shape. 16th century had inset collars and Spanish styles where the fabric on the back of the body carried up and became the rear of the collar with two small pieces of fabric added to become the front of the collar. These collar styles may have originated earlier but I haven’t yet found evidence of exactly what kinds of collars were used since the paintings generally don’t show the backs of garments.

Instance of Use.

Evidence in paintings and in extant garments indicates that the inset collars range across Europe with examples in French, Italian and Flemish paintings from the 15th Century. In most cases the number of collar pieces matched the number of back pieces. So, if your doublet has a center back seam then so does your collar.

Juan Alcega’s pattern book titled Libro de Geometria published in 1589 gives instruction on how to draft patterns for the Spanish style collars.

Note added after Collegium: The Flemish also used inset collars. I thought they did but wasn't sure of my evidence, when I find some I'll post pictures.

Inset Collars.

Patterning.

From the pictures the inset drop ranges from the middle to the bottom of the shoulder blades. You need to adjust your personal pattern to the new collar style. The inset goes from the outside of the neck down to a point on the centerline of the back. Generally a semi-circle or equilateral triangle will give you a proportionate sized inset. There are also illustrations where a deeper collar inset is shown. Existing pattern pieces can be used as a template, but remember to move your seam allowances to the bottom of the inset and the top of the inset cutout.

Attaching the Inset to the Back.

Two Piece Triangular.

I'm going to describe this one first since it's the easiest and quickest. Take the two pieces for each side, the back and the inset, and stitch them together. Press the seam flat. Then sew the two assembled back pieces together creating a single back panel.

One Piece Triangular.

This is very similar to adding gores or godets into a tunic or dress. Sew each seam separately and don't try to go down one side then back up the other rotating the fabric, or more than likely you'll end up with a pucker at the point. Clip the point of the inset and then press flat.

Curved Insets.

1. Mark your seam allowance on the inside of the inset piece using something that will come out. (e.g. tailor’s chalk, a dressmaker’s marker or pattern transfer paper)

2. Run a stay stitch along the seam allowance line.

3. Make slits in the inset from the edge to the stay stitched seam allowance line every inch or less depending on the sharpness of the curve. This is just like clipping the fabric for curves, but it's done before you sew the fabric together.

4. Starting at the Center Back pin the two layers together placing one pin between each pair of slits and matching the edges of the inset and the main back panel. There will be gaps and overlaps depending on where you are in the curve, this is NORMAL. In fact, it's the reason for the slits.

5. Slowly and carefully sew the two pieces together making sure that the back fabric doesn't bunch up and create tucks. If you do this with the inset panel on top you can follow your seam allowance line to make sure you don't have any slits showing once you've finished. However this does mean that you have to take extra care to make sure you are only sewing through two layers of fabric.

6. (Only applies if you are doing a two piece inset.) Iron the seams down then sew the two back pieces together. As in Note 2 below, press the seams either open or apart, whichever is going to give you the smoothest outcome.

Notes Pertaining to All Styles.

1. Remember to not sew the inset all the way to the top of the back piece, leaving a seam allowance to sew the front and back pieces together.

2. Press and closely trim all the seams where you attached the inset to the back panel. For the triangle inset press the seams open. For the curved style it may be easier to press them folded up the back.

Finishing the Construction.

After the insets have been attached and you have assembled the two back pieces if necessary, you assemble the rest of the body of the doublet normally, sewing the side and shoulder seams. Once this is done you should have a doublet layer with the rest of the collar flapping loose at the shoulder seams. Sew the front collar extensions to the front panels of the doublet like you would if you were attaching a regular band collar.

Spanish Collars.

Patterning.

Again, you can use your standard pattern with some minor modifications. Take your back panel pattern piece and add the height of your collar. Do not add in extra seam allowances. Your pattern piece has a seam allowance for attaching the collar, that just moves up to the top of the collar for attaching the layers together. This height extension goes to where the front and back pieces meet at the shoulder seam. You then make two pieces that are the collar height and long enough to go from the shoulder seam to the center front of the doublet.

Order of construction.

If you are using a two piece back, assemble those pieces first. Then you have the back and two front pieces.

You then have three choices. 1. You can attach the collar pieces to the back piece before sewing on the front panels then attach the collar pieces to the front. 2. You can attach the front panels to the back then add the collar pieces. 3. You can attach the collar pieces to the front panels first then when you sew the shoulder seams you just keep going and attach the collar pieces.

R.W. Trump in his book on Alcega’s patterns recommends method number three. This seems the most logical method to me since it is the easiest and gives the greatest chance that all the seam lines will line up smoothly with no puckering.

In Patterns of Fashion Janet Arnold has dissected a number of extant garments and in some cases there are lines of braid or other trim covering up the seam line. Mr. Trump in the example he constructed in the book chose to run parallel rows of trim on each side of the seam line.

Conclusion.

These alternatives to band collars are easy to create and when used properly will increase the accuracy of the garments you make. An additional advantage is that since there is no seam running along the base of your neck, they’ll be more comfortable too.

Images can be found here.

Note added after Collegium from information in Messer Giuseppie's class: Collars were inset since the tension on the fabric helped them stay up better.

Bibliography

Arnold, Janet. Patterns of Fashion: The cut and construction of clothes for men and women c1560-1620. Hollywood: Quite Specific Media, 1985.

Bucci, Christina, and Susanna Buricchi. Renaissance Art, Masterpieces in Painting, Sculpture and Architecture. New York, Barnes & Noble, 2007.

Davenport, Milla. The Book of Costume, New One Volume Edition. 1948 New York, Crown Publishers, 1970.

Hartt, Frederick, History of Italian Renaissance Art, Painting, Sculpture, Architecture. New York, Harry N Abrams, Inc., 1974.

Thursfield, Sarah, and Ruth Bean, The Medieval Tailor’s Assistant, making common garments 1200-1500. Hollywood, Quite Specific Press, 2001

Trump, R.W., Drafting & Constructing a Simple Doublet and Trunkhose of the Spanish Renaissance. Eugene, OR, Alfarhaugr Publishing Society, 1991.

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