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Product Description	Image	Price
1750s Coat by J.P. Ryan 1750s Coat with Military Variations for the Officer or Enlisted ManCoats of the 1750’s were boxier in shape than the coats worn later in the 18th century. This coat has very full skirts, deep cuffs, a straighter front line, and roomier sleeves than coats of the 1770’s and 1780’s. The body of this coat fits close to the person and the armholes are set high and back to reinforce a correct, erect 18th century posture.Made up as a civilian coat, this design will be appropriate for almost any occasion, depending on your choice of fabric and trimmings. As a military coat, please consult your own documentation for suggestions on fabric weights, trims and ornamentation. As there were over 120 different military units in the 1750’s-1760’s, please make whatever changes may be necessary to conform this pattern to your own personal requirements. Enclosed you will find a plain cuff, a functional mariner’s cuff, and a curved cuff. All the pieces were designed to fit together, so you may mix and match.		$20.00 Size  40 42 44 46 48 50 52 Qty:
Fall Front Breeches by J.P. Ryan Fall front breeches became fashionable after the middle of the 18th century. In shape, they are quite similar to fly front breeches, with the exception of the method of front closure. These breeches have a shaped waistband which ties over a center back gusset; the seat is full, the legs tight with sufficient fullness through the crotch for full freedom of movement; the front rise is short, with the waistband fitting around the hips, under the stomach; the kneeband is designed for buckles; the pockets extend under the front fall and there is a watch pocket in the waistband. This original breeches pattern is based on extant examples in the collections of Colonial Williamsburg, The National Museum of American History, and the Museum of the City of London.		$16.00 Size  30-32 34-36 38-40 42-44 46-48 Qty:
18th Century Shirt by J.P. Ryan This shirt was the basic all-purpose undergarment of its time. Therefore, it is much larger and longer than a conventional shirt. Sleeves are extremely full and long. View A is a common working man's shirt with plain front, cuffs, and button fastenings. View B is a gentleman's shirt with front neck ruffles and wrist ruffles, to be worn with cuff links. In the 18th century the presence of wrist ruffles stated that the wearer did not work with his hands. This pattern incorporates features from 18th century shirts in the collections of the Victoria and Albert Museum, The National Museum of American History and Gunston Hall Plantation Museum.		$12.00 Size  14-15-16 16-17-18 Qty:
Waistcoat by J.P. Ryan This waistcoat pattern may be made up in a variety of ways: sleeved or sleeveless. long or short. The longer, sleeved version is most appropriate for earlier impressions, i.e. the French and Indian War period, whereas the shorter version is a correct length for the Revolutionary War period in America. You may also make a shorter sleeved waistcoat or a longer sleeveless waistcoat. Both sleeved and sleeveless waistcoats were worn in either period.The waistcoat underwent an evolution in style similar to the coat. Early on in the century, the waistcoat was worn quite long, extending almost to the knees. As time progressed, the waistcoat became shorter and shorter, ending, at the close of the century, at the natural waistline.This original waistcoat pattern is fashioned after three extant examples, one in the collection of The Colonial Williamsburg Foundation, one in the collection of The Smithsonian Institution, and another in the Cut of Men's Clothes, by Norah Waugh.		$16.00 Size  40 42 44 46 48 Qty:
Gentleman's Frock Coat by JK.P. Ryan In the 1770’s, the frock coat became acceptable attire for all but the most formal occasions, and continued to be worn throughout the remainder of the century. This frock coat is designed to fit comfortably over shirt, breeches and waistcoat. It has a small cape (i.e., collar), pockets with pocket flaps, and round cuffs.This original frock coat pattern is fashioned after two extant examples, one in the collection of the Colonial Williamsburg Foundation, and another in the Cut of Men’s Clothes, by Norah Waugh.The frock coat may be made up several different ways; it may outlined with flat metallic braid (lace), with matching metal buttons, or front buttonholes only may be embroidered or laced, and/or buttonholes and buttons may be omitted from cuffs and pocket flaps, simplifying the garment.		$17.00 Size  40 42 44 46 48 Qty:
