MacKenzie

I decided to do some more research into the Mackenzie clan and came across the one of my chosen images,  I thought it was a fashion plate, instead it turns out to be a painting of Kenneth and Thomas MacKenzie, painted in 1868, both men wearing MacKenzie tartan. They wore traditional kilt jackets in matching fabrics, a navy blue/ grey jacket, with their family clan tartan. Even though Mackenzie have overall tartan fabrics, there are different clan sectors or family origins which have different tartans. There jackets blend in with the blue/grey lines in the tartan. The socks of Thomas MacKenzie show the clan design of stag’s head and horns. The background shows Loch Duich, on the west coat of Ross-shire, with Eilean Donan Castle and Tulloch Ard.

My models father is a Black Mackenzie, so normally a navy blue wool would be worn not to dissimilar to the above, the tartan is different.  

Fabirc Samples

Fabric Sourcing

Speaking to my model, I found out that his father 'Kenneth' is part of the 'Mackenzie' clan. After this conversation I thought it would be interesting to  find a woollen Hunting Tartan from this clan.

I have done some research and this is what I found out about the clan:

‘The Mackenzie clan possessed Kintail in the 14^th century and take their name from a chief named Kenneth who lived in the 13^th century. They were a strong and powerful clan and feuded with their neighbours. They fought against the MacDonalds at the Battle of Blair-na-park in 1491. About 1607 they acquired lands of Lochcarron and Lochalsh. In 1609 Kenneth MacKenzie was created Lord MacKenzie, and the 2^nd Lord was Earl of Seaforth in 1623. They fought in the 1715 Rising and at the Battle of Glenshiel in 1719. They were a numerous clan and in the 18^th century could muster 2,500 fighting men.’ 

The Mackenzie clan motto is' I shine, not burn' and there clan badge consists of a stags head. So I think its real important that I choose stag horn buttons over leather. 

Below is a romanticized Victorian ear illustration of a Clan Mackenzie clansmen by R. R. Mclan from The Clans of the Scottish Highlands published in 1845, he wears the ancient tartan:

 This is the Mackenzie hunting tartan:

I will order a sample of this fabric and try to match the colour of a wool of the jacket.

Trouser Patterns and Style

The bases of the trouser block is similar throughout the Victorian/ Edwardian period, though  the type and styling of the trousers change depending on the use and type. Through the decades of the Victorian period the width of the hem widened and narrowed, the waist became higher and lower, the leg became narrower/ baggier and the use of different fabrics came in and out of fashion. For more information on this read Victorian Gentleman's Fashion an earlier blog. The pattern block above show some of the different styles of the period and are useful to determine the cut and tailoring as well as comparison. 

Sleeve Pattern Changes Over Time

To a get a greater idea of the development of tailoring of through the last few centuries I am going to look at patterns of sleeves taken from historical garments. ( The images of pattern piece are taken from the Norah Waugh book The Cut Of Men's Clothing 1600-1900).

Pattern to the left is of a sleeve from a 1600 Doublet.
The middle is from 1680-90 and is taken from a coat.
On the right is a sleeve pattern from a Frock coat during the 1800's.   

From comparing these sleeve patterns you can clearly see the development of pattern drafting made by  tailors over the years and the changes to their shapes.

On the early sleeves you can see that the shaping of the head of the sleeve is not very shaped in comparison to the century later where more of a curve is developed. This is then accentuated more in the 1800's where a much larger curve is created. The same can be said for the underarm. The extra material needed to create this shape was used as a built in gusset, though over time the need of a gusset has become less and less, shown by the change in shape.

Another detailing that can be seen is the curve in the hinder and forearm. In the 1600's the sleeve was much more curved and shaped, constricting the movement of the wearer, though over the ages you can the arm become less curved restricting less. In modern sleeve patterns a curve is still created but not so dramatic.  

Sourcing Fabrics

Over the Easter holidays I will source my fabric. I will first research into Scottish fabrics and clans before making my final choice.

