This is the point where you get started on actually making the bodice. I'm going to work on the assumption you're using a two piece pattern, one front piece and one back piece. If you've decided to cut the thing with fewer pieces, then adapt these instructions accordingly.

The bodice is assembled as a sandwich. The filling, if you like, is a double layer of linen with the boning inbetween it. This is the interlining. Once the thing is finished, you won't see this. It's the blue layers in the yellow kirtle diary and in the pictures that accompany this guide.

The outer layer of fabric is known as the shell. This the wool layer. It's the visible layer and, in these pictures, is yellow.

The final layer is the lining. In these pictures that's the light green-grey layer.

Cut out four front pieces and four back pieces. Do not include any seam allowance - the pieces of fabric should be the same size as you wish the final bodice to be.

The first stage is to take two bodice front pieces, lie them on top of each other and line the edges up precisely. Pin them into place. Using back stitch or the machine, sew a line as close as you can to the front edge of the bodice, joining the two pieces of fabric together.

The next stage is to sew the channels. These are simply parallel lines of stitches joining the two bodice layers together, into which the boning can be slipped. They need to be just wide enough to slip the boning in, but not so wide it slops about. I start with the one centre front, and the picture to the right shows the process part way through. From top down it shows:

• The front centre edge of the bodice. The two black lines near the edge are the two lines of sewing to create the boning channel. The other lines are biro, and I'll return to those later.
• A piece of cable tie boning. I've taken the cable tie, trimmed off the block at one end and the tapering part at the other, cut it to length and rounded the edges to stop any sharp bits poking holes in my fabric. Note it's slightly shorter than the bodice front - I need a quarter of an inch or so at either end to sew the channel closed.
• A virgin cable tie.

Remember those biro lines? They're guides to the position of the remaining bones. I use five strips of cabletie on each bodice half and I've photo-shopped those lines to make them more obvious. The diagonal supports the side of my breast and stops it from slipping back into my armpit and the leftmost bone prevents the bodice from wrinkling at the sides. The red dots show where the lacing holes will go. There's one bone to the edge of them, to stop the lacing edge from wrinkling up, then a space before the rest of the boning so there's somewhere to put the holes.

If you were using metal boning the process is pretty much the same. Metal bones tend to be wider than cable ties, so the boning channels need to be wider to match. Because metal bones are stiffer than the plastic ties you can get away with fewer of them. Two or three are enough: one centre front, one on the diagonal and one, if you need it, running from armpit to waist.

Next, prepare the boning by cutting it half an inch shorter than your channels. Whatever you're using, it's important you leave no sharp edges to poke through the fabric. With cable ties that's easy. Trim them to length with scissors, round the edges, and you're done.

Metal boning is more awkward, which is why I no longer use it. You can cut it with tin snips, but who has those lying around? Alternatively, bend it back and forth where you want to cut it until the metal fatigues and it snaps. This leaves jagged edges so I wrap the ends of the bones in electrical tape or plasters to pad them a bit.

Slip the bones in the channels and sew them closed. I normally take a strip of fabric about an inch wide, fold it in half, and sew it over the raw edge of the bodice where the channels are to make sure they're really sealed, but I have no idea if this is neccessary.

Repeat exactly the same process using the remaining two bodice front pieces because, unlike your pattern, you have a left and a right.

The back pieces don't need boning, so just tack them together and then pretend they're one piece of fabric.

The shell

Lay the interlining pieces down on your wool. If the fabric has a right side and a wrong side (ie the two sides are different) then lay them on the side you don't want to be visible. If this is the case, remember you need left and right pieces, so make sure to lay out one piece facing one way and one the other. Pin them down firmly and cut out the wool, making sure it's a good inch larger than the interlining on all sides.

If you look closely at this picture, you'll see a multiplicity of boning channels. That's because, in constructing this, I'm experimenting with cording the bodice. That's discussed in more detail in the yellow kirtle diary but, for the purposes of this guide, don't worry about it. Just stick to the boning layout I've diagrammed above.

You don't, by the way, need to sew up the wool at the tip of the strap. This opening can be left raw.

The lining

Putting the lining in is a remarkably similar process to putting on the shell. Start by laying the bodice pieces, interlining side down, onto the lining fabric. Pin the down firmly. Cut out the linen with the same inch excess. Tuck this excess under, between the lining and the interlining. The idea is not to line up the edge of the lining perfectly with the edge of the bodice but, rather, stop it a quarter of an inch or so short. This means that, no matter how you move or things stretch, the lining should never creep out past the bodice edge and become visible. Once you're happy with how it's pinned, then sew it into place.

At this stage, you should pin and sew every side except the strap end and the straight edge that will become the top of the bodice front. Those should be left open, and the reason for that will become apparent later.

Assembling the bodice

Take two bodice pieces and place them right sides together, aligning the edges you wish to join. Whip stitch the pieces together. This will be a load bearing seam, so it's important to use a strong thread and make sure your stitches are close together. Make sure the needle passes through both the wool shell and the interlining. It doesn't matter if you sew through the lining or not and, if you've finished it short of the edge of the piece, you won't be able to. Repeat with the remaining seams, then open them out so they lay flat.

If you're used to sewing, this method of construction will seem a little odd. It works very well, however, to produce a strong, flat seam which isn't bulky with excess fabric. It also happens to be period.

The eyelets

Next stage is to sew the eyelets. These go in the space you left between the bones at the front edge of the bodice. There are excellent instructions for sewing eyelets here so, although my technique is very slightly different, I'm not going to bother to repeat it. I use the satin stitch version.

The eyelets should be spaced for spiral lacing. The space between them can vary, and is in part an aesthetic decision. If you're using cable ties to bone your bodice, I'd recommend no more than an inch and a half between holes. If you're using metal boning you can get away with a couple of inches, as there's no way the bones can bend sideways.

Finishing off the bodice

Once all the eyelets are sewn (and, yes, it is a thankless task) it's possible to try the bodice on for real. This is the point where you find out if the pattern you made was any good.

Start by pinning the shoulder straps roughly where they need to be. Put the bodice on, and lace it up. You can use anything at this stage - an old shoelace, a bit of string - although obviously you'll need to sort out something more authentic when you're on the manor.

Go find a mirror and eyeball it. If it's correct, then breathe a huge sigh of relief. You're almost done.

If it's not, then all is not lost. Obviously, too big is easier to correct than too small, but both can be managed.

If the bodice is too tall then you'll need to undo the stitches holding the lining and shell to the interlining, trim back the interlining to where it needs to be, and replace the lining and shell. That's straightforward enough.

If it's too big round (i.e. it's too loose) then it's a question of figureing out where you want to take it in. You can chop a strip off the front and redo the eyelets. Alternatively, you can cut the whipstitching joining the pieces together, reduce their size, and sew things back together.

If it's too tight (won't lace up fully) then don't worry. Assuming the gap isn't huge, you can put a placket behind it. This is simply a rectangle of wool (either in the same colour as the bodice or a contrasting colour) that slips behind the laces and hides your shift. It's a lot like a tongue in a shoe. The odds are, on the manor, the bodice will stretch somewhat and the gap will close, anyway.

Once the bodice is correct, take the shoulder straps and slip them in the pocket between the interlining and the lining. Adjust them so they're tight across your shoulders, and so that left and right are the same. Pin them firmly in the right place and take the bodice off. Trim off the gross excess from the straps and sew them very firmly to the interlining. They'll be under strain, so it's important that this line of stitches is strong. I use back-stitch for this, but it doesn't really matter.

Once the straps are secured, finish off sewing the lining into place. Put the bodice on once more, and mark where the outer edge of the bodice sits on the top of your shoulders. You can mark this by sticking a pin in it. You'll need another eyelet here on each side, to fasten the sleeves to.

Once you've done all that, breathe a huge sigh of relief. The bodice is done, and with it the hardest part of your costume.

Onto making the skirt.