Robe a l'Anglaise or English Night Gown by J.P. Ryan Robe à l’Anglaise, or English Nightgown-- a la polonaise as an open robe with petticoat (View A)-- en fourreau as round gown with an apron front (View B).This gown may be constructed to suit a variety of needs. The two views shown offer a Robe à l'Anglaise a la polonaise as an open robe with petticoat (View A) or the Robe à l'Anglaise en fourreau as round gown with attached apron front (View B). Either view may be made as either an open or closed robe, with a choice of two sleeves. Both views of the Robe à l'Anglaise have a closely fitted bodice with an edge-to-edge center front closure. Side seams are placed well back on the body, giving the desired illusion of a wide full bosom with narrow back. The over-the-elbow length sleeves may be finished with purchased trims or ruching and an optional sleeve flounce. Both views have a fitted back. The bodice back of View A has a waist seam. Therefore, the bodice has a separate attached skirt. The bodice back of View B does not have a waist seam. Instead, there is a full length panel of approximately 5 ½ feet in length pleated to the bodice back. The remainder of the View B back panel attaches to the bodice to become the skirt of the gown. This original design is based on 5 extant gowns dating from 1760 - 1785, in the collections of The Chester County Historical Society, The Metropolitan Museum of Art, The Colonial Williamsburg Foundation, The Victoria and Albert Museum and the Municipal Museum of The Hague.		$18.00 Size  8 10 12 14 16 18 20 22 Qty:
18th Century Strapless Stays by J.P. Ryan In the 18th century, stays were worn to reshape the upper female torso into the conical ideal. High fashion stays with shoulder straps were designed to create a straight, rigid line from bosom to navel (and beyond), compress and widen the bosom, narrow the back, and elongate and reduce the waistline. Stays were the basic foundation garment upon which all outer garments were built. From comments of the time among the fashionable, shape was more important than comfort. However, not all 18th century women dressed in high fashion. Many pairs of strapless stays have survived which have no shoulder straps. That means the stays did not restrict movement of the shoulders and upper arms or narrow the back. Based on observation, strapless stays also have larger waistlines than strapped stays, which means they were designed to mold a less conical and more tubular shape. They were also probably more comfortable. These strapless, fully-boned stays are designed to reshape the torso in the same way the originals did two hundred years ago. They are also designed to be worn on a modern 20th century body. Like the original strapless 18th c. stays, these stays do not compress the lower ribcage or the waistline. This original pattern incorporates features from extant 18th century stays in the collections of The National Museum of American History, The Los Angeles County Museum of Art, and a private collector.		$12.00 Size  6 8 10 12 14 16 18 20 22 24 Qty:
Ladies Basic Six Piece Wardrobe by J.P. Ryan Basic GarmentsShift/Chemise - an 18th century undergarment for women worn next to the skin. The French name for this garment is chemise. It is loose fitting and pulls on over the head; has a low adjustable neckline and ¾ length sleeves. Shoulder seam rests on upper arm, well off the shoulder. Shift hangs to below the knee.Petticoat - an 18th century garment worn the way a skirt is now worn. Openings are left in side seams for access to hanging pockets. Petticoat is pleated to waistband, and fastens with ties.Short Gown - a hip-length unfitted jacket with long sleeves, to be held closed with straight pins and apron. Pattern enclosed.Apron - a rectangle of fabric pleated to a waistband, worn tied around the waist.Handkerchief - a square or triangular piece of fabric finished on all sides, worn around the neck.Pocket - a shaped bag worn tied around the waist under the visible petticoat. Pattern enclosed.		$16.00 Size  S M L XL XXL Qty:
Caraco by J.P. Ryan This style of caraco jacket was a popular ladies’ fashion from approximately 1770 to 1785.This caraco is designed with a false stomacher front which has a center front hook and eye closure. The over-the-elbow length sleeves are finished with shaped cuffs. An optional ruching strip may be fastened (by hooks to thread eyes) across the stomacher to secure a neck handkerchief if it is worn over the caraco. Covered buttons have been added to the base of the side back seams. Optional ribbon loops may be sewn inside the caraco which can be fastened up over the buttons to lift the jacket skirt à la polonaise. This original caraco pattern is fashioned after two extant examples, one in the collection of the Colonial Williamsburg Foundation and the other in the Wade Collection, Snowshill Manor, England. A similar false stomacher front may be seen on a gown described as an "Afternoon Dress," which was made in France c. 1775, in the collection of The Metropolitan Museum of Art, New York.This pattern is designed to fit over my 18th century strapless stays. This pattern will not fit a 21st century figure wearing modern underwear.Caraco is illustrated as it looks when made of cotton chintz with a thin silk lining, worn with plain sleeve flounces, over a false rump, quilted petticoat and flounced silk taffeta petticoat. Pattern is for caraco jacket only.		$16.00 Size  S M L XL XXL Qty:
Pet-en-l'air or Robe à la Française by J.P. Ryan The robe à la française was one of the most flattering gowns worn by ladies in the 18th century. Fitted closely to the torso in the front, the back of the gown hangs in graceful pleats from shoulder to hemline. This style was popular from the 1750’s through the 1770’s. In its shortened jacket form, it was usually called a pet-en-lair. The enclosed pattern is for the pet-en-lair, sleeve flounces and stomacher only. Directions are given for extending the pet-en-lair into a gown. In addition, instructions and cutting layout are included for making a petticoat which will hang gracefully over pocket hoops. This original pattern is based on extant examples of sack gowns and pet-en-lairs, as shown in Patterns of Fashion 1, by Janet Arnold; and in the collection of The Metropolitan Museum of Art, robe à la française, c.1755-1770, CI 43-90-49; gold satin caraco (pet-en-lair) and petticoat c. 1775, CI 37-57 ab.		$18.00 Size  6-8 10-12 14-16 18-20 22-24 Qty:
A Fine Collection of Ladies' Jackets by J.P. Ryan This group of jackets uses one basic body with front, sleeve, cuff, skirt and length variations. Each view is composed of different pieces, and pieces may be combined to create other styles. The dates given on each view are approximate, based on elements found in extant examples. View A is cut with a long skirt, center front closure, and sleeves with winged cuffs, suitable for the 1750’s. View B has a long full skirt, open front, stomacher and cuffed sleeves, as was worn in the 1760’s. View C has a short full skirt, open front, stomacher, and curved sleeves, appropriate for the 1770’s. View D has a short skirt with pointed back, open front, stomacher and curved sleeves appropriate for the late 1770’s to early 1780’s. The elements of this original pattern have been derived from extant garments in the collections of Snowshill Manor, The Colonial Williamsburg Foundation, the Kyoto Costume Institute, and a private collector. A pointed back may also be seen in Description des Arts et Metiers, L’Art de la Couturiere, Fig. 14, M. Garsault, Paris, 1769. This pattern is well suited to plain or printed fabrics.		$16.00 Size 6-8  10-12 14-16 18-20 22-24 Qty:
18th Century Pocket Hoops by J.P. Ryan During the 18th Century, a lady of fashion could choose from a variety of methods to extend the shape of the petticoat and gown. For example, she might wear oval hoops, a false rump or pocket hoops. When wearing either oval hoops or false rump, our lady would also wear one or more pockets, in which she could carry her fan, pocket handkerchief, scent bottle, patch box, and other vital accessories. Pocket hoops, considered most fashionable at some times but not at others, were by far and away the most practical and convenient. Pocket hoops have several advantages over oval hoops and false rump in that: 1) it is not necessary to wear additional pockets, 2) they can be fastened (tied) in front, therefore not making it necessary to slip them down over the head or require other assistance when dressing, and 3) they collapse, so that one might slip through narrow passages (or into sports cars) when thus attired. And not to be overlooked, pocket hoops are very easy to construct.This is an original pattern incorporating features and dimensions of extant 18th century oval hoops and pocket hoops, as may be seen at Sandy Spring Museum, The Victoria and Albert Museum, and in Corsets and Crinolines.		$11.00   Qty:
Manteau-de-Lit or Bed-gown from Garsault by J.P. Ryan The Manteau-de-Lit or Bed-gown is an unfitted, T-shaped jacket with a shawl collar that continues into robings. It is knee-length, has seven-eighths length sleeves and underarm gussets. The bed-gown may be held closed using straight pins or an apron, for which directiona are included. The bed-gown is very easy to construct, and is reversible when lined.The enclosed pattern is my interpretation of Figures 7 - 12, Plate 15 from Description des Arts et Metiers, by M. Garsault, Paris, 1769, as published in The Cut of Women’s Clothes 1600-1930, by Norah Waugh. The jacket is described as follows: "The bed-gown (manteau-de-lit). This is cut from two or four lengths of material according to the width. The sleeves are cut en chemise, that is, in one with the body; the squares cut from the sides of the gown are added to the sleeves to give extra length....The back is cut straight across the top and has an inverted pleat centre back. The front... has an extra piece on top, ...which is formed into a pleat and folded to fit the neck....An inverted pleat is set (in at) each side (of) the waist."The bed-gown is fairly close fitting around the torso. If you wish a looser fit, please make one size larger than you normally wear. If you are making an unlined bed-gown, this pattern is best suited to plain, unprinted fabrics, as the inside of the garment is turned out to form the collar and cuffs. If you wish to use a print, it would be best to consider making a bed-gown with a lining.Also included are diagrams and instructions for an apron.		$16.00 Size  S M L XL XXL Qty:
Man's Shirt (1750-1800) by Kannik's Korner English Style - A full size shirt pattern, based on original eighteenth century English cutting instructions, with construction techniques from various original shirts.Includes directions for optional variations of bosom and sleeve ruffles. The perfect pattern for an 18th century pirate shirt! Included Sizes: XS-S-M-L-XL-XXL-XXXL.		$12.00   Qty:
Man's Shirt (1790-1830) by Kannick's Korner English Style - A full size shirt pattern, based on original 1808 English cutting directions, with construction techniques from various original shirts. Directions for variations of bosom ruffles included. Included Sizes: XS-S-M-L-XL-XXL-XXXL.		$12.00   Qty:
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