For the jacket the drafting block stats 'Harris Tweed' and 'Shetland Cloth' for the Tweed Kilt Jacket, though a 100% wool can still be used historically. The jacket fabric colour would blend into the tartan fabric, this mean any colour can be used as long as it connects into the tartan. Normally for this style of jacket a weathered brown/ green or bark grey/ navy blue would be used though this varies greatly depending on the clan. In Edwardian times tartan became less used and instead a plain matching wool would be used for both the jacket and trousers, this was commonly a Tweed. 

As you can see from this photo of a Scottish hunting party, they wear a mixture of trouser and kilt in all Scottish tweed fabric:

The trousers become more common in Scotland rather than a kilt in the Edwardian period, though would still have been made from the tartan of their clan,  this faded out more during the later stages of the Edwardian period. However, the tartan kilt is still worn in modern times, socially in Scotland. I have decided to make the trousers from a tartan to date my costume between the late Victorian and early Edwardian period. This means that I will have to match the tartan to a plain fabric, which may be difficult.    

To start my costume I will have to source the following:

Around 14oz plain wool for the jacket (3meters)
Around  14oz tartan wool for the trousers (3meters)
Silk lining (2.5 meters)
Hair canvas (1 meter)
Shoulder canvas (0.5 meters)
Breast felt (0.5 meters)
Stay-flex (0.25 meters)
Braid (4 meters)
Around 22 buttons

I will now research into Scottish fabrics.

Drafted Jacket

Drafting the pattern using the book was more challenging than I expected. Old terms and measurements made it hard to grasp to begin with for example the full length  is the jacket length and waist length is the nape to waist back. Working at this I was then able to draft the pattern. I found the easiest way to re-write the pattern in instructions that I understood in metric measurements. This was useful as I am now able to look back through what I did without having to decode the book again. Another issue I had was that the instructions in the book did not include the instructions for the placement of the lapel, pocket, slit or dart. Using my existing knowledge, Grahams basic block, the image of the Tweed kilt Jacket block and 'rock of eye' I was able to draft these on. This took some time though I have learn a great deal from drafting this pattern, than the basic block and I be able to use this knowledge in the future.  

Having drafted the jacket I will next draft the sleeve I will use a combination of the block to achieve the desired look.    

Weaves and Wools

I decided to do some research before buying my fabric to make sure I got the best type of fabric historically and the easiest to work with. I also wanted to expand my knowledge of wools from Defining Practice, to get a better understanding of the structure, stretch, threads and weaves. I first looked in the 'The Modern Outfitter and Clothier' though as I started to read, I got so confused with the scientific 'talk' I felt I needed to learn some science before being able to understand what was ment. 

So I left this research to one side and continued looking for other sources. When I can across these pages in 'The Victorian Tailor', it was much easier to understand and has allowed me to achieve what I wanted to know. I will use this information and knowledge that I have now gained and transfer them in to practice when sourcing fabric. 

The information on tweed and homespun fabric is particularly useful, as I now know that I am looking for a one or two coloured fabric, with a soft surface, with an open and flexible weave. 

I also found this page:  

Which is particularly useful for wool purchases in period garments as well as the thickness historically.

  

Pattern Drafting and Alterations

I have drafted the basic block for the jacket, trouser, waistcoat and sleeve. Having chosen the Tweed Kilt Jacket I had planned to alter the basic block as not too much was different. Though over viewing the pattern again I noticed quite a few differences:

There is no second dart of the front of the jacket,

The CF line is cut away more, creating a fully look,

The shoulder shape is more curved achieving a better shape,

The side seamed are shaped more to the male figure giving a closer fit,

The pocket is at a different angle for easy access,

There is a side slit for more movement,

The lapel is different, due it style,

The armhole shape is angled and shaped differently,

and finally there is a shoulder strap.

Although most of these alterations would be easy enough and wouldn't be hard to do, I decided to draft the block from 'The Modern Tailor Outfitter and Clothier' for the Tweed kilt Jacket. By drafting this pattern I hope to achieve a more historical jacket, achieve the right shape and more accurate block for the style of the jacket. I also believe I will learn more researching into the pattern and learning to use patterns from books, developing my practices professionally and independently. 

