【 Carmagnole 】
Late 18th century France.
The bottom line of the ancien régime.
This jacket was worn by male workers.
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| 【 Garment specimen 】 |
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| 【 Disassembled original 】 |
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| 【 sample 】 Produced with stiff wool |
The above dimensions are the finished dimensions of the pattern.
Clothing before and after the French Revolution was designed with extremely narrow shoulders.
If you look at the measurements alone, you may be surprised at how small they are.
I recommend choosing based on "bust" rather than shoulder width.
You should choose a size around +12-14cm (4.7-5.5 in) from your bust nude measurement.
For example, if your nude measurement is 101cm (40 inches), a size 5 or 6 would be a perfect fit.
Size 1 or 2 for 82.5cm(32.5 inches)
Size 3 or 4 for 91.5cm(36 inches)
Extremely curved sleeves, loose flared silhouette of the body, warped collar and small lapels.
Everything is in perfect balance.
It is a beautiful shape that evokes the atmosphere of the 18th century.
5ft 7.7in (172cm)
136.6lbs (62kg)
136.6lbs (62kg)
Normal build male, wearing size 3.
Just right fit.
There is room to wear a shirt inside.
If you wear knitwear, size 4 would be better.
5ft 4.1in (163cm)
116.8lbs (53kg)
116.8lbs (53kg)
Normal build female, wearing size 1.
Just right fit.
There is room to wear a shirt inside.
This is a sample made with thick linen fabric.
After sewing, the fabric is washed to give it a more casual look.
The rustic texture of the fabric is a perfect match for Carmagnole.
The edges of the fabric were treated with linen tape.
By doing this, even thick fabrics can be made light.
This one was made for a female customer.
Carmagnoles are cool for women to wear.
Now let's take a look at the original Carmagnoles from the late 18th and early 19th centuries.
I own two Carmagnoles.
First, let's take a closer look at this Carmagnol.
The fabric is blue-colored wool.
Very stiff.
The lining is a stiff linen fabric.
Two flap pockets on the waist.
And small pleats on the hips.
These were probably designed to resemble aristocratic coats.
Six-button front. Cuffs have one button on each side.
Lapels are sewn directly to the body.
This Carmagnole has one inside pocket.
The inside pocket of men's clothing, which is commonplace today, was a worker's détaille until the mid-19th century.
The nobility did not create inside pockets to prevent the silhouette of the chest from being destroyed.
Warped stand collar and small lapels.
Very cute balance.
Collar can be laid down.
In most cases, however, they are worn standing up.
The inconspicuous interior of the facing has been joined.
It is likely that they were tailored using a limited amount of cloth.
There is triple stitching on the collar.
It was probably intended to reinforce the collar and make it stand up.
The pockets are almost always on the back, not on the sides.
This makes it somewhat difficult to use.
However, this is the correct position of the pockets, which are modeled after the aristocratic style.
The pocket structure is also hollowed out, which was popular at the time.
Welt pockets did not become standard until the 19th century.
The pleats of the Carmagnoles are quite different from those of the nobility.
They are very small and shallow.
The pleats of the nobility are made large and deep.
Did the amount of cloth at their disposal make a difference.
Inside pockets are durable welt pockets.
It is a practical design unique to the worker.
Cuffs can be opened and closed.
One button is attached.
The sleeve lining is made of coarse linen fabric, as is the body lining.
Let's take a look at some of the Carmagnoles that the museum archives.
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| Carmagnole Paris Musées |
This Carmagnole is made of cotton.
The lining is linen and it has one inside pocket.
The back is very simple.
There is not even a center seam.
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| Carmagnole & cockade Paris Musées |
Carmagnoles made of red wool.
It is very powerful.
The tricolor cockade on the collar is impressive.
Two small vents open on the back.
The cuffs are also of the open/close type.
According to the description, the flap is decorative, not a pocket.
That is often seen in the clothing of the nobility.
That is often seen in the clothing of the nobility.
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| Carmangnole 1790-1805 LACMA |
This one is made of white linen fabric.
It is in very clean condition and looks like a modern jacket.
I would love to wear it now too.
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| Carmagnole 1790 LACMA |
The style of Sanculotto as a role model.
She wears a pale blue Carmagnole.
Exhibited at "Reigning Men." in 2016.
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The most famous painting representing Sanculotto.
He is wearing a short, brown carmagnole.
The sleeves are also short in length.
The cuffs are of military design.
A flap can be seen at the waist.
The front appears to be single, not double.
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| Rabbit seller, 1808 Artist: William Henry Pyne |
This is a painting of a female laborer from England in 1808.
The two women with parasols in the background appear to be wearing chemise dresses.
And the lead female worker is wearing a jacket similar in design to my Carmagnole.
It appears to be double-breasted, cuffed, with a stand collar and lapels, and a tail.
Now I will also introduce another Carmagnole I own.
This Carmagnol also has a similar design to the first one.
Many joint marks can be seen on the collar.
And it's still triple stitching.
The pockets are practical, huge welt pockets.
It is on the side and very easy to use.
The inconspicuous Facing still has a joint.
The lining is a coarse linen fabric.
The back will have simple pleats.
The lower button is only half concealed.
This design is also found in aristocratic coats.
And my favorite is the patchwork of sleeve linings.
See, you can see the patchwork of floral patterns.
I will now introduce the internal structure.
Disassembling the structure revealed some interesting structures.
Incidentally, the Carmagnole also had an inside pocket on the left side.
First is the body.
The use of canvas is interesting.
The canvas material is coarse, hard jute.
It was used for the upper body and the cutaway portion at the front end.
However, the canvas is omitted for the rolled lapels.
Incidentally, the same fabric is also used for the pocket linings.
The canvas is also omitted from the buttonhole area.
The canvas is then sewn directly to the body.
It is sewn so that as little thread as possible appears on the front side.
Such tailoring is the same for aristocratic garments.
Facing shapes are different on the left and right.
It is full of joints.
This is probably proof that only the necessary amount was made with the limited amount of fabric.
The collar also has many joints.
The collar ends are straight and looped.
And the inside of the collar is reinforced with wool sewn on.
Thanks to this, the collar stands firmly.
Curved sleeve shape.
The inner sleeves are jointed because they are inconspicuous parts.
In any case, it seems to have been made with great care for the fabric.
The buttons are wool fabric wrapped buttons.
It had a wooden base.
Above all, the threads used are interesting.
It is no longer a thread, but rather a fiber.
It is sewn with hemp fiber.
I wonder what kind of needle was used.
It must have been very difficult to sew thick wool fabric with this thick hemp fiber.
I am worried about the hands of the sewers.
Thanks for reading to the end.
I hope you will try making your own Carmagnoles.
It will be a very interesting and unforgettable experience.
