Today I am sharing my best tips for making garments in velvet!
Velvet has a beautiful shine to it, with highlights rather than shadows. This can be seen in paintings, where the clothing is pictured with highlighted areas rather than darker folds. Like this; (though this may also be woollen cloth, it goes for illustrating highlights in fabric)
- The choice of material is important. On the market today, you can find different kinds of velvets, of both high and low quality. The original velvet fabric was made of silk, insanely expensive, and probably also sensitive for wear and washing. To buy a good silk velvet for your project is of course historically accurate, but also very expensive, and you will have a garment that is sensitive. But the look and shine of the fabric will be outstanding.
- Cheating? For a silk velvet look, you could instead choose velvet made of viscose, rayon or a mix of synthetic fibres. This fabric is a lot cheaper, more durable, and is (depending on the quality and materials) close to how silk velvet looks. Avoid fabrics made of pure polyester, since these will be warm and uncomfortable to wear; a mix based on viscose is often the best. You could also go for cotton or cotton mixed velvet, the look is a bit more matte than silk velvet but black is quite close in appearance. The good thing with cotton velvet is that it is made of natural fibres so it is easy to wash, feels good to wear and is durable and fire-safe (it will not melt on your other clothes if you are unlucky) as well as cheap. As an example; my wedding gown made of silk blended velvet costs 4 times more than medium cotton velvet.
- Ironing velvet fabric is often unnecessary, instead, just hang it out. If you need to press seams or iron out stubborn folds, you need to iron the fabric on its wrong side, with a cotton cloth over and a bath towel underneath. This will protect the fabric, and the towelling (in Swedish; frotté) fabric with its pile will act as a soft bottom so the velvet pile doesn’t get flat and pressed down. Iron gently, and always try it out on a spare bit first.
- Hang it before hemming; to make the skirt hem as even as possible; hang the dress on a doll for a couple of days to let the fabric hang out, then pin/mark the hemline and cut it. The skirt on my velvet overdress is cut in a half-circular piece (almost) making the fabric drape nicely, but also hanging out uneven in the hem. Look at this picture- this is the dress skirt before cutting the hem, it differs over 10 cm!
- The pile is what makes the velvet special, and it is important to take care not to crush or flatten it out. When ironing; do so gently. When machine sewing, choose a foot/presser that is narrower and loosen the pressure on the machine a bit if possible. Or sew the fabric together on an overlock machine or by hand. When cutting out your pieces, don’t step on or lean on the fabric, as this may crush the pile unevenly.
- Baste- don’t pin! Silk velvet is quite sensitive, the pins might rip threads from the fabric so basting with loose stitches is a safer way to go. If sewing in other materials, it is still better to baste because the pile of the velvet, when put together with another fabric, tend to “walk” over the surface no matter how much you pin it.
A picture from our wedding day, the velvet dress looking all nice and innocent, not at all like me and the dress really hated each other while making it…
24/02/2018 at 20:49
Modern cotton velveteen is also a substitute for the plush kinds of medieval and renaissance fustian (fustani pelut, fustano piloso). I have never encountered cotton-silk velvet, but it sounds scrumptous!
24/02/2018 at 22:18
Really, that is very interesting! Do you have any reading tips or links to that kinds of fabric and the looks of it? =) I have encountered different kinds of fustians in the First book of Fashion, but didn’t give it much thought at the time.
24/02/2018 at 22:58
in English, check out Maureen Fennel Mazzaoui, The Italian Cotton Industry in the Later Middle Ages It was recently reprinted and is not expensive. I am told that Stuart Peachey’s “Textiles and Materials of the Common Man and Woman 1580-1660” has more information, but I have never read it. It seems that the modern equivalents are cotton velveteen/Baumwollesamt (for the kinds with a pile) and flannelette/Moleskine (for the kinds which were brushed with a rough nap and then sheared like broadcloth/panus longus). There were cloths containing cotton with a smooth surface too … I think that buckram/boccacino often referred to those kinds.
01/03/2018 at 11:38
Thank you for your great tips, I will be checking them as ap =D