Chosen Garments

I going to make a Tweed Kilt Jacket and trousers!

I will use the basic block provide by Graham as a starting point, and then alter or develop.

I am going to try and make the garments as historically accurate as possible, but I will still use modern construction techniques. From researching into the Tweed Kilt Jacket, I have found that normally a hunting tartan is used. I will use this for the trousers and then match a colour in the tartan for the jacket, which is what was done historically. I plan to use a 100% wool at around 14 ounce as this will be the easiest and the best to work with. Historically a homespun cloth would have been use generally a Harris Tweed or Shetland Cloth. I will research into these, though the choice will depend on my budget, if the fabrics are too expensive I will find the best next thing. Historically stag horn button were used or leather, I will also try to source these over the Easter break as well as the fabric.

Over the next few days I plan to finish all my pattern drafting and be starting to source my fabric. 

Two Peice Suit Choices

Having looked at the different styles of jacket and trousers combinations I have chosen three different styles for me to choose from.

One option is the Dinner Jacket, here is the chosen image as a fashion plate from 1901:

 Another the Service Dress Jacket, here are some photos of the jacket and trousers:

 My final option is the Tweed kilt Jacket with trousers instead of a kilt. I would make the trousers from a tartan. Here are same images:

 This fashion plate shows two men hunting, the one on the right is wearing the Tweed Kilt Jacket, were as the one on the left is wearing a Evening Dress Kilt Jacket.

This Edwardian photo shows a Scottish hunting party, showing the tweed kilt jacket on the right middle, as well as trouser.

 This photo shows the Scottish tartan trousers.

I will talk through these options with Graham, but my favourite is the Tweed Kilt Jacket with trouser. It has a similar shape and styling to the basic block, but has added detailing, it will also give me a challenge with the tartan trouser. From making this jacket instead of a simpler lounge jacket I believe I will learn more and be able to develop my skills further in tailoring.

Comparing Blocks and Jacket Styles 2

Scottish Dress: Tweed Kilt Jacket

This Scottish jacket would be worn with a kilt or tartan trousers. The kilt or trousers would usually be made out of a 'Hunting Tartan.' This would normally be homespun cloth like 'Harris tweed' or 'Shetland Cloth'. The colour used in the tartan would then be used in the jacket. Compared to the lounge jacket this tweed kilt jacket is not to dissimilar in style of shape. It to is not extremely close fitting and it cut short. However, this jacket does have a side slit which is about 15.5cm long. 

Obviously the detailing is different, for example on the pockets, which have three raised cords with button on the foot. This detailing is replicated on the sleeve cuffs. The button used would have been stag horn or leather. There is also three button down the CF line. Unlike the basic block, this jacket only has one dart and has a fuller appearance at the CF edge, though the jacket should not be too big at the CF line. The appearance is achieved by cutting away at the foot of the jacket. The shoulders are also more shaped on the Scottish block, as well as at the side seam, this will achieve a better shape.    

Below is a 'Highland Fashion Plate' showing the tweed kilt jacket:

Scottish Dress: Evening Dress Kit Jacket

The Evening Dress Jacket would normally be worn by youths as evening dress, the fabric would be green or black with a waistcoat out if the same fabric. The kilt worn with this jacket would be made out if the finest tartan.

This Evening Dress Jacket isn't too dissimilar to the Tweed Jacket, however this would be cut to be much closer fitting, the lapel also has a point on it and the facing would be made out of silk. The buttons would also be different, normally silver with the crest of the clan, the braid would also be Russia tracing braid which would be used on the cuffs, pocket and the shoulder strap. 

Below is a photo from the 1900's of a Scottish family the male is wearing the Evening Dress Kilt Jacket:

Uniform's: White Coat

The White coat was mostly worn by naval officers and unlike other jackets it would be made from white drill. The jacket has a step collar and would be fastened this four buttons. The side slit would be approximately 13cm. The pockets had no flap and were only patch pockets. for the officers a shoulder strap was added. This jacket differs depending on rank for the Midshipmen and Naval Cadets.

The block is quite similar to the block of the basic jacket, through with some key differences. The main is the shape of the CF line, the white coat has a straighter line unlike the basic black which has a nice sweeping curve. the lapel is different being a step on the coat and the pocket have a different arrangement. The coat still has two darts thought the second is straight, whereas on the basic block it is angled. 

Below is a photo of a white coat of an officers ranking:

 Service Dress Jacket: For Officers of the Rank of Colonel and Above

This Jacket block relates to most army regiments, however the style can be easily adapted. The regulated material colour for the jacket was khaki cloth, though for regiments such as 'The Brigade of Guards' a darker cloth was worn.  Regimental status badges would be worn on the collar step.

This single breasted jacket has a step collar and lapel, it also has a breast pocket in patch style with a top flap, this is repeated in the bottom pocket. There would also be an inside pocket as well as an inside watch pocket.

This dress jacket has three darts instead of the two on the basic block. It also has an extra part on the CF line and on the back as slit. The side seam is more shaped to the male figure and the CF doesn't have the curved shape like on the basic block.    

Below is a photo of officers on a bench wearing their uniform's:

Service Dress Jacket for Scottish Regiments: For Officers of the Rank of Colonel and Above

 I love the way this pattern has different length and style shape at the bottom of the jacket for the different regiments. Unlike the British service jacket the Scottish CF line cuts away, not to dissimilar to the basic block. The style is usually divided at the waist seam which follows the side seam to the CF. Like the British service jacket it has two patch pockets, through for the Scottish Jacket the bottom pocket is much wider at the hip. The Jacket would have small regimental button not to dissimulate to the British.

Its similarities and differences aren't too dissimilar to the British service uniform stated above, with the exception on the CF line.

Below is a photo of the Scottish service jacket:

Comparing Blocks and Jacket Styles

Lounge Jacket

This is the most commonly worn during the Edwardian period and it still used today in various styles.

In this pattern there are three buttons one in the middle of the waistline with one either side. The pockets are jetted with the addition of flaps. This pattern is not close fitting and has a large amount of ease at the waist, which might explain it popularity due to its comfort, the shoulders are cut to allow for padding. 

The basic jacket block doesn't differ from the lounge jacket block, hugely. There are two main difference, one the shape of the shoulder on the front panel. On the lounge jacket the shoulder curves down shaping the shoulder seam, whereas, on the basic block the shoulder seam is straight. The second difference is the angle of the darts, though this will vary depending on the shape and measurements of the wearer.  

Below is a photo of an Edwardian man wearing a Lounge suit:

Single Breasted Hacking Jacket

The hacking jacket was worn for sports and hunting and is also worn now as leisure wear. In this pattern the jacket would have two buttons down the front, the pockets would be slanted to make is easier for the wearer to assess, with the addition of a flap. Unlike the lounge jacket this jacket is quite slim fitting, but the resemblance can still be seen between the two. There is normally a breast pocket, which can also have a flap. 

Again this pattern doesn't differ too much from the same of the basic block. The differences being the slanting pocket, the larger second dart and the side slits. But the overall shape is same.

Below shows an Edwardian hunting party:

Single Breasted Blazer

The blazer was worn by various members of sporting member or public school, which adapted the look of each blazer with different patterns and strips in many different colours.

The basic block differs to the blazer as the pocket is different, there is no second dart, other than this the jacket doesn't differ in shape from the basic or lounge jacket blocks. I like this blazer block with the added stripes , I can see it being very handy when cutting out top fabric.

Below is a reproduction of an Edwardian blazer:

Single Breasted Dinner Jacket

The dinner jacket doesn't differ to much from the basic block. The collar is the main difference with a step. The overall fit however is quite different, around the waist would be close fitting, the chest was cut full and the hip was 'snug'.

Below is a fashion plate of the dinner jacket from 1901: