Romantic History Historical Clothing

Welcome!

2010-07-11T10:59:00.000-07:00

Welcome to my online costuming home!

Here you will find my attempts at recreating historical fashions. I believe that the study and recreation of historical fashions is liberating and gloriously inspiring - why should we be limited to what stores choose to carry today when it comes time to pick our clothing? Why should our personal style be limited by the few clothing designers who copy each other and create cookie-cutter looks?

Historical clothing is often beautiful, feminine and very practical. When I put on a historic gown I instantly feel more ladylike and my husband finds me much more attractive in historic styles than modern ones. Let neatness, sensibility and loveliness be the qualities of our clothing. Whether you prefer the cute, flirty styles of the 1940's, the sweet puffed and gathered styles of the 1830's, the slender, simple grace of the 1800's or the smart tailored apparel of the 1870's, it can be certain that you will find a style that you love and love to wear somewhere in history. Let us return to the styles of our foremothers, be proud of our feminity and wear clothing that reflects the modesty, elegance and grace of a Romantic Woman!

Note: Credit for above photo to Elaine - our family May 2010 Thank you Elaine for this picture of our whole family - it is rare for us to have a photo with all of us in it!

Thank you so much for stopping by! You are cordially invited to visit my other "multi-purpose" :) sewing blog as well, Romantic History.

Please click on the links below to take you each section of this blog. I do hope you enjoy your stay here!

New to Historic Dressing? Some Links to Get You Started

Patterns and Online Resources for Historic Fashion

Inspirational Costume and Fashion Blogs and Websites - see what others are creating!

My Free Pattern Collection

My Historic Clothing Gallery - my efforts at recreating historic fashion

My Dress Diaries - documented experiments in creating historic clothing. :)

Enjoying Summer

2010-07-02T13:55:00.000-07:00

Inspirational Blogs & Websites

2010-07-01T07:03:00.000-07:00

Here are some of my favorite costuming websites and blogs. This list will be added to! It is always so inspiring for me to see what other people are creating.

Katherine's Dress Site

Katherine's Live Journal

Festive Attyre Historical Costumes

Historically Dressed

Jenny La Fluer Costume Gallery

Wearing History

Regency Reproductions

The Tudor Costume Page

The Lady of Portland House

Adventures of a Costumer

The Dreamstress

A Most Peculiar Mademoiselle

American Duchess

Chandra's Historic Clothing

ZipZips Vintage Sewing

The Story of a Seamstress

Demode Couture

Patterns and Online Resources

2010-06-30T15:06:00.000-07:00

Pattern Companies:

Past Patterns

Kanniks Korner

J.P. Ryan

Sense and Sensibility

Fig Leaf &KayFig Patterns

Historic Moments

Truly Victorian

Timely Tresses

Millers Millinery

Free Online Patterns:

Katherine's Free Patterns

Mrs. Clarks Free Patterns

Amy's Free Patterns

Marquise

Antique Clothing Websites:

Antique Dress

Vintage Textile

New to Historic Dressing?

2010-06-19T06:34:00.000-07:00

Are you new to historic dressing? If you are just starting out in this exciting wardrobe adventure, here are some of my favorite educational links for the eras I enjoy. This is not an exhuastive list for every era of fashion (obviously!) but the ones I have personally enjoyed and can personally recommend. As I research more about other eras, I will add to this list. If any of my lovely readers have favorite fashion era sites not listed here, please let me know in the comment section! Have fun! :)

~ The 18th Century ~

New England 18th Century ~ Informational articles
Mara Riley ~ Informational articles, patterns
Sharon Ann Burnston ~ informational articles, baby layette instructions
The Village Green Clothier ~ Sharon Burnstons dressmaking site, beautiful reproductions for sale
Marquise 18th Century Site ~ informational articles, how-to's
Cherry Dawson ~ currently being renovated, but excellent stay making articles available here.

~ The Regency ~

I do not have many links for the regency era, since much of my research has been through books rather than online sites. If any of you know of other good regency fashion sites, please let me know!

Oregon Regency Society ~ information articles, tutorials and helpful tips
Jessamyns Regency Costume Companion ~ great overview of regency fashion, helpful articles, pattern reviews
Regency Gown Construction Tips ~ tips and advice for creating a period correct regency gown
Sense and Sensibility Vintage Images-Regency ~ paintings, drawings and depictions of fashion styles from the regency era
ZipZips Vintage Sewing ~ a blog with great articles on regency and early regency styles.

~ The Romantic ~

Again, I do not have many links for the Romantic Era, since this transitional era of fashion seems often to be overlooked in the costuming world. I have not found a site with good informational articles on various aspects of dress in this period. Most of my knowledge has come through viewing photos of extant clothing, fashion plates, dressmaking manuals and pattern books. Please share any other sites you may have for this era.

Vintage Textile Antique Clothing-Early ~ 18th c. through early Victorian fashion. There are often some nice romantic era pieces with very clear, detailed photographs, often of the inside construction as well!
Revisiting the Romantic Era ~ a great collection of primary sources for inspiration and education.
The Sangamon Settler ~ one of my "other" blogs. This is very much a work-in-progress. I have a lot more I want to eventually put into this blog as time allows. Focusing on working class, plain attire that may have been worn by settlers in mid-central IL during the 1820's and 1830's.

~ The Victorian ~

Elizabeth Stewart Clarks Site ~ educational articles, free patterns, to-purchase patterns, dressmaking books, this site has it all!
The Sewing Academy ~ Mrs. Clarks message forum, focusing on recreating the styles of 1845-1865.
The Graceful Lady ~ custom dressmaking and a fabulous gallery of original images and clothing to browse for inspiration
Historical Help ~ A great jumping off point for new female Civil War reenactors
Originals-by-Kay ~ custom dressmaking, patterns and helpful articles
Why Not Then ~ great articles and an inspirational gallery of modern recreations of historic fashion from this era
Atlantic Guard Soldiers Aid Society Clothing Guidelines ~ a good overview of appropriate working class attire

A Mid-19th Century Shaped Seam Corset

2010-05-01T05:31:00.000-07:00

5-1-2010

I have been getting ready to make a new corset for Civil War reenacting for the past few months and at last have decided I just need to make it! This is my sixth reenacting corset that I've made for myself (I have made a few others for other folks) but for some reason I always have difficulties rememering how to construct it. For that reason I decided to do a step by step documentary on how to make one of these things.

Corsets are the foundation that almost every woman needs for a proper 1860's impression. There are a very few cases where not wearing a corset may be permissible but for the vast majority of the time a corset or stay would have been worn. A corset is meant to firm and shape the torso into a predictable shape so that highly fitted dresses can be worn over the top. A corset also takes the weight of your voluminous petticoats and skirts and evenly distrubutes that. A corset also lifts and supports the bosom so one does not flop unattractively around. :)

A corset is really not a hard garment to make. In fact, I think they are very simple to construct and only require a good fitting pattern and precise cutting and sewing. In the past I have used Period Impressions Light French Corset pattern, a drafted pattern of my own and the Laughing Moon Victorian Corset pattern. I currently use the LM pattern because it is very easy to fit, following the fitting instructions given in the pattern and makes a good shape. (There are two styles given in the LM pattern; one for a gusseted corset and the other for a gored or shaped seam corset. Both give a similar shape if fitted properly and I personally prefer the shaped seam corset for ease in fitting).
The first step in constructing a corset is to make a mock up of the pattern you are using out of old jeans or a similar weight material. Fit the corset. Once you have fitted it, trace out the fitted pattern onto fresh paper for future use. Here is my pattern, fitted from the LM Dore pattern, pinned onto the fabric I'm using for my corset:

I am using a heavy weight cotton twill fabric in a slate blue color. I have 5 pattern pieces per side of the corset so need to cut 4 of each pattern piece from the fabric. This gives me a double layer corset and the bones will be inserted into channels sewn between the outer and inner layer. You can also make single layer corsets and sew in the boning channels on the inside for a lighter and cooler corset (I have made corsets both ways) but for ease of construction and sturdiness I like the double layer. Here are all the pieces cut out and stacked for one side; repeat this procedure of cutting and stacking for the opposite side of the corset.Inserting the Busk:

I like to get the busk out of the way next. This busk is recycled from my corset two corsets ago that I used when I was pregnant. It had a belly curve to it so I put it under our mattress and had David sleep on it for about a month or so to get it flat again. :) You will need your 4 center front pieces to insert the busk.

Lay your center front pieces right sides together to make two center front sections, each a mirror image of the other. On one side, align the looped edge of the busk with the straight raw edges. My busk is a little shorter than my center front corset length but that is all right. Just position it so that it is a bit down from the top edge and a bit up from the bottom edge. This will give you room to sew on your corset binding without a breaking a machine needle on the steel! Once you have aligned the looped edge with the straight front edge and positioned it how you want it, mark each loop on the outer edges with a marking pencil. Sew your front corset pieces together, right sides together for both sides. On the corset pieces you marked for the looped part of the busk, do not sew in the short areas where the loops will be inserted. Start and stop your stitching at the marks you made. On the other side, simply sew both pieces together, all the way down. Your finished sewn pieces should look like this:
Press both seams open, turn pieces right sides out and again carefully press, the seam being on the exact edge. Carefully slide the looped edge of the busk between the corset pieces you marked for the looped edge. The loops should fit into the areas you left open in this seam. It should now look like this: For the other half of the front corset, align the looped piece with the other piece, matching top and bottom edges. The loops will overlap onto the other side, showing you where the pegs on the other half of the busk needs to be. Use a marking pencil and mark these spots.
Using a knitting needle or awl, carefully work the marked spots open, strectching the fabric and not tearing threads (if possible). Slide the busk back into position and carefully work each peg through the hole, stretching the hole to fit over the peg. Once you are done, your pieces should look like this: To keep your busk from shifting around, use a zipper foot and closely sew around the busk, going slowly since you don't want to hit your needle on the steel by mistake! Sewing the Rest of the Corset Shell:

The technique I use to sew the rest of the corset shell is one that I really love to use! It sews all four layers together using just one seam and covers all seam allowances at the same time, making the inside of the corset look the same as the outside! No seperate making up of the lining and outer layer and deplorable "stitching in the ditch" to attach the layers together!
To do this, working with just one half of the corset, take the side front pieces of your corset. Right sides together, place the side front corset piece against your center front piece. Make sure all edges match and are even. Now take the other side front piece (what will be the inside layer) and lay that, right sides together, with the center front piece. You will have a "sandwich" of side front piece, center front pieces, side front piece.

Sew all these pieces together. Trim seam allowances, clip curves and turn the side front pieces to the outside. You have a very neatly enclosed seam and are ready to sew on the side piece! Repeat this procedure for the remaining pieces and then repeat all over again for the other half of the corset. Here is what the corset looks with all pieces sewn together and with the busk hooked closed in the front: When you come to the back edges you will have raw edges left to finish. Turn each seam allowance to the inside on your center back pieces, align the folded edges and topstitch close the fold to finish off the back opening.
Mark your eyelet holes now. Make sure you mark them far enough in from the center back edge to accomodate a bone directly against the edge. (I put my eyelets about 1" - 1.5" in from the center back edge). Work your eyelets by hand or insert grommets. I have bad problems with grommets falling out so I always make handmade eyelets instead. It is a bit more time consuming to do but they wear like iron! To do so, simply poke the eyelet open with a knitting needle or awl, work it open with a pencil, trying to stretch (not tear) the fabric, and go around the hole with a closely spaced whip stitch. Here is the corset back with the eyelets worked:

Sewing the Boning Channels:

Once your eyelets are in it is time to sew the boning channels! Boning placement is really a very personal thing and you need to do what is best for your figure but generally I always place a bone along the outside edge of the corset back, and one again on the other side of the eyelets. If you are small figured then one bone along each seam line may work for you. I usually put a bone along each seam and then an extra down the middle of any wider pieces so that the finished bones are no farther apart than 2.5" or so.

Once the boning channels are sewn (make them as wide as your bone, plus a bit extra), it is time to insert the boning. You can use steel boning and I have also sucessfully used cable ties as well. I haven't reached the point of inserting boning yet with this corset so I am still not sure if I will use cable ties or spring steels. Spring steels are a post-war invention and they really don't provide much support. Flat steels are better but I do not have enough of the right length on hand to use for this corset. I may just use cable ties since I can cut them to length and if, in the future, I want to upgrade to steels I can unpick my binding and put new bones in at that time.

Next post - finishing the corset!

Love,

Sarah

5-7-2010

Well, since my last post I have finished my corset! Yay! I didn't think I would get it done so soon but a little work each evening goes a long way towards getting something done.

I decided to use cable ties for my boning since that is what I had on hand. To pick up where I left off. . .

Inserting the Boning:

Stitch your boning channels. For this corset, I used one bone along each seam and a bone at each ceneter back edge and another on the other side of the eyelets. To sew channels next to a seam, I marked the placement of the bones on the side of the seam that did NOT have the seam allowance in it. Here is a photo of one half of the corset with the boning channels sewn:Next, you need to cut your boning to the correct length. This is usually 1" shorter than the actual channel, which gives you a 1/2" seam allowance at the top and bottom to put on the binding. You *can* sew through plastic boning but most definitely *not* through steel. If you are using steel bones, they should already be the correct length since you measured each channel and ordered the right lengths, right? :) If you are using cable ties, make sure to round each edge off with a filing board to smooth the sharp corners away.If you don't do this, the bones may poke you in uncomfortable places at inconvenient times. (Voice of Experience).

Slide the bones into the proper channels. Here is a photo of the corset with all the bones slid into position:

Binding the Corset:

Horaay! The corset is nearly complete! The last thing to do is to bind the corset. This encloses the top and bottom edge of the corset to finish off all the raw edges. You can use a fabric that matches your corset fabric, or a contrasting fabric. A lighterweight fabric is best since using the actual corset fabric may result in a bulky binding that will give you "corset lines" when worn beneath a fitted dress.

I am using white Kona cotton for my binding. Cut bias strips from scraps, enough to bind the top and bottom edge. You may have to piece your bias strips together to make them long enough but that is fine.

Right sides together, pin a bias strip to each raw edge of the corset. Sew to the corset, using a 1/2" seam. Turn under the seam allowance on the long, raw edge of the binding.Turn the binding to the inside of the corset and pin along the seam line. Slip stitch binding to inside

seam line to finish corset. Here is a photo of my corset with the binding on:
I have not taken a photo yet, but I did sew some white lace to the top of the corset. This is not only decorative but also practical. It tells you which side is "up" on your corset since sometimes it is hard to know! If you haven't done so already, thread your lacing cords through the eyelets and try your new corset on! I like to use 2 laces; one coming from the top of the corset to the waist, and the other coming from the bottom of the corset to the waist. This gives me a lot more control over my waistline than using just one long lace from top to bottom.

Pictures of the corset being worn to come. . .

Gray Striped Cotton Regency Gown

2010-03-12T12:31:00.000-08:00

Gray Striped Cotton Regency Gown

This gown was the first one I made using the Elegant Lady's Closet Pattern from Sense and Sensibility patterns. The basic gown is a slip on style (no openings or fastenings) that has drawstrings in the waistline (underbust) and neckline to adjust the fit. The skirt is gathered tightly in the back although the only fullness in the front is acheived through the tightening of the drawstrings. The bodice also has front lining pieces, which are overlapping "flaps", to keep the bodice close to the body when being worn and also to prevent stay lines from showing through.
I made this dress when hugely pregnant with my son Malachi. It worked great as a maternity dress and also as a nursing friendly dress once Malachi was born. I used a cotton striped shirting from Jo Anns that has a woven figured lavendar stripe alternated with a gray stripe. It is quite pretty, and worked well for a regency era gown. I used the elbow length sleeves included with the pattern for this dress and cut them on the bias. I did this to conserve fabric (I was working with short yardage) but the finished effect is quite nice. This particular dress I sewed completely by hand since at the time my machine was out of order!
I used pea green linen for the inside lining, but think that next time I would cut the shape of the lining differently since when I overlap the pieces to pin them I get a smooth line across the fullest part of the bust, but gappage issues at the top and bottom of the lining. In other dresses I've made from this pattern I have ommitted the lining pieces with no mishap.

Sizing wise, this pattern was really great! However, the pattern was created to be worn with stays so if you plan to use this pattern and wear modern undergarments, make sure to cut a cup size or two larger than you usually wear, so the waistline does not hit across the bust!

Cranberry Check Cotton Day Dress

2010-01-05T07:45:00.000-08:00

Cranberry Check Cotton Day Dress

This is another mid-to-late 1820’s style dress. It has a dart fitted bodice with a scoop neckline and my usual dog leg closure. The sleeves are a variation from the ubiquitous gigot sleeve of the period, and are cut slightly wider and gathered at the wrist into a fitted cuff, following a period diagram. The skirt makes thrifty use of fabric and is cut as three gores in the front at the sides with a rectangular panel in the back. The gores were constructed of a straight panel folded in half. The front gore was marked out and cut, with the leftover pieces, after the gore was cut away, being turned and used as side gores. You can use this technique with any fabric that is not a one-way print. The skirt is lightly gathered in the front and is more tightly gathered in the back. To dress up this gown a bit more than the others I have made, I added a gathered ruffle or flounce to the bottom of the skirt. The join is covered with a bias band. I also made a cranberry taffeta sash to wear around my waist and two cranberry taffeta bows to pin at the shoulders for a bit of a dressier look. The sash and bows are not worn for everyday wear.

Dull Green 1830's Cotton Day Dress

2010-01-05T07:43:00.000-08:00

Dull Green 1830's Cotton Day Dress

This dress is made from a dull green cotton print that I found at Wal Mart. The base color is a lighter dull green with tiny dark green rectangles printed on it. I made the dress up in an early 1830’s style, with puff sleeves gathered to a fitted under sleeve, a V-neck and a full, evenly gathered skirt.

The dress lining is fitted with darts and the outer fabric tucked down over the top of that into several pleats. I tacked the pleats to the lining a few inches above the waistband to give a neater, trimmer appearance to the bodice. All the bodice seams and the sleeve seams are piped with self fabric piping. The front closes with hook and eyes and the skirt is set with a dogleg closure. Dresses of this period usually closed in the back but I have chosen this method of closing because it is much easier to put on oneself (I find it hard to hook up back-fastening dresses on myself!) and I need a front opening to nurse my baby. It is a historical way of closing a dress but not necessarily correct to the 1830’s era.
In these pictures I am wearing it with my long romantic era stays, a chemise and two petticoats. Drawers were usually not worn in this period but since I feel a bit indecent without them I am wearing modern knit leggings in place of drawers. I ought to be wearing a collar or chemisette but usually do not use these for every day wear. The pin is an antique copper brooch, given to be my aunt, set with a green stone. I don’t know how old it is or what kind of stone it is but I like how it looks. I love green.

Brown Plaid Silk Dress

2010-01-04T15:03:00.000-08:00

Brown Plaid Silk Dress

I made this dress in the spring of 2008 for a fashion show that I was to be in. This was my very first - and still my only - silk dress and I was happy with how it came out. In these pictures, I am wearing the dress with under sleeves/collar and a dark cranberry silk bow at the neck. The bow is sewn into position, not tied, and pinned on with a straight pin. I made a matching belt with a pleated rosette with a black velvet covered button in the center to wear with this dress.

It has a bodice fitted with two darts on each side of the front and a separate skirt, attached to a plain cloth waistband and then basted to the bodice. The bodice opens at center front with hooks and eyes and the skirt opens at the side, making a dogleg closure.

The silk I used for this dress I got for a very inexpensive price on eBay. The width was very narrow - about 20”, if I remember correctly, so altogether I got nearly seventeen yards of it and used most of it to make this dress with a few yards left over.

The skirt is very full all around, over 200”, and is pleated with 1” knife pleats at the sides and front and is tightly cartridge pleated (gauged) in the center back. The skirt was adjusted for length at the top edge, the top edge folded to the inside and the folded edge pleated or gauged and then whip stitched to the waistband. The sleeves are one piece open sleeves with a curved seam and are decorated with bias bands of fringed and gathered silk. Black decorative buttons trim the bodice.

The dress is worn with white cotton lace trimmed under sleeves and a lace trimmed single-layer collar. The collar and under sleeves are removable (the sleeves are actually held in with a few strategically placed straight pins) so that they can be laundered separately from the dress. (In fact, the spring of 2009 was the first time I washed this dress and at that time had it dry-cleaned; dresses of this period were not laundered frequently as the underpinnings and protective outerwear shielded gowns well from body soil or outside soil).

My original intention was to make a matching low evening bodice to go with this dress, either with short sleeves (for dancing) or open sleeves (for other formal occasions). However, the leftover silk I had seems to have disappeared so until I can find it, this will be a day dress, although I did wear this to a formal ball in the spring of 2009.

18th Century Stays

2010-01-01T10:10:00.000-08:00

January 1, 2010

Wow, it is going to be hard to get used to typing "2010" as the year now that January has begun. At any rate, today is the first day of the year and I am resolved to make these stays within the year - hopefully within the month - and feel accomplished about that.

To begin with, I have wanted to make 18th century stays for a long time. As in, since I was thirteen or fourteen years old. (I am now twenty-three). A few years ago my parents got me the J.P. Ryan 18th C Strapless Stays pattern as well as the 18th C Basic Wardrobe pattern but beyond making up a linen canvas interior, as a mock up, I never made the stays. I was a little overwhelmed by the sheer amount of work that making stays seemed to entail. The tiny channels, the use of so much boning. Plus I had no event or reason to make or wear 18th century stays beyond my own personal satisfaction so I didn't really feel the need to get any done.

Lately though, I have been madly renewing my interest in 18th century fashion, particularly the last quarter of the 18th century. I like to dress historical for every day wear now so making these stays would not be impractical since I can use them for every day wear. Plus I want to make a Caraco jacket and petticoat and stays will provide the proper foundation!

Thus, this being decided, I set off on a quest to read about how to make an accurate pair of stays from this time period. I am really starting from nothing with this era. I have very little prior knowledge of any construction techniques or cut, or style. It is all pretty new to me but I am so thankful for so many other costumers who have shared a lot of information about constructing these kind of stays. Sites that hugely helped me (and are continuing to educate me as I reference them all the time) are these:

Mara Riley's Instructions on Making 18th Century Stays

Making 18th Century Stays from The Marquise Website

Cherry Dawsons Stays Workshop Notes

Jenny La Fleurs Dress Diaries

There is also a fabulous blog dedicated to all things 18th century stays but I can't seem to find the link to it right now. . .I will update the link as soon as I come across it again.
Stage 1: The Style

As I researched more, I found out that there is an option to the fully boned stays of the 18th century. . .half boned stays. I was very interested to read about these on the Marquise site because they are made of an inner layer ("basis") that is boned and then the smooth outer layer and lining are attached so that in the final stays, the bone channels do not show. I decided I wanted to try this style since I didn't have to worry about hand stitching a whole set of stays (since anything visible must be handsewn) only to find out that they did not fit right, or had some other problem.

The pattern given on the marquise site called for stays with a front piece and back piece - that is it. Compared to the many pieces of my J.P. Ryan pattern for strapless, fully boned stays, this style seemed very simple. The problem was coming up with a pattern for it.

Stage 2: The Pattern

Ah, the pattern. Give me some measurements and I can whip up a mid 19th century style corset pattern in no time. 18th century style corset?

I tried. For weeks.

At first, I thought I would just drape a pattern on my own body. This did not work. I pinned a rectangle of fabric to myself (wearing a tight fitting cami) down the center front to mark the center front of the corset. I tried smoothly pinning the fabric to the contours of my body but got stuck when I reached the side, and it was impossible to drape upon my own back. The rather deformed looking pattern that resulted gave birth to a few dreadful mock ups, but that was all. I scrapped that.

I then thought I could tape the pieces of my JP Ryan strapless stays pattern together along the seam lines to get a complete shape for stays, and then divide the finished shape into two, to get a front and back. But the problem there was that the only size I have in the JP Ryan pattern is a size 10 and I have. . .ahem. . .grown some since when I first got this pattern. And the neckline shapes weren't right and I didn't know if the pattern would fit lengthwise anyway, even though I could alter the width if I had to.

Then I looked at Mara Riley's instructions again and noticed that she starts with a corset pattern made from the custom corset pattern generator and adapts that for 18th century stays. At first I did not want to do this since it seemed so. . .easy. . .and, well, aren't stays supposed to be hard?

But at last, I did. I entered in my measurements to a form on the computer and received instructions step by step on how to draw out a personalized corset pattern. It was free. It took maybe fifteen minutes. It was. . .easy.

Following Mara Riley's instructional photos, I altered the shape of the armpit area and hip area just a tad (making a more curved shape) and then I divided my finished corset pattern (half) into four shapes, making a front piece, a side front piece, a back side piece and a back piece. I drew in all my boning lines for where I wanted to place boning and also drew in the tabs. At last I had the beginnings of a workable pattern!I did not want to cut into this "master pattern" to use as my working pattern so I copied the shape and pieces and added seam allowances. Here is the new pattern newly traced onto brown paper, with the seam allowances. The center back edge has a 1" extension for the top layer of fabric of the stays, which is to fold over to the inside and finish the back edge for the last boning channel before I attach the lining and bind the whole thing. Otherwise all the other layers will be cut as normal. Here are the pattern pieces cut out and ready to go! I have been so blissfully content looking at my master pattern and traced working pattern that I have not yet started on the actual construction of these yet. I wanted to get started on them today, but anticipation is half the fun of creation, right? :)

Stage 3: Fabrics

I want to use fabrics I have on hand so as to make this project as inexpensive as possible.

The "basis" should be a strong and stiff linen canvas. I do not have linen canvas and can't really afford any right now, so I'm using cotton canvas instead. I don't really know if there is much difference between linen and cotton canvas, but I do know I've used cotton canvas as the interlining of a mid-19th century corset for my very well-endowed mother in law and it has held up very nicely, even though machine washings and dryings. So I hope it will work out all right for this style corset.

The outer fabric could be a silk, linen or wool. I have pink linen but don't really want a pink set of stays since I already have a pink mid-19th century corset. One should have some variety in one's wardrobe, you know. I looked through my wool and at first thought I'd use some black and silver wool/silk blend for the outer layer. But then I came across a smallish piece of plum colored wool that I had forgot I had - left over from a very long ago project with the scraps subsequently used for many different things. I folded the little piece of wool in half and laid the stays pattern on it and it just exactly fit. So it seems predestined. The plum wool will be my outer layer.

The lining will be of the pink linen. I also have some white linen but I think the pink will help tone down the harshness of the plum wool and add a cheerful, rosy color to it.

The binding will most likely be fabric binding cut on the straight. I am not sure what fabric I will use yet but I think I will have to buy something specifically for this. I want something very light yet strong so I think silk would be a good option. As for color, I would like a silver-blue or robins-egg-blue or apple-green. I'll have to go to the store and see what their selection is like.

Love,

Sarah

January 4, 2010

I was able to work on my stays a bit over the weekend. It was with fear and trembling I cut out the pattern pieces. I am making the basis first, so am only cutting out what I will sew up right away. I haven't cut out the wool outer layer or linen lining yet. I will do that as I come to them.

Stage 4: Making the Basis

I cut out 4 of each side back and side front pattern piece and two of each front and back (on the fold), to give me two complete whole layers of the finished corset pieces. The canvas I am using is so stiff that I used weights and traced around each pattern piece instead of pinning the pieces to the canvas. I tried pinning at first, but due to the stiffness of the fabric the pattern piece became distored when a pin was used. Here are all the pieces cut out. I cut each back piece and each front piece with the straight edge against the fold.The folded edge of the back pieces will be used as a back finish. All I will need to do is sew a line about 1/2" in from the edge, and this will create my back boning channel. The folded edge of the bodice front could work the same way if I wanted a front opening on these stays as well as a back opening. I don't plan on making a front opening, so I opened up each front piece and layed the two pieces on top of each other. I then sewed all the pieces together, treating the two layers as one. I am doing all this sewing by machine since this layer will be hidden betweenthe lining and the outer layer and there is no way anyone will ever see it unless they take apart my stays!Once I did that, I pressed all the seams towards the back. The Marquise 18th century stays instructions call for pressing the seams to one side since that strengthens the seam. However, some other costumers press the seams open and whip them down. I debated about what to do but in the end pressed the seams to one side. This DOES create a stronger seam. If you open up your seams, the stress is all on the threads connecting the two layers of the seam. I always press all my seams towards the side for almost all the historical (and even modern) garments I make. It just works so much better. I then basted around the neckline and the front lower curve on the stays so they would not stretch or distort. I marked all my boning channels, following the lines on my "master pattern" and sewed all the channels. I found I had to make my channels a little wider than I had originally thought since I hadn't taken into account the thickness of the boning material, just the width. Instead of a 3/8" channel I needed to make a 1/2" channel to allow the bone easy passage into the channel. Which brings us to: Stage 5: Boning Materials

In Costume in Detail, the half-boned stays described are boned with whalebone. Needless to say, whalebone is not available anymore as a corset stiffener. After reading lots of costume and corset-makers opinions, I decided a while ago to try cable ties as a corset stiffener and substitute for whalebone. The majority of the opinions I read said that cable ties have the same flexible properties as whalebone, flexing not only front to back but also side to side. Yet they are stiff and quite unbreakable. What's also nice is that they are locally available and relatively cheap. Since then, I've made a few corsets using the heavy duty cable ties in place of steel boning, including my current mid-19th century style corset. I really like how they have held up - even for my aforementioned well endowed mother in law - and they do conform a bit to my body shape, which makes them very comfortable. In extant examples of corsets, you can also find this curved shape which the whalebone takes on after you have worn it a while.

Here are the partially boned stays. I only had enough on hand to bone the front of the stays. I will need to pick up another package to finish out the rest. I think the total number of bones I'm using is thirty-two - by far the most bones I've ever used in any corset! To cut a bone, I slid a cable tie into the channel and clipped off the end to the length it needed to be. Next up is finishing the boning and cutting out the wool outer layer.

Love,

Sarah

January 7, 2010

I have been able to make some good progress on the stays so far this week. I was imagining them to take a long time to finish, but these seem to be working up pretty quickly, even with handsewing everything that can be seen from the inside layer or outside layer and even with having to do this sewing work in between naps and times of very short quietness for boys playing with legos and blocks and cars and Mr. Potato Head.

A few days ago, I finished the boning by inserting the rest of the boning into the sewn channels. For the horizontal front boning, I sewed on casings made of cotton twill tape and inserted the boning in those. At this point, I noticed the pressed-to-one-side seams were quite bulky and I did not think the seam allowances would be balanced by pressing the lightweight wool or linen lining seam allowances to the other side so I decided to press the seams open. It is much flatter now and works much better. I tacked down the seam allowances with a loose (rather sloppy)whipstitch in red silk thread just to hold them in place while I finished the rest of the layers. Stage 6: Making and Attaching the Outer ShellI then cut out one layer of wool and sewed the pieces together to make the outer shell. The back edges were cut 1.5" beyond the finished edge of the basis. I layed the wool layer on top of the basis and pinned it all around and folded the excess back width to the inside of the stays and whip stitched it down.I debated for a while about how to finish the back edge and was at first going to just bind it, but I read about this method of finishing the edge in my JP Ryan Strapless Stays pattern so I decided to try this since it seemed like less work. :P I then basted the wool layer all around with loose whip stitch in black cotton thread to the canvas basis and attached the wool layer to the basis at each seam by "stitching in the ditch". I detest stitching in the ditch. But I got the disagreeable task accomplished and moved on.

Stage 7: Making and Attaching the Lining

My next thing to do was to cut out the lining layer. It was cut out like the wool layer, but the back edge was cut on the normal line, not with an extension. I folded the seam allowances to the wrong side on each piece and pinned them to the basis, matching the seam lines. One by one I stitched the lining pieces to the basis. Here you can see most of the lining sewn in with just a little left to go:Once that was done I pinned the stays on my stuffed dressform to get an idea of how they would look. I am pretty happy with how they look so far! I need to steam shrink the wool layer to the basis since it stretched a little but otherwise so far so good!

Stage 8: Straps and Tabs

Last night I cut and sewed on the straps. They are made of layers of canvas, wool and linen just like the corset. I sewed the wool layer to the stays by laying it right sides together with the wool layer of the corset and sewing it to the "stub" that extends on the back corset piece. I then treated the canvas and linen as one and sewed it right sides together with the linen going along the same seam line. This method encases the seam allowance between the layers of the strap, so that no seam allowances are visible from either the inside or outside. I pinned the layers together and will later probably baste them together before I put the binding on. Last but not least I did what was the most tedious part so far - cutting the tabs. I laid out the stays on my work surface and marked the tabs with a fabric pencil. Then, one by one I cut out each tab. As soon as one tab was cut I quickly basted all the layers of the tab together with a closer whip stitch since I have dreadful fears of the tab layers shifting, stretching or fraying. Hopefully this will keep everything nicely in place until I get the binding put on.So that is where construction now stands! I need to cut the binding strips and start binding this thing and then lastly work the eyelets. . .For the binding I'm using some gold/brown changeable taffeta I found that I had forgot I had. I don't think it is real silk taffeta but for binding it should work fine. It is very sturdily woven and is light and is pretty and was very inexpensive, being bought as remnants at a thrift store. (3 yards for $1.50!) This has all in all been a very cheap project, using mostly stashed materials! The only expense so far has been the extra cable ties, which were $6 or so for a big package (and I only used about a quarter of them).

Hopefully we'll have finished stays by the weekend!

Love,
Sarah

Black Wool Dress

2009-12-30T08:59:00.000-08:00

Black Wool Dress with Teal Silk Trim

Fabrics. com had a great sale on this wool early last year for around $1.70 a yard or something like that. It was less than $2 a yard, whatever the exact price may have been. I ordered a bunch of it since it was such a good price but didn't have any real idea what I was going to make from it. When I received the fabric I noticed it had a thin silver stripe in it, a nice lightweight hand and lots of body. It was a lovely fabric, mostly wool with a mix of silk.

I didn't make it up til later than fall (October of 2008) when I was pregnant with Malachi. I wanted a bit of a fancier dress to wear for "best" so I made it up as a seperate bodice and skirt. The bodice has a postillion back and a slightly pointed front and is darted - darts being common for wool and silk dresses of the period. The sleeves are very simple coat sleeves that are cut wide and slightly high, to show off lace-trimmed undersleeves beneath. The sleeves are trimmed with ruched teal colored silk and I made homemade covered buttons with pennies and wool batting and scraps of silk to make the decorative buttons down the front of the bodice.

The skirt is made of three 60" panels and is pleated to a brown cotton fabric waistband and whip stitched on. The skirt is basted to the bodice around most of the bodice, leaving the point in the front hanging free.
I have worn this dress quite often since I made it. I need to bone the center front point and the darts to make the fit more smooth but now that my figure has changed after having the baby, I think I may just remake the whole bodice anyway with leftover wool to get a better fit.
I have worn this dress to dances, a birthday party for Abraham Lincoln as well as to colder events where the wool keeps me cozy. I'm so glad I made it. It has definitely become a wardrobe staple! Now I understand why black dresses, either silk or wool, were so common in the period. They are nice basic canvases to dress up with different accessories and are appropriate for almost all occasions in almost all types of weather. I am not crazy about the color of the silk I used to trim it with but suprisingly I have received more compliments on the combination of this color and black than any of the other dresses I've ever made. So I'm starting to think it might be all right, too. :)

Blue Print Cotton Day Dress

2009-12-30T08:29:00.000-08:00

Blue Print Cotton Daydress, Early to Mid '60's

This is another dress made with $1.50/yard fabric from Wal Mart. I really found some great deals at Wal Mart this past year, I tell you what. I love this print and despite only having five yards of it, was able to (barely) squeak out this dress with a few inch square pieces left over in case I ever need to patch or repair this dress.

It is a basic gathered style as was usual for cotton dresses of the period. One piece construction with a dog leg closure and hook and eyes to fasten.

The trim on this dress is of dark red braid and is applied with large basting stitches - just enough to hold it in place but easy to take off if I ever need to. The trim is inspired by similar trim on an original wool dress of the period. The original dress had narrower braid but this was the best I find in my local stores. It is a rayon braid but for now, until I can afford to purchase more accurate trim, it works. The dress is accessorized with a small gold brooch and a baste-in white collar made of one layer of muslin with lace trim whipped to the edges. The sleeves I had to get creative with. I had very little fabric to work with so chose a very slim fitting coat sleeve with a small puff at the top. The puff is sewn directly to the coat sleeve beneath it - the inner sleeve fits fairly closely to the arm. The puff had to be pieced but it is not noticeable and piecing is accurate for dresses of this period anyway.

I could only make the skirts about 130" around or so because I was so short on fabric. Still, the dark color and print of the dress helps the skirt to not look so skimpy. A lighter fabric would definitely need more in the skirt to allow it to lay gracefully over the hoop. I usually like to make my skirts around 160"-180" around the hem. But for this one I simply had to work with what I had. So far this is my favorite Civil War era style dress that I've made just because of the comfortableness of it and the print doesn't show dirt or baby-finger-stains as much as other dresses have.

Mid-1820's to Early-1830's Cream and Pink Cotton Day Dress

2009-12-30T05:48:00.000-08:00

Late '20's to Early '30's Cream and Pink Cotton Day Dress

This dress was originally intended to be a similar style to my cream print day dress mid-to-late 20's style, but once it was finished I decided it looked more early 1830's, especially because of the full gathered skirts - from what I've seen, 1820's skirts usually were flat or mostly flat in the front, making use of gores to add fullness at the hem. The style is a very simple one. The lining of the bodice is darted and the outer fabric gathered done instead of being darted. The sleeves were my first successful attempt at a moderately sized gigot sleeve. The skirt is made of three rectangular panels. The front skirt is lightly gathered just below the bust gathers, is smooth at the sides and is heavily gathered in the back. The hem is finished with a hem facing. This is definitely one of my favorite dresses to wear. I love this style so much and it is a practical one for every day use. To see a comprehensive dress diary detailing the construction of this dress, please check out the dress diary page here on this site.

In these pictures, I'm wearing the dress with my modified mantua maker stays (made with a more nipped in waist and longer bust gussets for a later look), a chemise and a cotton petticoat. Plus, just for fun, :) a hair wreath made of wire and silk flowers and leaves. To make one of your own, please visit the tutorial page on this site.

Mid-to-Late 1820's Cream Cotton Print Day Dress

2009-12-30T05:17:00.000-08:00

Mid-to-Late 1820's Cream Cotton Print Day Dress

This dress was my first attempt at an 1820's style dress. I made it in the fall of 2008 when I was pregnant with Malachi, so therefore this dress has some non-characteristic features to better accomodate my growing tummy and for nursing after the baby was born. I made my own pattern for the dress based on diagrams in Janet Arnolds Patterns of Fashion 1 and seeing pictures of original dresses online, especially ones from Demode Extant Women's Clothing and Vintage Textile.

The gown is made from a cream colored cotton printed with a floral motif in green, brown and pink. The bodice has a slightly high waist and is darted with a dart on each side of the bosom. It is piped in each seam and closes in the front - the first variation from the common back-fastening dresses of the period. The sleeves are puffed with the first puff divided from the lower sleeve by a line of piping. At this time, sleeves were getting fuller but were not huge and awkward yet. The sleeves on this dress are fully lined and have a short piped wrist placket so I can push them up on my arm if need be when I am doing physical work that requires bare forearms - like doing dishes or something like that.

The skirt is made of three gores in the front and sides and a rectangular panel in the back. The front of the skirt is very lightly gathered so the skirt would drape well over my tummy. The back is more heavily gathered. The skirt has a wide hem and two tucks and has a dogleg opening - another deviation from the more common straight back opening, or less common apron front opening that were options of the period. I took the dogleg concept from the 1860's since it works well for a skirt that does not open in the front, but an attached bodice that does. This is so I could unfasten the bodice to nurse the baby. I don't know if original 1820's dresses ever used this method of fastening. So far, I have not seen one that does. I made a detchable ruffled collar to wear with this dress but usually do not wear it. It can be basted into the neckline if I wish. I took this idea from the detchable baste-in collars of the 1860's. A more period option would have been to attach the collar to a full chemisette that is worn under the dress and tied round the waist.

In the "pregnant pictures" I am wearing this dress with a set of gussetted short stays which no longer fit me. In the last, very recent photo, I am wearing it with short stays made with gathered cups (instead of gussets) which I like much better. Also am wearing a shift with a drawstring neckline and a single plain white cotton petticoat. All inside seams are done by machine, but anything that can be seen from the outside I sewed by hand.

The Romantic Era

2009-12-29T17:21:00.001-08:00

The Romantic Era

My love for the romantic era (in fashion, appx. 1825-1830's) was slow in coming. When I first began historic costuming I found the clothing from this period awkward and unattractive. I think the big sleeves was what I really did not like - they were just so huge in all the fashion plates I saw and I really did not think I would ever fall in love with this era of fashion history.

Despite my lack of love for the clothing styles, I did find a passionate love for the cultural history of this part of the midwest in the 1820's and 1830's era. The history of that time is just so fascinating to read and study. I soon found myself wanting to make a dress in a style representative of that time, so I began studying the late 1820's as my fashion window.

I discovered that I loved the 1820's. The early 1820's were still quite regency in look but by the mid 1820's the waistline was lower and the sleeves starting to get fuller and the skirts wider. It was a transitional time of fashion between the empire line of the regency and the dome shaped skirts and hourglass shape of the later Victorian era. I fell deeply in love with this transitional style. I still don't care much for the full-blown 1830's "Romantic" look but I do like the very early 1830's styles, which are similar to the late 1820's style. There is a lot of overlap. To see the development and evolution of fashion during this era is incredibly fascinating. I don't really have historic events or living histories to wear my romantic dresses to so I wear them for every day use. It's fun to dress like an "early settler" to this area would have!

Mid-to-late 1820's Cream Print Cotton Day Dress

Late 1820's - Early 1830's Pink and Cream Cotton Day Dress

Early 1830's Dull Green Print Cotton Day Dress

Mid-to-late 1820's Cranberry and Cream Check Cotton Day Dress

Romantic-Era Undergarments

Green Cotton Day Dress

2009-12-29T14:13:00.000-08:00

Green Cotton Print Day Dress

I made this dress from a green and white printed cotton from Wal Marts bargain table. What can I say. I'm not overly rich. I haunt Wal Marts bargain fabric table. This dress cost about $15 to make. I can't go wrong with that.

It is a basic mid-19th century style cotton dress. The bodice is flat lined and the lining darted with the fashion fabric taken up in tucks (instead of darts) on the outside layer. The neck is cut in a slight V, which is a nice, yet accurate variation from the ubiquitous jewel neckline. The V neck shape is much more flattering on many figure types than the jewel neckline. The sleeves are one piece coat sleeves with a pleated sleeve cap and trimmed with black cotton. The armscyes and neckline are piped. The dress has a narrow piped waistband and a full pleated skirt, whipped directly to the edge of the waistband as per originals. The hem is finished with a hem facing from scrap cotton fabric. Closes down the front of the bodice with hook and eyes and a dogleg closure for the skirt. Since these pictures were taken, I have added another row of black trim to the sleeves and black decorative buttons down the front. A comfortable, easy-to-wear every day dress! In these pictures I am wearing a black bow at the neckline and a black belt that hooks closed in the back. This dress is also the one I wore when David and I had our tintype done in September of 2009.

Mid-19th Century

2009-12-29T13:59:00.000-08:00

Mid-19th Century

I went to my first Civil War living history/reenactment when I was 12 years old and was hooked from the beginning. Due to my young age and lack of um. . .funds. . .it took me two years to make my first complete Civil War outfit. Thankfully, I spent those two years usefully and my first gown was not too terribly bad, due in large part to the excellent advice from Mrs. Clark and the (fortunately) fairly good pattern I bought for my first dress, Homespuns Visiting Dress.

Since then, I have been reenacting each year and have made, collectively, over thirty adult style dresses and more childrens style dresses than I can remember. In my late teens, I spent a few years recreating the transitional teen style clothing of the time. When I married, I spent time researching mens uniforms and civilian wear and baby clothing. Since then, I have made more baby dresses than I care to count and five uniforms for my husband. Whew!

Despite this era probably being the one I know the most about and have sewn from the most, I really do not like 1860's era fashion for women. The styles are terribly unflattering and the hoops are rather cumbersome. Still, it is exciting to don an outfit from this time, to pull one's hair back into the rather severe styles popular then and to pose with a somber expression for a camera.

Starting with the dresses I currently have as of now; Dec. 2009, I will hopefully get my whole wardrobe posted soon. I have four more gowns in various stages of completion and I'm sure I'll be adding to this page a LOT, since reenacting is my husbands favorite hobby and something we do a lot of in the summer and fall. And a girl cannot have too many gowns, can she? :)

Love,

Sarah

Green Cotton Print Day Dress

Blue Cotton Print Day Dress

Brown Plaid Silk Dress

Black Wool Dress

Sheer Cotton Organdy Sunbonnet

Blue Cotton Quilted Sunbonnet

Plaid Wool Mantle

Plaid Wool/Silk Winter Hood

Little House on the Prairie Sunbonnet

2009-12-02T12:58:00.001-08:00

“She had a clean calico dress to wear and she had shoes. While she hurried to the house, she thought that Ma might let her wear her Sunday hair-ribbon and perhaps Mary’s freshly ironed sunbonnet.” . . .”quickly they changed to fresh dresses and shoes. But Ma saw no reason for hair-ribbons on a weekday and she said Laura must wear her own sunbonnet. ‘It would be fresher’, Ma said, ‘if you took care to keep it so.” Laura’s bonnet was limp from hanging down her back and the strings were limp too. But that was Laura’s own fault.”

~ Laura Ingalls Wilder The Long Winter

This pattern is one I came up with after watching the t.v. series Little House on the Prairie. I grew up watching the series and was delighted to discover it on our public television station this past year and was enchanted anew with the costumes of Ma, Laura, Mary and their friends and family. This bonnet is particularly modeled after the one the adult Laura wears in the later episodes. Mrs. Oleson also wears a very similar styled bonnet when in her less-flamboyant attire. :) This bonnet is sized adult. The fit is large and roomy, with plenty of space for coiled hair or braids. The brim shades the face from the sun and is edged with a delicate ruffle. The back neck is elasticized and has an ample curtain to shade your neck from the sun.

Note:* The instructions seem really confusing to me so I have taken photographs of the whole construction process so you hopefully have a better idea of how this goes together! Of course there are many different ways you could go about putting this together so feel free to deviate from my instructions as needed. :) It is really a very simple project.

Note: ** To alter for size: You can easily size this pattern up or down as needed. As is, it fits an average adult head quite roomily. The basic pattern shapes of brim and crown can be easily made to whatever size you need.

To alter the width, measure your head (or the head you are making this for) from the back top of head, straight out over the face. Make sure this measurement takes into account the width of any ruffle you will attach. Mark this length along the fold line of the brim pattern piece and add or subtract from the pattern lines as needed to get the width you desire.

To alter the length, measure over your head from ear to ear. Mark this measurement along the long straight edge of the brim pattern piece and add or subtract from the pattern lines as needed to get your desired length.

The crown will probably not need to be reduced much in width for smaller sizes unless you are making a very small infant bonnet. Smaller sizes will find the crown more "puffy" but not by too much. Since the crown is not fitted, the cut is very forgiving in terms of size. To increase the size of the crown, add LENGTH to it as needed, above the casing line. Unless you have a very large head or a very large hairdo it is unlikely you will need to add width to the crown. If you do, simply place the pattern piece a few inches from the fold when pinning to your fabric to get added width across the center. To decrease the size of the crown, measure from the back top of the head, "poufing" your measuring tape a little to approximate the pouf of the finished crown, to the back of the neck. Add a few inches to this measurement for the neck curtain and mark this measurement along the straight fold line of the crown. Subtract from the pattern lines as needed. To decrease width, measure from ear to ear across the back of the head, adding in ample ease for movement while wearing. You can "pouf" your measuring tape for this measurement too. Mark half of this measurement along the casing line and subtract from the pattern width as needed. Draw new lines to connect the lines of your new size, keeping as best you can to the original pattern shapes.

The measurement for a ruffle should be about 1.5 - 2 x the length of the curved brim line.

The ties should be long enough to neatly tie beneath the chin.

The casing should be 1.5" wide (finished width of about 3/4" when hemmed on each side) and as long as the casing line on the crown.

Materials:

You will need the following for your bonnet:

Appx. ¾ yard of cotton fabric. Calico or gingham or plaid is a good choice. Something light is nice for summer wear. Bear in mind darker colored cottons will visually fade more quickly than a light one.
Scrap of heavy cotton fabric for interfacing. Cotton canvas, duck, denim (old jeans work well), twill, etc. are all good choices.
8” of flat elastic, ½” wide
Thread

Pattern:

Please click on the following links to be taken to the files for the pattern pieces. These pieces are traced and scanned on standard computer paper so should be printed full size. In case of size discrepancy, I have the actual measurements of each piece written on the edges of the pattern pieces so double check the measurements to make sure of the size before cutting your fabric. You will have to tape the crown piece together as it did not fit on one sheet of paper.

Brim

Crown A

Crown B

Cutting:

From your fabric cut the following:
2 Brims from your fashion fabric
1 Brim from your interfacing fabric
1 Crown from your fashion fabric
You will also need to tear these pieces from left over fabric:
1 Ruffle - 3” x 45”
2 Ties - 3” x 22.5” (tear a 45” rectangle and cut in half)
1 Casing for elastic, 1.5” x 19”

Assembly:
1. Hem the crown. On the casing line, clip into the crown ½. Turn under and stitch a very narrow hem on the bottom edge of the crown and up the sides to the clip.

2. On your casing piece, turn under ¼” on each long side. Laying one long edge of the casing piece along the casing line, wrong side of casing to right side of crown, pin into place. Stitch very close the turned under edge to secure the casing to the crown.

4. Run two rows of gathering stitches along the curved edge of the crown, from just above the casing, across the top of the crown, to just above the casing on the other side.

5. Hem the ruffle. On long edge of ruffle turn under a narrow hem and stitch securely. On the other long end, run two rows of gathering stitches.

6. Lay your brim interfacing piece right side up. Lay one of the brim fashion fabric pieces on top of the interfacing piece, right side up. You will treat the two layers as one. Press securely and fold and press to find center.

7. Fold the ruffle piece lengthwise to find center. Matching center points of ruffle and brim, right sides together, pin ruffle to brim all along curved outside edge, gathering ruffle to fit brim edge. At either end of ruffle, fold the corner up to the inside of the brim. Stitch ruffle to brim with ruffle side up, stitching between the two rows of gathering. Remove gathering stitches and press ruffle towards inside of brim.

8. Lay the other brim fashion fabric piece right sides up. Lay the ruffled brim piece right side down on top of this piece. Pin brim to ruffled brim and stitch together along curved outside edge, using the seam you just sewed for attaching the ruffle as a guide. Trim seam allowance and turn brim right sides out. Press well.

9. To stiffen brim, stitch parallel rows of machine stitching across the curved outer edge of the brim. Start about ½” from the edge for your first row. How many rows you wish to stitch and how far apart you place the rows is entirely up to you. I like to space my rows about ¾” apart and like to use an odd number of rows. 5 or 7 rows look well and adequately stiffens the brim.

10. Now that your brim is complete, it is time to attach it to the crown! First, take your elastic and thread it through the casing on the crown, pinning at each end to secure. Stitch over the ends of the elastic to hold them in place and remove pins.

11. Right sides together, pin brim to crown, matching edge of brim to the raw edges of the crown. Draw up gathering stitches in crown to fit brim and distribute evenly. Stitch. Trim seam allowances. Turn bonnet right sides out and press.

12. Attach ties by sewing to seam allowance at the bottom edge of the brim.

13. To finish inside seam, cover seam with bias binding or hem lace. Stitch to cover seam allowance.

14. Enjoy your new bonnet!

Mid-19th Century Gentleman's Overalls

2009-11-10T05:21:00.000-08:00

November 10, 2009

At a recent reenactment I saw several men wearing overalls made from the Past Patterns overall pattern. Since my husband David *always* wears modern blue denim overalls (along with a collared plaid or check shirt, long or short sleeve depending on the season) I was very interested in obtaining the pattern so I could make him a period correct set to wear. As of late he has decided to go "old fashioned" in his wardrobe and has asked me to make him some new clothes.

As far as I know, the PP overall pattern is the only one available for 19th century. My concern with it was that the style the overalls are is documented only 1870-1901. That is a tad late for David's liking since he is working on developing a pre-war impression and wants clothes in the style of the late 1840's, 1850's and 1860's.

Mrs. G. kindly offered to send me her copy of the pattern so I could look it over before deciding if I wanted to purchase my own. I was most interested in the documentation sheet since all the patterns from Past Patterns are extremely well documented.

After looking over the documentation sheet I found that earlier overalls (pre 1870's) were usually constructed with a seperate apron front piece as opposed to the cut-in-one apron that marks the later style overalls. Also, earlier overalls tended to have a side seam down the outside of the leg.

I looked up the early paintings that were noted to see a full color full view of the line drawings included in the documentation sheet.

Here is "In The Woodshed" by James Clonney, c. 1838. In this painting, the apron is a clear seperate piece sewn to the waist seam of the trousers and is made of two pieces.

And here is "The Power of Music" by William Sidney Mount, c. 1847. This also shows a two piece, seperate apron as well as a fly in the crutch seam - something David specifically requested since he wears his overalls *as* trousers, not over trousers as was done in period. A line drawing of a photograph from 1865 shows the back of overalls, with straps crossing over the shoulders from a rounded, raised back waist line. A sketch of c. 1860-1910 overalls from the Smithsonian also shows the crossed straps from a rounded, raised back waistline.

Since David already has a good fitting trouser pattern that we have adjusted and altered to his height and preference (although, since he has lost 35 lbs. over the summer they are a little baggier now) I decided to take what I had learned about mid 19th century overall styles and modify his existing trouser pattern for an overall pattern. Here is the sketch I made showing what I wanted the final overalls to look like:

To make the pattern I took his trouser pattern and laid it on fresh paper. The back of his trouser pattern has a yoke, so I just put the two pieces together and traced around the yoke and trouser back as one piece. I added 2.5" in height to the front and back trouser pieces to take the place of the waistband that is on his regular trousers. I added 4" extra in height at the center back, tapering down to the side seam in a rounded shape. I extended the length of the fly 2.5" and made an apron piece for the front of the overalls, taken the dimensions for it from the bib on his modern overalls. (since then, David has requested that on the next pair I make, I make the top of the bib wider, more along the lines of the 1838 painting shown above).

I decided to make 3 welt pockets for the overalls since I couldn't find documentation for patch pockets and welt pockets are common for men's garments of this period. David uses and needs a lot of pockets. They are arranged in the same style as vest pockets with two on the lower waist level and one on the breast.

I hate making welt pockets. But they are easier than many other kinds of pockets.

I cut everything from a dark moss green small corderoy we got locally. From my limited knowlege of the use of corderoy for use in the mid-19th century I think it is all right to use as for a very working class garment for menswear. David also likes corderoy and it is heavier weight and, he says, quite comfortable.

I used black cotton sateen for the fly and for the pockets.

After I made the pattern and cut everything out, I first put in the welt pockets just to get them out of the way. Then I made the fly and the four buttonholes for the overlap portion of the fly. Those two parts of the construction took the longest, I think.

Then I made the apron. I have no idea what is the correct method of construction of these type of overalls so I used basic mid 19th century techniques gleaned from many different sources and garments for these. I don't know if it will be particuarly accurate to overalls but it is what makes sense to me. So I made the apron with two layers so the welt pocket is sandwiched between the layers. This also makes the apron sturdier since it will have most of the stress from wearing. I sewed the apron front to the apron back right sides together and turned and topstitched it.

I then sewed the side and crutch seams and sewed in the placket strips on each side of the overalls and pinned them to cover the seam allowance. Then I sewed the apron to the trouser front, right sides together, along just the outer layer of apron. Once that seam was sewn I pressed the seam upwards, and turned under the raw edge of the inside apron and pinned it to the seam allowance at the waist, enclosing all the raw edges.

That is all I have done so far. The pictures are horrible. I had no idea how difficult it was to photograph green corderoy! It comes out so dark and looking almost black. They look much better in person, I assure you. :)

David tried them on last night and I think they will work very well. All I have to do today is make the straps, finish slip stitching the inside apron to the seam allowance and do the hem. Then work buttonholes and put buttons on the sides and also at the top of the apron for the straps. But that should go fairly quickly, I think.

Love,

Sarah

Later Afternoon:

I like s'mores. I'm eating two right now. I like it when little boys take naps all together at the same time so I can finish a current sewing project!

I had forgot to mention when I posted earlier that I had to figure out how to finish the back waistline. Since the edge is curved, a turned hem would not have really been practical. A bias strip could have worked but that would have wasted fabric so I decided to cut a simple facing, about 3" wide, and sewed it to the back waistline.

Once the slip stitching was finished and the back waistline was finished I made the straps; two rectangles with finished measurements of about 32" x 2". I positioned each strap 6.5" from the center back seam and topstitched them down by machine, going over each seam line twice for sturdiness, and sewing an X in the center.

For the hem I turned up .5" and then 1" to the inside of each leg and sewed very close to the folded edge by machine.

I sewed tin buttons to the fly to fasten it and then made 4 buttonholes at the sides and top of the bib, each corner. I sewed on corresponding largeish wood buttons as the last thing. Eventually I want to replace the wood buttons with rubber ones but for now the wood was all I had that was big enough to work well. I have had bad experiences in the past with wood buttons falling apart with washing but these are supposed to be treated so they don't fall apart. I guess we'll see how well they hold up!

I'm really happy with how they came out and how easy they were to make. It is not often that something I make comes out exactly as I pictured it, but these did. I hope David is as happy with them.

Here is an overall view of the finished garment: (sorry this picture is not very good. The overalls are just so long, it was hard to get all of them in one picture. I'll try to get some pictures of David wearing them this weekend when he is off of work).

And a closer up view of the back, showing the position of the straps:And the front: And a view of the side placket, pocket and fly:Love,

Sarah

December 4, 2009

Here are some finished pictures of David wearing the overalls, taken a few weeks ago. Enjoy!

1790's Transitional Stays

2009-10-31T08:51:00.001-07:00

October 31, 2009

I have made several gowns from the excellent Elegant Lady's Closet Pattern from Sense and Sensibility. These gowns are in the style of early regency, and most appropriate for 1790's and very early 1800's impressions. My favorite is the "drawtring dress" which slips on over the head and the fit is adjusted with a drawstring at the waistline as well as the neckline. It is a pretty, easy to wear style and works well for maternity and nursing which is why I made a gown from this pattern in the first place!

I made a set of short stays a few years ago to get the proper "shelf" look of the regency era. While my first attempt did not come out badly, they no longer fit me correctly since the waist is now too loose and the bust much too small. (as my husband considerately noted, I might as well not make new clothes until I'm done bearing children since my shape changes with each new baby I have!) I wasn't overall pleased with the look of the short stays I made either. It gave a very high, rounded bustline which I felt rather self conscious about.

I decided to make some transitional stays in the style of these 1790s stays from Kent University:

Katherine has made a lovely reproduction set as well as my dear friend Lauren. Check out their work - it is lovely!

For my own set, I first spent a lot of time in thought about the project. I really did not think I'd get around to making my own set for a while, at least til the New Year. But I wore one of my drawstring gowns to church this past weekend and was extremely unhappy with my short stays. I just can't wear them anymore. So until I get a new set made I have to wear my gowns with a modern push up bra, which I hate and find very uncomfortable. These new stays suddenly hopped to top priority on my "to sew" list.

So, first of all I had to make a pattern. I started from scratch and took my own measurements, which is a tricky and difficult thing. I made two rectangles to start with. My goal was to make a fitted band which closely hugged my ribcage area all around, beneath my bustline in front and a bit higher in the back. Once that was done, I drew seamlines on my pieces, having a front, side front, side, side back and back piece. I cut away a cup shape on each front piece for each breast to lie in. This was a little tricky since the cup line had to snugly hug the outline of each breast, which was fitted mainly by trial and error.

Once that was done, I made a mockup. I had to take in a little from the center back seam and had to narrow the side back pieces by 1/4" on each side. Then the stays fitted very snugly. Since these will lace closed in the front I want them to bit a bit too snug to start with since I know they will stretch a little with wearing.

Using an outer layer of white cotton twill and an interfacing layer of white cotton I sewed all the pieces together right sides together and pressed the seams open. I treated the twill and cotton layers as one. I took this construction method from the instructions in the J.P. Ryan Strapless Stays pattern. After some of the construction is done a lining layer will be pinned and hand stitched to the inside of the stays to cover all the seam allowances.

Once that was done I sewed a bone channel at each seam line, except the center back seamline. I cut two longish oval shapes for the gathered cups and gathered them to the cut out cup areas and sewed them in. The original stays appear to be more gathered than mine are, but I think the lady who wore the original stays must have had a slighter figure than mine. I don't think I'll get much gathering at the top of the cups either. But so long as they fit and give the right shape I will not be overly picky.

That is all I have done so far. Here is what I have finished thus far:

Next I think I will sew in the lining. Then I have to make and attach the shoulder straps and all that is left is binding and making eyelets. These are going together much more quickly than I anticipated.

Love,

Sarah

November 3, 2009

Well my stays are nearing completion but I think it will still be a few days before I finish them. I'm not really looking forward to binding the tabs on the bottom. I love the look, but I hate binding scallopy things.

Since posting last I have sewn in the lining by hand but have had the worst time with the cups. I have decided I hate cups. I am completely in love with gussets in comparison. Why is it so hard to fit an individual . . .for lack of a better word. . .um. . .chest gland?

The first cups I made (as shown in the picture in my last post) held them up, but they were too tight in places making little ripply hills instead of a smooth mound. For lack of better adjectives. So I sliced into the existing cups and found I had to add about 2" in width to each one to make them fit the roundness without squishing it. So I did that. That gave me extra to gather at the top of the cups too, which I liked. I quickly did the eyelets so I could lace the thing up and see how it fit. While the gathered cups fit the breast quite well, they did nothing at all to support it. Major droop issues.

So I took those out. I made a new cup piece shaped similarly to the old ones but with plenty of room at the bottom of the cup but fitted straight across (no gathers) at the top of the cup. That seemed to work pretty well so I went with it.

So that is about where I am at right now. I sewed binding to the cup seam and also to the top of the stays. I also made and attached the shoulder straps. I have slip stitched half of the binding to the stays and tried them on earlier today and I think despite the problems I've had with the durn cups I'm going to really like these! They are extremely comfortable, they support but no do lift the bosom up so much that it forms a plate beneath ones chin. I tried on one of my drawstring dresses over them and I think they will work perfectly. They position the bust in a place which lets the waistline of the dress fall at a nice place, just below the bosom and I do not get any cleavage since the busts are seperated.

Next time, if/when I make this style again I think I will give myself some more room between the cups to get more of a seperate look. But then again, if I remain the same size I am afraid of getting a "wing" effect at the level of each armpit. Sigh. For now, I am very happy with the shape. But I am dreading binding those tabs! :)

Love,

Sarah

November 6, 2009

Well I finished the binding on the bottom this afternoon and it really wasn't as bad as I had thought. It took me longer to figure out how to apply the binding than it did to stitch it on.

The instructions in the J.P. Ryan stays says to pin the binding to the edge of the stays on both the right and the wrong sides, pulling the binding up between the tabs a bit.

I made my own binding from bias strips of twill. It was so bulky that pinning it did not work very well. I ended up stitching it with a half backstitch by hand to the right side of the corset and flipping it over and slip stitching it to the lining on the inside, while manipulating it around the curves by hand as I went. The binding looks bulky; I think next time I will use something much thinner and fine for the binding rather than bias strips of twill. But for a first attempt I am pretty satisfied.

All I need now is a good lace for this. The pink ribbon I've been using for try ons just is not the thing!

I'll try to get some pictures of it being worn within the next few days or so!

Love,

Sarah

18th Century Style Cloak

2009-10-27T11:05:00.000-07:00

October 27, 2009

We recently got the new windows finally installed in the room that is our sewing/office room. (although the office stuff is not in yet, since I told David he has to wait until I get it painted first!) With the new windows in I have been rearranging things and settling into what will be "my" corner - the south and west walls, with two windows. The other corner, with one window, will be the office area.

Anywhoo, I came across a great bolt of Stuff that my mother in law gave me a few weeks ago. She had found it at the thrift store and had kept it at her house for a while before bringing it over, along with a big bolt of white cotton which, at the time, I was far more interested in. :)

I did a burn test on the Stuff and found it is probably a poly blend. It is a heavier weight material. Not upholstery weight but a heavy suiting weight. Definitely too heavy for a dress, but I measured the length and there is 13 and 3/4 of a yard of it, plus it is 60" wide. It is a pretty blue and brown subtle plaid which looks blue-gray from a distance.

I have been wanting to make a cloak for a while. Last year I cut up my old green wool kinsale cloak so I could reuse the fabric for the boys Civil War dresses. I liked my kinsale cloak but I did not really like the style of it. Especially the hood. While decorative, it was really not practical and I never used the hood up for fear of being ridiculed.

I've been researching headware for the 1820-1830's period and have found it very hard to come across any references for anything practical and warm! The bonnet in vogue at the time appear to be the wide brimmed large poke style bonnets and anything else is definitely in the minority. At last I found a pattern on Millers Millinery for a c. 1830 hood which, the pattern description said, was made just like 18th century hoods.

"Ah Ha!" thought I. "Perfect information. Now to find out how to construct an 18th century style hood." I knew I there was a pattern for a quilted jacket with a hood, c. 1750's in my Janet Arnold POF1 so I looked it up. I also looked around on the net, knowing that there must be some information about these garments. I didn't find much on hoods, specifically, but did find some great articles and information concerning hooded cloaks. So my plan slowly developed until I had decided to make a whole cloak rather than just the hood. For, I reasoned, the big-sleeved gowns of the 1820's and 1830's would fit better beneath a warm cloak. Just from wearing my 1820's style gown last winter I found it very hard to fit the sleeves into the sleeves of my rather large wool coat. The sleeves looked stuffed and awkward and I looked like I had Huge arms.

Besides, cloaks are lovely and romantic. :) I love this one made by Jenny La Fleur.

And besides, again, I want some form of outer wear to wear with my regency gowns as well. I currently only have 2 regency gowns I wear on a routine basis but I want to make a few more once I get a new set of short stays made for the early regency period. The ones I made a few years ago don't fit correctly anymore.

So today I got out the monstrous poly blend stuff and decided to make a cloak with that as a practice one. It will be warm, though the fiber is not authentic, and I can see what tweaks I want to do to the pattern before I make an authentic one (which I plan to hand sew) whenever I get enough money to get a few yards of broadcloth from Abimelech Hainsworth, the company we got David's CW federal broadcloth earlier this year.

The pattern I am using comes from a diagram of an extant cloak. This cloak was pieced but I have so much fabric and it is so wide, I do not need to piece mine. I used the dimensions from the left side of the cloak and cut mine on the fold. I cut two layers, and will sew them together around the hem and turn it. If I were using wool broadcloth I would use just one layer and leave the cut edge plain since there is no need to hem good quality broadcloth. I plan to pleat the neckline and pleat the hood from POF1 to the neckline. I think it will be a quick and easy project.

Love,

Sarah

Update: As of this evening, it is finished! Quick and easy project indeed. :)

Here is a front view: The neckline on the cloak has 4 small pleats all around, on each side of the neck (a total of 8). The original diagram called for gathers but two layers of this fabric was much too bulky to nicely gather. Pleats were so much easier. :) The pleats shape the neckline curve so the final garment fits much better than it did prior to pleating.

And a side: I lined the hood with black cotton sateen. It was sewn right sides together along the face edge and then was treated as one with the hood for the rest of the construction. The back seam is sewn with a french seam up to where the pleats start, then that area is stitched and overcast by hand. And back: It was pretty straightforward to put together, except for the hood which has pleats at the top of the center back seam, forming a fan shape when it it turned right sides out. I thought I followed the pleating diagram in Janet Arnold for this pleated seam, but I left a space between each pleat instead of putting the pleats on top of each other, so the seam is pleated, but not circularly. :( So, something I will definitely do differently next time!

Once I sewed the hood and cloak together, I finished the seam with a tall binding strip. This encases the seam and also is a kind of "collar". I am not happy with how the collar waves at the top edge, due to its not being shaped, but I can fix that on my next, "real" cloak. A hook and eye were sewn to each edge, just under the collar, to fasten the cloak in the front.

Now it is ready for mysterious midnight journeys across lonely fields, riding swiftly on a fleet-footed steed to rescue at the last moment your one True Love from an untimely death, smuggling important and secret letters across enemy lines and, more practically, (though less inspiring) going to church and shopping.

Love,

Sarah

1820's Basic Cotton Day Dress

2009-10-22T12:36:00.001-07:00

October 22, 2009

Since finishing my corded stay (which ended up being not corded!) I decided to go into making a gown to wear over it right away rather than working on additional sets of undergarments. That way I can refine the fit and once I have a good basic bodice pattern to work from I can pretty much create limitless variations!

That being decided, I had a terribly hard time deciding what would be a good basic pattern to start with. There are so many styles in the 1820's that you can go with. Round high necklines, shallower necklines, wide scoop necklines, squared necklines, gathered necklines, V shaped necklines both steep and shallow. . .so it was difficult deciding on an overall representative style.

In the end, I chose this. The sketch is bad, but it was a quicky drawing after a whole morning of laborious thought for me to go off of and reference as I made my pattern and mock ups. It has a shallow scoop neckline because that is an oft seen style in the 20's and is also more flattering to me than other styles. It has a front opening because I need nursing access and I didn't want to make a seperate nursing panel. (Most dresses from this period I have seen pictures of open in the back). The lining will be darted to fit and the outer layer will be gathered over the fitted lining. It has moderate size gigot sleeves. (Is there a different name for moderate size gigot sleeves??) I don't need huge sleeves and besides taking more fabric I think the bigger sleeves look ridiculous! I am comfortable with this size but would not go any bigger. At least theoretically on paper. It will have a waistband which will open to a dogleg closure and the skirt will be 3 panels of fabric gathered or gauged to the waistband. The skirt hem is to end just above the ankle, a good "active style" length.

To start with, I tried on my 1820's style dress from last year over my stays to see if I would have to make adjustments to the pattern. I decided I wanted a slightly lower waistline (last years dress was made to go over short stays) and I needed a tad extra width across the bust. I also wanted curved back seams instead of the more straight diagonal seams I used last year. Curved seams are just prettier. :) I made the modifications to my paper pattern and traced it out new. I went through 3 mockups before getting the fit I wanted. I had to lengthen the waistline, try on the mock up, pleat the front excess at the waist, tie an elastic cord around my waist where I wanted the waistline to sit, mark it on the mock up (while it was on me. That was interesting.) I also had to refine the armscye curve and take some excess fabric out of the shoulder seam. I measured my arm and using the Sense and Sensibility Spencer pattern and Janet Arnold as a guide, made a draft for my sleeve. Once all that was done I ended up with these pieces: (my main pattern pieces are for a round high neckline. It is much easier for me to cut a new shallower neckline if desired than to raise a shallow neckline to a high one if I need to).

Then it was time to decide what fabric to use. I decided to use this pretty cream and pink cotton print that David gave me for Christmas last year. It is not exactly historically accurate but it is pretty. He will be pleased I am finally using it. I first tore 3 panels for the skirt, full width and 38" long. I then tore a strip full width and 2.5" wide for the waistband. I then folded the width in half lengthwise and positioned my bodice pieces on it and cut them out.

I ran into a snag with the sleeves. I didn't have quite enough yardage left to cut both sleeves on the fold. I at last decided to fold each selvedge edge in to the center line of the fabric width. Then I placed the sleeve on the fold. Part of the sleeve head did not fit, so I folded it out of the way and cut out what I could.

After I cut both sleeves, I cut off the little folded piece and added 1" allowance to the cut edge. I cut four of these pieces from scrap. They will be sewn to the sleeves to get the finished shape and I don't think the seams will be very noticeable. This method allowed me to get both sleeves from 31" of fabric - half of what it would have taken if I had folded the fabric lengthwise and cut both sleeves on the fold that way! Out of the remaining 1/3 yard of fabric I cut a multitude of bias strips for piping. I plan to pipe all the bodice seams, the waistband and the sleeve seams.

Then, I cut out lining pieces for the bodice from strong white cotton. I don't know if I will line the sleeves or not but I think not. . .they are so large anyway (compared to what I normally make) I think extra fabric would end up weighing them down. On the other hand, something light yet firm would help give the sleeves more shape, especially in the head. But I don't have anything light and firm like that so for now, I think I will leave the sleeves unlined.

Finally, I cut out the new, shallower neckline on all the bodice front and back pieces. I threaded the machine and laid everything out so whenever I get the chance I can start sewing the bodice pieces together!

Love,

Sarah

October 23, 2009

Yesterday afternoon I was able to start sewing the bodice together and was able to get all the main pieces put together and the piping added around the neckline for a finish. I piped each seam on the bodice; the back to side back seams, the side to front seams, and the shoulder seams. I use Peaches n' Cream cotton cord for my piping. For some reason the piping on my last years 1820's dress looks huge to me now. My goal is to get as teeny a pipe as I can. On the few original garments I've actually seen in person, the piping was so small as to be astonishing. It looked almost like a teeny bitty fold of fabric, so much different than the modern day clunky chunky piping you can buy pre made at the fabric store!

So anyway, I piped the bodice. I piped down the center front openings because it gives added strength to that area and on some original gowns with 2 piece fronts (even though they open in the back) the center seam is piped. I like piping; it gives such a neat clean finish and is so quick to do. I turned the raw edges of the piping under and slip stitched them to the dress lining to finish everything off.

This morning I tried the bodice on inside out and pinned it shut down the front. I took up darts in the lining fabric only and pinned them in place. Most original gowns I've seen have only one dart on each side of the front but I had so much extra fabric at the waist, I really had to make two darts on each side to get the right contour to the bust and for everything to lay nicely. *Note: It is usually not recommended that you pin in darts with your inside out bodice on you. This is because when you turn your bodice right sides out, the side you fitted to, for example, your left bust, will now be on your right bust, and vice versa. If your body is noticeably different on either side, it is highly recommened that you make all darts in a muslin and transfer the muslin to paper, clearly marking "left" and "right" so your final product will fit correctly. I hate bothering with this so I never do it. But for those of you who want to take the time to fit something perfectly, this is what is suggested to do.Once the darts were pinned I sewed them in place. Then I gathered the outer fabric down over the darts, and sewed on the waistband. I left 1/2" extending on either edge - the cut edge of the waistband is not flush with the finished bodice edge. This is so later I can turn it to the inside and cover it with the inner waistband.

I then turned my attention to the sleeves. I was pretty excited about them since last year I tried to make this sleeve style and it failed since I did not give myself enough length in the sleeve head. This time, I made sure to add plenty of length! :) Since the sleeve is fitted at the wrist I wanted a short placket so I could easily get my hand through. I sewed piping to the sleeve down the seam on one side, across the bottom and up a few inches on the other side, tapering the piping out to the raw edge. Then, when I sewed the sleeve seam I stopped the stitch line just below where I stopped the piping. The sleeves were turned inside out and the raw edges of the piping turned under and pinned to the lining along the bottom of the sleeve and up the sides of the short placket. A tidy way to do a placket and hem, all at once, and very fast and easy. I will sew a hook and eye to the wrists when I finish the dress.

I was getting a little tired of working on the dress by this time but thought I should at least pipe the armscyes on the bodice, so I did. I then ran gathering stitches across the tops of the sleeves and drew them up. And that was all I cared to do at the time. Next up is sewing the sleeves into the bodice and then turning my thoughts to the skirt. . .
Love,

Sarah ~ who is starting to have a most terrible and untimely fascination with 1810's fashions instead of the 1820's. . .

October 25, 2009

Yesterday I had a little time in the morning to work on the dress so I sewed in the sleeves, trimmed the allowance and considered it good. On historical dresses, many times the sleeve seam does not match the side seam like modern garments. The sleeve seam often is meant to run down the inside of the arm so it is matched to a place on the front bodice, usually at or just below the bust line. I don't have a set, mathematical method for positioning the sleeve seam. What I do is put on the sleeveless bodice, pin it shut, and pull up the sleeve on my arm. I adjust it til I like how it looks and where the seam lies and then I mark the position of the sleeve seam with a pin, on the front bodice. Then when I go to sew the sleeve in I just match the seam to the pin-point.

I don't know what kind of seam finishes were commonly used for dresses of the 1820's. It seems in pictures of original dresses the seams of sturdy fabric are left raw. Since my fabric is pretty sturdy, I just left the seams raw as well. For my 1860's style dresses I know seams were often not finished and if they were, a largish overcast stitch was used or, for underwear, the seams could be run and fell. Sometimes seam binding was used. I like ease, so I just left the seams raw. Later, if I notice them fraying a lot (on past dresses I've made this way the seams just soften up with washing) I can overcast them by hand.

Once the sleeves were in I decided to work on the skirt. I seamed the 3 panels of fabric together, using the selvedge edge in the skirt seams as a natural seam finish. One of the seams I left open for a few inches at the top. I turned under, pressed and handstitched the allowances on each side to finish off the placket.

Then, to make the dogleg closure, I sewed an extended waistband onto one side of the waistband. This band extends 5.5" from the bodice front edge. On the opposite bodice front edge, I marked 5" from the center front.

I gathered the skirt panels by machine (2 rows of the biggest stitch my machine makes) and drew up the panels. I started pinning the skirt to the bodice along the extended waistband, making sure the waistband extended 1/2" from the finished placket edge of the skirt. I pinned the skirt all around, stopping at the point 5" from the edge of the opposite bodice front. This is how it looked once it was sewn to the bodice:

To close, the skirt is first fastened and the bodice then lapped and fastened. This is how it will look when it is shut: I then tore a scrap of white cotton into a strip 2.5" wide and about 34" long to use as the waistband facing. I pressed under 1/2" on all raw edges and laid it wrong side down over the waistband on the inside of the dress. I pinned it to the seam lines, enclosing the seam allowances. Here, it is just pinned but since this time I have slip stitched most of the waistband facing to the waistband. Then to get an idea of what the dress will look like when it is finished, I put it on my homemade dressform (who is in urgent need of re-shaping and re-stuffing) and pinned it shut. I'm happy with how it looks so far! The skirt is gathered in the front just under the bust gathers per an original dress I've seen photos of (I have pics of the original dress on my Sangamon Settler blog, if anyone wants to see it - it is lovely!) The sides of the skirt are ungathered for a few inches on each side and the back is very tightly gathered. Now I must finish attaching the waistband facing and make the hem and the dress is ready for fasteners! :)

Love,

Sarah

October 28, 2009

It's been a few days since I've posted, but a few days ago I finished the hem. The hem was done in this manner:

3 strips of white cotton about 4" wide were torn full width and sewn together into a tube, equaling the circumference of the skirt. The white cotton facing was sewn to the skirt, right sides together, all along the bottom edge of the skirt. The seam was pressed towards the facing and 1/4" was turned under along the raw facing edge, towards the inside:

Then, the facing was pressed up inside the skirt and pinned in place. A teeny bit of skirt fabric was turned under as well, just so there is no danger of the white facing showing from the outside! :) I used a running stitch with small stitches on the outside and larger ones on the inside to attach the facing by hand. This is a quick and easy way to do a hem and can be done on any rectangular skirt. The hem facing will also take the abuse of wear and can be replaced once it gets dingy and dirty (I have done this before!) thus protecting the dress fabric from getting tatty at the hem prematurely.

I still have to sew hooks to the bodice (I already sewed them to the dogleg closure) but I need 10 and only have 5 on hand so I need to pick up some more packages of them. I won't be going to town until tomorrow, but perhaps I can take some hooks off an old dress so I can finally wear this one.

Love,

Sarah

December 4, 2009

I have had this dress finished for over a month but have procrastinated posting pictures of it here until now. These were taken at the beginning of November outside of our house; the last warm days of fall! Now that it is finished I think it looks more late 1820's/early 1830's due to the height of the waist, the full skirts and the size of the sleeves. It's still an 1820's dress, just not as early a style as I had originally been going for. :) But I really like it anyway, I think it is my new favorite gown.

Dress Diaries

2009-10-22T05:25:00.000-07:00

Dress Diaries

Here is where I post the sequences of my construction on various historical and historically-inpsired clothing items. You are very welcome to read along and learn with me if you like! I don't like writing dress diarier, per se, but I always love reading them so think it is only fair if I share what I can with others who might like to read too! And I'd love and welcome any input, whether affirmative comments or constructive criticism. :)

Love,

Sarah

1820's-1830's Corded Stays updated 10-26-09 - finished
1820's Basic Cotton Day Dress updated 12-4-09 - finished
18th Century Style Cloak updated 10-27-09 - finished
1790's Transitional Stays updated 11-6-09 - finished
Mid-19th Century Gentleman's Overalls updated 12-4-09 - finished
18th Century Stays updated 1-1-10 - in progress
Mid-19th Century Shaped Seam Corset - updated 5-1-2010 - in progress

Classic Cap

2009-10-10T05:13:00.001-07:00

Basic Cap

This simple cap has a fitted brim and a semi circular, puffed crown that can be adjusted to fit with drawstrings at the neck. Although this cap is not taken directly from any particular period, I think it looks best with late 18th century and early 19th century styled/inspired gowns since the way the crown is shaped conveniently accommodates the hairstyles of the time. This pattern could also be used for a cozy nightcap, made out of cotton for summertime wear or flannel (wool or canton) for cooler weather.

Pattern:

Please click on the pattern pieces below to be taken to the file for each piece. The crown is in two pieces and you will have to tape them together to get the final shape. Match the triangles and cutting line.

Brim

Crown

Crown (lower portion)

Cut two brim pieces on the fold out of your fabric. If desired, you may cut your brim piece onto fresh folded paper, placing the fold against the fold, to create a complete brim pattern. You can then lay this pattern on your fabric with the longest edge against the fold. This way, you do not have a long seam around the face edge and will have to sew only the two short sides.

You will also need to cut the following pieces:

2 Drawstrings for back neck, each appx. 8-10” long. These can be made from narrowly hemmed fabric strips, or twill tape. Ribbon can also be used but does not hold a tie as well as tape or fabric.
2 Ties for securing cap under the chin, each appx. 12-16” long. As for the drawstrings, you can make these of fabric or use tape or ribbon.

Construction:
All seams for a ½” seam allowance.

Brim:

*For Two-Piece Brim -
Lay your two brim pieces on top of each other, right sides together, matching corners. Pin baste and stitch around two short sides and longest side, starting and stopping ½” from the edge of the shorter “back“ edge (where the gathered crown will be attached). Clip corners, trim seam allowances, turn right sides out and press. Set aside.
*For One-Piece Brim -
Press brim, right sides together. Pin two short side seams. Starting at long “face” edge, stitch the seams, stopping ½” from the edge of the shorter “back” edge. Clip corners, trim seam allowances, turn right sides out and press.

Crown:
Create drawstring casing at the back neck edge by turning straight edge up ¼” and again ½”. Press. Fold crown in half lengthwise and press to find center. Open the crown back out and mark two dots appx. ½” from the center, pressed mark on the drawstring casing. Going only through the turned-up edge of the casing, make two eyelets through which to thread your drawstrings. Once your eyelets are made, re-press casing up and stitch in place. Thread your drawstrings through the two eyelets and pin them at each side while you finish the crown.
Run gathering stitches all around curved edge of crown. Draw them up to fit the brim. Right sides together, pin crown to brim, pinning only to the top layer of the brim. Stitch, being sure to catch edges of drawstrings in this seam on either side, and remove gathering stitches.

Finishing:
Finish the inner seam by turning under the free edge of the brim ½” and pinning to the stitch line, enclosing all raw edges. Slip stitch to stitching line.
Attach ties at the lower corners of the brim.
Wear with your favorite historical gown and enjoy!

Below are photos of a white striped cotton cap made from this pattern with tape ties.

Using the same pattern with heavier fabrics resulted in a warm and cozy bonnet like cap. This one is made of deep blue velvet and has a 2 piece brim with the lower brim being brown cotton twill. The crown is lined with cream colored silk and black ribbon used for the ties.

Boys Winter Cap

2009-10-09T09:53:00.000-07:00

Boys Winter Cap

This pattern is for a close fitted cap that has attached ear flaps. The flaps can either be tied below the chin to cover the ears or can be tied on top of the head if not needed. This style of cap is taken from an original in the 1860’s section from the Wisconsin Historical Society Website. This style of hat was also described by Laura Ingalls Wilder in her book Farmer Boy. Here, my son Judah (2 yrs.) models one I made from wool broadcloth and wool flannel.

Pattern:

Below are the links to the pattern pieces. Please click on each link to take you to the file for that pattern. Size given is for a 20" head.

Crown and Ear Flap

Band

Pieces:

From your fabric, cut the following:
1 crown of outer fabric (preferably wool, for warmth)
1 crown of lining fabric
2 ear flaps of outer fabric
2 ear flaps of lining fabric
1 band of outer fabric
1 band of lining fabric
You will also need to cut a bias strip of fabric about 3-4” wide for the bottom band or brim. Measure the finished length of the band and use that as your length guide when cutting this piece. (different fabrics will ease at different rates, so I don’t have a “set” measurement for this piece.

Construction:

Sew the short seams in the band and band lining. Press seams open. Fold the band in half lengthwise, the stitched seam at one end, and press to mark the center. Press again to mark quarters.

Fold crown in half lengthwise and again widthwise and press to mark quarters.
Matching center line of crown to back seam of band, and matching quarter folds (marked by pressing), pin ease crown into band. Stitch. Repeat for lining.

Turn hat right sides out. Do not turn hat lining. Wrong sides together, place hat lining into hat. Pin baste the bottom edges of the band together.

Sew short end seam in bias strip of fabric. Press seam open. Right sides together, matching seams, pin bias strip to bottom edge of band. Stitch.

Turn raw edge of bias strip under ¼” and press. Pin this up and over the seam you just sewed, enclosing seam allowances. Slip stitch to lining.

To construct the ear flaps, lay ear flap lining on top of ear flap, right sides together. Sew around curved edges. Trim seam allowances, turn and press. Repeat for second ear flap. Turn under the top seam allowances on the ear flaps to the inside of the flaps and press.

To position the ear flaps on the hat, try the hat on the child you are making the hat for and pin the flaps to the bias band where they will best cover the ears. For my boys, this position is usually a bit closer to the back seam than to the front. In other words, the flaps are not centered between the front and back of the hat. Once you have the flaps pinned in position, whip stitch them to the edge of the bias band.

To finish, sew narrow tape or ties to the ear flaps.

Mid-19th Century Infant Chemise

2009-10-07T12:41:00.000-07:00

Mid-19th Century Infant Chemise

This pattern was kindly submitted by Mrs. G, who gave me permission to post it here for the benefit of anyone who might like to use it! The photograph above is one of the chemises she made for her baby.

This pattern was taken from several different original chemises from the Wisconsin Historical Society Website. It consists of two pieces, a front and back cut identically. The side seams are sewn and finished with felling and the top curved edge is turned and finished with narrow trim. Mrs. G sewed reinforcement squares to the shoulder area and the chemise is finished by hemming and making buttons and buttonholes to close the shoulder. A very practical style and easy to get off and on a tiny new baby!

Pieces:
I could not fit the entire pattern onto one sheet of paper, so the pattern consists of two separate pieces which you will need to print and tape together.

Chemise Body
Chemise Bottom

1820's-1830's Corded Stays

2009-10-05T15:54:00.000-07:00

October 5, 2009

I have at last decided that I am completely sick of modern clothing. I hate it, it doesn't last very long nor hold up to washing well. I also hate modern underclothes - they really don't last and they are just not comfortable! On the other hand, I love corsets. They are comfortable, fitted to onself and are very supportive - a bra, a back brace and a body shaper all in one! What can be more perfect? :)

So, deciding the above I have also decided to make a complete 1820's style wardrobe for myself for this fall/winter. To start with, I need some corded stays. Today I started a mock up for my first set. Once I make the first set I will see if I like them, if I need to adjust them, and then make a few more. I think for this set of clothes I will go more for the overall look of the period instead of sticking to strictly period construction techniques. I think I'll use my machine for nearly all of the construction. For a perfectly period garment, all seams should be sewn by hand. But since these will be for everday wear I'm not so concerned about being 100% historically accurate. Sturdiness and relatively fast construction takes precedence!

Pattern:

I have looked at all the extant 1820's-era stays I could find and have found rather diverse styles! I already have short stays that can work for 1820's style clothing but I find them more comfortable if I am pregnant and have a baby bump that can support the waistline of the short stays. Right now the waistline digs into my flesh. Not so comfortable! I am not currently pregnant and would like the added support of longer stays so I have decided to go with the longer style.

I really like the look of Past Patterns 1820's-1830's corded stays but do not really want to pay for a new pattern that I will have to alter to fit me anyway! I thought about sizing up the corded corset pattern from Katherine's Site but after a miserable failed attempt I pulled out my Mantua Maker Regency Corset pattern.
This pattern creates a raised bosom, tubular look so popular in the early 19th century. I first made a mockup of the unaltered regency pattern but decided the tubular look was not what I wanted. The 1820's were a time of transition and I wanted some more waist definition and I did not want my bosom right up under my chin! I am a bit busty, very short waisted and have larger hips. The tube thing just doesn't do it for me. I'd gladly give up some of my hip girth for a more slender line but after three babies that is just not going to happen!

So I altered this pattern by marking the point on each pattern piece where my waistline is. I am very short waisted so this line was pretty much just below the bust gussets and just above the hip gussets! I had to shorten each pattern piece between 2" and 1 1/2" to get the waistline to fall in the correct spot. I carved out a little curve at each waistline mark on each pattern piece, except for the center front. I lengthened the bust gussets to 6" in length so the bosom will not be pushed up so much. I also realized I need an extra 2" or so around the hips. I could have added another hip gusset to the seam between the back piece and side piece but instead I angled those seams out so the gusset will be cut as one with them, for ease of construction. Anything to get away from gussets! :)

I cut another mock up out from an old denim skirt. I added 1 and 1/2" to each back piece and sewed up the back seam, added 1/2" to the center front piece and cut two front pieces. When I tried on the mockup, I simply had to pin the front seam together. The 3" of "gap" (the area where the final corset will be laced) in the back was filled in by the extra I added to the back pattern pieces. This is a great way to fit a mock up of a corset and was taken from the fitting instructions in the Laughing Moon Victorian Corset pattern.

The final mock up fit wonderfully! I traced each pattern piece off onto fresh paper. Here are my altered pieces:Next step: Cutting out the "real" fabric and sewing up the shell and the lining. For that I plan to use gray cotton twill for the outer layer and a white striped cotton for the lining. Once the corset is corded I may fell in an additional lining layer but we'll see when the times comes!

Love,

Sarah

October 7, 2009

Yesterday I cut out my twill and cotton layers for my corded stays. After reading more about construction techniques, I decided I didn't really like the way the Mantua Maker pattern tells you to put your corset together. Sew all seams right sides together, press seams open, put lining and outer fabric wrong sides together and "stitch in the ditch" to attach them. I hate stitching in the ditch for anything, especially corsets. I knew there had to be a better way! Plus the construction technique sounded horribly modern. A pressed-open seam is not very strong.

So I went to Katherine's Dress Site again and read more about how she constructed her 1820's-1840's corded stays. The technique was intriguing. The seam allowances are pressed down, to the wrong side of the fabric, then the pieces are sewn together as close to the edge of the folded-down allowances as possible. This gives you more layers in the seam, thereby strengthening it, and forms a slight ridge on the wrong side of the seam. The outer seam looks like an ordinary one.

So I tried this technique on my twill stays. I loved it. It was quite firm and strong. But alas, when I went to measure the stays at the waist they came out 2.5" too short! I planned a finished waist measurement of 25" to allow for 3" of "gap" so I could lace to 28". (very doable, due to "squishable flesh"). But the measurement of the stays, with the back edges yet unfinished, measured only 23.5". I need another 1.5" just to bring them up to what I want my finished measurement to be, then another .5" on each raw back edge to turn under and sew to the lining before I do the eyelets. Sigh. I was very, very disappointed. I have no idea how this happened since I carefully measured before making the final pattern pieces but it doesn't really matter how it happened, just that it did.

So I made a cup of coffee and browsed some more online images of corsets, especially the ones from the Antique Corset Gallery. I got some good ideas for cording and decided there are a few things I want to change on my current pattern before I make the final stays, anyway. So my twill disaster was just really another great mock up.

I would really like to eliminate the hip gussets if possible. Adding them onto the existing pattern pieces worked great for the back hip gusset. I could even add the front hip gusset onto the existing side pattern piece. This would just give me one gusset towards the middle of the hip. Adding the gusset pieces on like this also gives my pattern pieces a shape similar to the corded stays on Katherine's Site. I am going to play around with the pattern today to see what I can do.

I won't be able to get into town to pick up more fabric for new stays until this weekend, so until then I will be trying to perfect my mock ups and pattern so the finished garment will be a breeze to put together! (hopefully!) :) I plan to get a few yards of cotton twill and some cotton sateen for lining. Hopefully that will be sturdy enough to hold up to everyday wear, yet light enough to be comfortable and easy to work in.

Now I'm pondering what to use for cording. . .

Love,

Sarah

October 14, 2009

Well, it has been about a week since I last updated. I went to Jo Anns over Columbus Day weekend and got some cotton twill on sale. The bolt I brought to the cutting counter had nearly 3 yards left on it; I wanted but two yards in two, one-yard pieces and one peice was almost a yard and the other piece was just a bit less than two. Because of that, the nice cutting-lady charged me 50% off the sale price - already at $3.99 - and gave me all the yardage as remnants! How cool is that?!

I cut out my stays from my fresh, altered pattern yesterday. I drafted in the front gusset as part of the side piece and it worked very well. I used a white striped cotton as the lining and just one layer of twill as the outer layer. I sewed the pieces together using a different technique than I did with my gray twill set last week. I first layed out the front lining, wrong side up, and placed the twill layer, wrong side down, on top of it. I then placed the side piece beneath the lining/fashion fabric piece (as if I were going to sew it to the front piece, lining to lining, right sides together) and then layed the twill piece on top of the front twill piece, right sides together. In the end, four layers (both the lining and fashion fabric front piece, and lining and fashion fabric side pieces) were sandwiched together. I sewed one seam, and there was the front and side pieces attached, and all seams nicely enclosed. This gives me a strong, four-layer seam and encloses all allowances at once. What could be better? This is a technique described by Carolann, a resident Expert, at the Sewing Academy in the context of mid-19th century corsets. I don't know if this technique was used on earlier corsets but it works well and is much quicker to do than other techniques. At the end, 1/4" on each raw edge of the back pieces was turned to the inside and the edges stitched together very close to the fold.

Today I had to stitch-in-the-ditch to connect the twill gussets with their linings. I hated that; it took me two hours to do six gussets!

Once that was done it was time to cord the stays. I had previously decided to cord and bone these stays since I really do need the extra support for a good shape. I made a set of corded stays pre-baby and even then, at a C cup size, the cords didn't support nearly so well as the bones in my 1860's corset did. Now, I'm bigger "up there" and want a good, supportive shape since I'll be wearing these for every day.

A major question for me was - were 1820's-1830's era stays ever boned? I had no idea. ..all the extant examples I've seen in pictures (maybe a dozen or so) didn't have any apparant boning. But out of the thousands of women who wore thousands of stays during that time period, surely someone used boning, right? I looked online and found a blog post someone wrote about a set of corded stays she made for herself that she ended up having to add boning to, since she was a curvier lady. Someone mentioned in that post an extant set of stays that had boning in them! So, 2nd hand documentation, sure, but it does seem to indicate boning was used!

So then I thought. . .why not just bone the durn things? I like the way cording looks but I don't have time now to hand sew cording channels and then thread cording through them. I need these stays soon. I could put in bones now, and if I needed or wanted to later, reinforce areas that need more support with corded channels.

So that is what I did. It took me about an hour this afternoon to mark and sew bone channels. Here is a picture of them so far. The channels are all sewn and bones are inserted into the (your) left side. . .I held them up to me and I think they will work very well. With this boning placement, the final stays will have twelve bones, although I may add an extra bone to each seam between the side/back pieces, giving me a total of fourteen bones. I did not leave an area for a busk, since I want these to be flexible and I never used a busk with my last set of corded stays. I do have channels for bone where the wood busk would have been, if I had chose to use it.

So all I really have left to do on these is finish putting in the boning, binding the top/bottom edges and working the eyelets. I need to get some laces too, but otherwise I should have these done by the end of the week!

Love,

Sarah

October 26, 2009

Well, so much for glorious notions of being a consistent keeper of a dress diary. It's been a while since I've updated!

Since I last posted, I finished the stays. Shortly after my last post I bound all the edges and made eyelets. I really liked how they looked once this was done. Here are some pictures from last week showing the front, back and side views of the stays and the shape they give.

Back: Side: As you can see I used 3 bones down the center of the stays instead of the more period correct busk pocket and busk. I did this because I figured I would never use a real busk and that more support there was better. I started making a dress to be worn over these stays and soon realized that I would have to make a modification down the center front. While the bones down the center front gave great tummy support they made an odd little ridge at the center front bust line. This line would usually be straightened by a straight busk, but the boning is not that stiff and bends to my form. It "cups" over my bosom and pokes up above the bust line - not a pretty sight when worn with a fitted dress!

So, I ended up undoing the binding at the center front top and I removed the 3 center bones. I sewed 3 lines of cotton cording down each side of a 1.25" space that will be my "busk pocket" (even though I will probably never wear a busk with this!) I used the bone channels as spaces for the cording, just sewing two lines down the center of each off-center bone. I then threaded the cords through with a big needle. The center bone channel is still intact but theoretically I can remove those stitches to leave the 1.25" wide opening for a busk if I decide someday I need to use one.

This took care of the pokey ridge problem. The corded center section cups my bosom but it gently curves and conforms rather that sticking up oddly! Problem solved! Whew! I think these are DONE now! :) Love,

Sarah

Clothing Gallery

2009-10-05T06:21:00.000-07:00

Clothing Gallery

This page is devoted to pictures of past projects. Currently I only have a partial collection up but hope to eventually post all of the historical outfits/garments I have. As time allows!

Regency - 1795-1820
Romantic
Mid-19th Century
Edwardian/Teens - coming soon

Free Patterns

2009-10-05T06:02:00.000-07:00

Free Historical Patterns

As three baby boys have been added to our family over the past few years, I have found myself needing to make clothing items for them for both "fun" and for our 1860's Civil War reenactments. Although there are some wonderful patterns on the market for children (most especially the ones by Elizabeth Stewart Clark) our budget has been tight and I haven't had the extra money needed to buy fabric and patterns. I began to make my own and although my first attempts were not very good I have found each successive pattern gets easier to make. Here I would like to share some of the ones I most often use for my babies. Also there are a few patterns for other things. I have quite a few more patterns to eventually post, including items for women and children from the regency, victorian and edwardian eras.

If any of these patterns do not work for you (I am not sure how well scanning the patterns and posting them on the net works and have been afraid of discrepencies in size) please email me and I would be happy to email you the pattern files or send a paper copy for the cost of postage and paper.

Love,

Sarah

Regency Bonnet, adult - inspired by the 1995 movie Pride and Prejudice
Regency Inspired Classic Cap, adult
1860's Long Infant Gown, 0-3 months
1860's Gathered Short Sleeve Gown, newborn-18 months
1860's Basic Bodice for a Child's Dress, 3T - coming soon
1860's Winter Hood - Toddler and Woman
Mid-19th Century Baby 3-Piece Cap, 0-6 months, from Mrs. G
Mid-19th Century Infant Chemise, newborn, from Mrs. G
Mid-19th Century Boys Winter Cap, toddler size
1940's Rompers - Baby and Toddler, 6 months and 2/3T
Little House on the Prairie Sunbonne, adult

19th Century Three-Piece Baby Cap

2009-10-02T11:38:00.000-07:00

The pattern for this cap came from Mrs. G of Pastoral Symphony Farm. When she recently posted about clothing items she was making for her new baby I fell in love with this cap style and she very kindly sent me the pattern and permission to share it with you all here! To see photos of her baby caps (and other lovely baby clothing!), please click on the link to visit her blog.

This cap consists of three pieces; two sides and one center piece. Mrs. G., as well as I, fully lined the cap for ease of construction and added warmth. If desired, I suppose you could finish the inner seams with baby binding or felling for a one-layer cap but I do like the ease of fully lining it. It does not take long at all to make!

As is, this pattern should be about the right size for 0-6 months. To make it fit my currently-8-month old baby boy I added 1/2" around all edges and sewed the pieces with a 1/4" seam. This made a cap that fit well with a little room for growing.

I made mine from a white-striped white cotton.

Pattern Pieces:

Please click on the link to take you to each pattern piece. Save the files to your computer and print at 100%.

Side Piece

Center Piece

Construction:

Pin sides to center piece, right sides together, easing side pieces as necessary to fit center piece. (You should not need to run easing stitches - I simply evenly pinned mine out and it came out pucker-free). Stitch.

If lining your cap, repeat this process for the lining.

Trim seam allowances. Press seams to one side. (I pressed towards the center as it seemed the best way to do it).

Pin lining to cap, right sides together. Sew all around cap edge, leaving the portion between the back neck seams free.

Trim seam allowances and turn cap right sides out. Press neatly. Press under your seam allowance at back neck opening to the inside and slip stitch closed. If desired, top stitch bonnet around edge to stabilize it.

Attach ties at chin point on each side of cap. I used tape for mine but self fabric ties should work well, too.

If desired, embellish with embroidery, lace, etc. I whip stitched some lace around the face edge for my baby's cap. The possibilities are quite endless!

Put on baby and enjoy!

Mid-19th Century Infant and Toddler Short Sleeve Gown

2009-04-24T15:36:00.000-07:00

Infants/Childs Mid-19th Century Short Sleeve Gown

This is one of my all time favorite styles to make for my little boys for Civil War reenacting. The style goes together very quickly and it is easy to adjust to their figures and comfortable to wear.

An infants gown takes approximately 1 and ½ to 2 yards of fabric, depending on how long you want to make the skirts (at least below feet level) and a toddlers dress takes 1 yard to 1 ½ yards, depending on how full you wish the skirts to be, if tucked, how many tucks and how wide you want your hem to be.

For washability and wearability, make of a nice cotton fabric. This style is suitable for babies and little boys until they are "breeched" and for little girls until they adopt women's styles of clothing. Given here are sizes newborn -18 months. Bigger sizes to follow as my boys get bigger and I draw out more pattern sizes! :)

To make this dress you will need the following pieces:

1 Bodice Front, cut on Fold
2 Bodice Backs, cut with the center line extended 2” (this was the fold line for Bodice Front)
2 Sleeves, cut on the Fold

You will also need extra material to measure and cut:

1 Skirt Front and
1 Skirt Back*
*I usually make my infant and toddler skirts around 60” at the hem, although you may make yours larger if you wish. I would not go any smaller for fear of a skimpy looking skirt. For a baby 2 years of age and under 60” seems to be a good amount. For the length, measure from the natural waist to how long you wish the skirts to be (over the feet for infants and knee to mid-calf length for toddlers). Cut two rectangles your length measurement and half your width measurement to make the skirt pieces.

2 Waistbands
Measure around your childs waist and add at least 3” for seam allowance, overlap and ease. I like to make my waistbands 1” wide for little babies and 1 ½” wide for toddlers. To make an infant waistband cut a rectangle your waist measurement (plus extra for seam allowance, overlap and ease) by 2”. For a toddler waistband cut the length the same but the width at 2 ½”. This allows a ½” seam allowance on top and bottom of waistband for attaching to skirt and bodice.

Extra for Binding and Piping
Cut bias strips of leftover fabric 1 ½” wide for piping or binding at the neck and (optional) waistbands.

Construction: *all seams sewn with ½” seam allowance

Bodice:

Sew sleeves to bodice front, right sides together. Press seams in one direction and overcast by hand if your fabric is prone to ravel or fray. Sew sleeves to bodice backs and repeat pressing seams and overcasting, if needed.

Fold bodice in half, right sides together, so that the bodice front is facing up and the bodice back is below. Match sleeve seams at underarm and stitch bodice side seams and sleeve seams. Clip to seam at corner at underarm and press seam to the back, overcastting if necessary.

Press under scant ¼” to wrong side at center back opening. Fold bodice back again to the wrong side another 1”, making a self facing. Stitch self facing to bodice.

At this time, I find it convenient to hem the sleeves. Turn up a small hem and stitch in place by hand. (it is hard to machine hem an area this small).

Run gathering stitches around bodice neckline at front and back. Draw up gathering threads to about 18” (for toddlers) or 14” (For small babies) (or, measure desired neckline by draping a tape on your child and use that measurement). Finish off neckline by binding with bias strips or piping with self fabric piping, using a fine cord.

Run gathering stitches around bottom of bodice at front and back. Pull up to fit your childs waist measurement, plus extra for ease.

Waistband:

If desired, pipe both long edges of waistband with self fabric piping.

Pin waistband to bodice bottom, right sides together, extending waistband ½” on either side of bodice back opening. (these will later be tucked to the inside and covered by the waistband facing). Stitch.

Skirt:

Sew the side seams in your skirt pieces. Hem bottom edge and place tucks, if desired, at this time.

Cut a small slit in the center back skirt panel and clip horizontally ½” on either side of the bottom of the slit. Hem the slit, using the clipped ½” allowance. Fold one side of hemmed slit over the other. This will create a small pleat at the bottom. Stitch down.

Run gathering stitches around top of skirt at front and back. Pull up to fit childs waist measure plus extra for ease. Pin to raw edge of waistband, extending waistband ½” on either side of skirt placket. Stitch.

Waistband Facing:

Take the other waistband piece and press under ½” all around. Pin to waistband from inside the dress, covering all exposed edges and seam allowance. Tuck extended edges of outer waistband to inside of dress and cover with waistband facing. Stitch.

Trim as desired and enjoy your new creation!!

Variations:

This style has MANY potential variations! A few are:

Pleated bodice/skirt rather than gathered

Sleeves cut in a curved shape, scalloped shape or squared shape rather than plain with an angled underarm seam (as given in pattern)

Place the bodice pattern pieces farther from the fold/center line for more fabric in the center to gather ( I do this for many gowns I make).

You can also use this pattern to make a “petti-chemise” garment which combines shirt and petticoat for wear beneath an outer gown. Instead of gathering the neckline, sew on a casing and run a drawstring through to tie at the back. Instead of gathering the bodice edge, leave it plain and after the skirt is stitched to the bodice edge sew on a casing over the seam to insert a drawstring to tie at the back as well. Use light white cotton and if you desire, make plenty of tucks in the skirt to help the skirt of the gown stand out!

Here are some examples of gowns I have made using this pattern:

Petti-Chemises - white cotton with drawstring neck and waist and tucked skirts-

David‘s Baby Blue Summer Gown- light blue cotton gown with embroidered tape trim and tucks -
Blue Striped Gown - heavier blue and white cotton with scalloped, bound bias border on skirt, just above hem -
Dark Red Print Gown - cotton print with sleeves rounded at the hem and drawn up at the shoulder -
Judah’s Infant Gown - white cotton with bodice fullness taken up in tucks rather than gathers, and lace sewed between the tucks -
Red Checked Gown - Dark red check with sleeves rounded and finished at the hem with a bias cut ruffle -

Malachi's Blue Print Infant Gown - Blue cotton print with “waved braid” trim at neck and sleeve hems -
Sheer Checked Infant Gown - sheer checked cotton, made plain with squared sleeves -
Striped Infant Gown - semi sheer cotton with sleeves made square and drawn up at shoulders -
Here are some original gowns that are similar in style:

Infant Gowns:

Ivory Cotton Baby's Dress

Tucked Baby Gown (my inspiration for Judah's Infant Gown)

Lawn Baby Dress

Windowpane Baby Dress

Toddler and Girls Dresses:

Pink Cotton Calico Dress

Orange Print Dress

Radish Print Dress

Dark Tan Calico Dress

Off White Gown

White Checked Cotton Dress

Mid-19th Century Winter Hood

2009-03-27T14:15:00.000-07:00

The patterns given here create a warm, comfortable winter hood for both women and toddlers. The shape is appropriate for mid-19th century and a hood is a wonderful thing to have for chilly mornings at Civil War reenactments, or for use in historic settings (or modern, if you dare!) in the colder months of the year.

For practicality, make your hood out of wool for the outer layer. For the lining, choose anything that is slippery - silk, polished cotton, etc. For my boys I used plain cotton to line the hoods with so I could easily clean them. At their age they tend to get everything they wear quite filthy! For the ladies hood I used silk for the lining.

You might also wish to add (and I strongly recommend) an inner layer of insulating fabric (read: wool) or wool batting. This can be quilted just to the lining or may be quilted to both the lining and outer layer like a sandwich.

You will need the following pattern pieces:

Women:
Brim A

Brim B (tape to A)

Crown

Curtain A

Curtain B (tape to A)

Toddler:

Brim

Crown

Curtain

You will also need to reserve some fabric to make ties, if desired. You could also use ribbon for ties if you would rather.

From your fabric cut the following:

Brim - 1 in Fashion Fabric, 1 in Lining, and 1 in Insulating Layer (if you are using wool batting for this layer, also cut an additional lining piece so you can sandwich the wool between the two while quilting. This makes it far easier to quilt and also reduces shedding wool which can creep up between the fibers of your outer layer).

Crown - 1 in Fashion Fabric, 1 in Lining, and 1 in Insulating Layer. If using wool batt, see information as for brim.

Curtain - 1 in Fasion Fabric, 1 in Lining and 1 in Insulating Layer. (if fashion fabric is quite heavy/bulky I usually do not put batting in the curtain. Wool flannel is a good choice to use for the insulating layer here).

Construction:

Brim

For Brim Quilted Through All Layers ~ stack your lining piece, inner piece and fashion fabric piece on top of each other. Make sure the right side of your lining is facing DOWN and the right side of your fashion fabric is facing UP. Baste together. Quilt as desired.

For Brim Quilted Through Bottom Layer Only ~ stack your lining piece, inner piece and additional lining piece on top of each other. Make sure the right side of your bottom lining is facing DOWN. Quilt as desired.

To finish brim, cut strips of binding fabric on the bias to the length needed to go around the face edge of brim and the short, curved edges. Bind.

Crown:

Stack your lining, inner layer and fashion fabric on top of each other. Quilt as for brim above.

Pin crown into brim, matching edges. The crown should ease into the brim with no pleats or easing stitches necessary. If you find you do need pleats or easing stitches, put those in so the crown and brim fit neatly. Stitch with a 1/2" seam allowance. Finish seam with binding.

Curtain:

Lay your fashion fabric and lining right sides together. Stitch with a 1/2" seam allowance along short edges and long, circular curved edge. Trim seam and turn right sides out. Press well.

Pleat the straight edge of your crown to fit the back of your neck comfortably. Pleat the raw edge of the curtain to the same measurement. Pin curtain to crown and stitch with a 1/2" seam allowance. Bind this seam as well.

To finish:

Add ties and decorations as desired!

Enjoy!

Mid-19th Century Infants Gown

2009-03-24T09:15:00.000-07:00

This is the pattern I created for the gown that Malachi wore to the 200th birthday celebration of Abraham Lincoln in February, 2009. This is a size 3 months or so. It can easily be made larger or smaller by following the directions in the tutorial, How to Resize a Pattern, found on my side link list.

I give here only the pattern shapes for the bodice and sleeves. The skirt is made of rectangles which you measure and cut to fit your particular baby and style. The skirt can be nearly any length, but for an infant should at least cover the feet. For an older baby cut the skirt to ankle length or above and for toddlers, knee length to mid calf length is ideal. For Malachi's infant dress I made the skirts about 30" long and 60" wide.

For your gown, you will need the following pattern pieces:

Bodice Front

Bodice Back

Sleeves

You will also need the following pieces, which you will cut and measure to your needed length/width:

Sleeveband (for gathered sleeve): Measure around your baby's wrist and add 2.5" for seam allowances and enough ease to get the hand through. Make as wide as you like. I prefer a 1" wide finished width as that is an easy measurement to work with. So, for a 1" wide finished width make your sleeveband 3" wide.

Waistband: Cut as for sleeveband, except taking waist measurement instead. Make sure this is *not* a constricting measure and keep it fairly loose and comfortable for a happy baby. Take into consideration overlap measures and seam allowances.

Waistband Lining: Cut as for waistband. Can be cut of lining fabric rather than fashion fabric, if desired.

You will also need some bias strips for finishing the neckline and sleeves (if you make coat sleeves) as well as optional piping at the waistband and armscyes. Make sure this is cut of fashion fabric. Contrasting piping is very rarely seen on original childrens gowns from this period. It is better to use self fabric piping/bias strips unless you have a particular example with contrasting piping that you are copying. Use small cotton cord for your piping and a zipper foot on your machine for a snug, tidy look.

To assemble gown: *Note*: All seams given for a 1/2" seam allowance, unless otherwise noted.

Bodice:

Stitch bodice front to bodice backs at side and shoulder seams. Press towards back.

At back opening, turn under 1/4" on raw edge. Turn under again and press to create self facing. Stitch and press.

To finish neckline, either pipe neckline or finish with a bias facing. Press.

If piping armscyes, try the bodice on your child to make sure the arm is not too snug. Once proper fit is obtained, pipe armscyes.

Sleeves:

For a coat sleeve, sew outer arm seam, right sides together. Turn right side out and press. Hem the bottom edge or if desired finish with piping or a bias facing.

For a gathered sleeve, sew your sleevebands together, right sides together. Press seam open and turn right sides out. Run gathering stitches along the bottom of the sleeve and draw up to fit sleeve band. Pin to one side of sleeve band and stitch. Remove gathering stitches and press under 1/2" to the wrong side on the free edge of your sleeveband. Pin this to the seam, enclosing seam allowance. Stitch. Press.

Take up pleats or gathers at the top of the sleeve to fit the armscye opening. Pin sleeve into bodice, matching the shallow V-shaped area of the sleeve head (opposite the outer arm seam) to a position approximately equal to your childs breast line. The back seam should be in alignment with your childs back arm, over the elbow. Do *not* match the seam or shallow v to the bodice side seam as this creates an improper look and will be uncomfortable to wear.

Waistband:

If piping waistband, do so now. Do not pipe short edges.

Pin waistband to bodice, extending 1/2" on either side of bodice back opening. If needed, ease bodice into waistband with gathering stitches. Stitch waistband to bodice, right sides together. Press seam towards waistband.

Skirt:

Cut two rectangles the length and width desired. Sew together and press seams towards back. Cut a short placket into the skirt at center back and finish with a strip of fashion fabric. Hem the bottom of the gown as desired.

Run gathering stitches at the top of the skirt, or, if desired, pleat the fullness to fit the waistband, extending the waistband 1/2" on each side of skirt placket. Stitch skirt to waistband. Remove gathering stitches.

Finishing:

Press extended edges of waistband to inside of gown. On waistband lining, press under 1/2" all around. Pin waistband lining to waistband, enclosing all seam allowances. Stitch waistband lining to waistband around all edges.

Sew hook and eyes to back of gown to close it, or make small buttonholes and sew corresponding buttons to bodice back.

Enjoy!

Pride and Prejudice Regency Bonnet/Hat

2009-03-20T09:31:00.001-07:00

This bonnet was inspired by one that Lizzie Bennet wore in the 1995 movie version of Pride and Prejudice. Although this particular one is simplified (the crown seemed gathered on a cord in the movie version) it is very similar in shape to the one worn by Lizzie. The one below was made of a silky green and white polka dot fabric and decorated with blue flowers and green leaves.

To make this bonnet, you will need to print the pattern pieces A and B, cut them out and tape them together along the wavy lines. You can make this bonnet narrowed at the back (like Lizzie's) or you can leave the brim the same width all the way around, more like a hat style.

Brim A
Brim B

From your fabric, cut out the following:

1 Brim, cut on the fold, of main fabric

1 Brim, cut on the fold, of lining

(optional) 1 Brim, cut on the fold, of interfacing (any stiff fabric will do, or you can use purchased interfacing)

For the crown, cut out 1 circle appx. 18-20" in diameter. I used the base of a Christmas tree stand for mine. Use whatever you like! This is not an exact measurement so you can play around for a fuller or less full crown. (although I would not go much smaller!) If you want to line your crown, you will also need to cut out the same size circle in your lining fabric.

Constructing the Brim:

Sew the neck seam of your brim in both the fashion fabric and the lining, using a 1/2" seam allowance. If you are interfacing your brim, baste the interfacing to the wrong side of your lining piece beore sewing the neck seam.

Lay your lining brim and fashion brim right sides together and match the neck seams. Pin baste and stitch together, using a 1/2" seam allowance.

Trim seam close to stitch line. Turn the brim right sides out and press well. Set aside.

Constructing the Crown:

If you are lining your crown, lay the lining piece on top of the fashion fabric piece, wrong sides together. Treat as one during construction.

Run two rows of gathering stitches around the crown. Pull up gathering stitches to fit the brim.

Pin crown to brim, right sides together. Stitch, using a 1/2" seam allowance. Trim seam and cover seam with bias tape, ribbon, etc. to enclose seam allowance. Decorate as desired with feathers, flowers, ribbon, lace and enjoy!

The above hat was made for my Etsy shop and was made with black/silver stripe wool and decorated with dark pink flowers at the center front. The crown was pleated into the brim rather than gathered.

Toddler / Baby Mid-19th Century Sunbonnet

2009-03-12T07:51:00.000-07:00

This sunbonnet pattern was inspired by this original bonnet at the Wisconsin Historical Society website. It features a wide brim that can be stiffened with quilting or cording, a full back crown and a curtain at the neck to provide sun protection for little ones.

I made my boys sunbonnets in cotton for coolness. You can use any light cotton. Beware of sheers though - although they are accurate and pretty to use, they do *not* provide good sun protection and it is very easy to get sunburned!

Variations: You could also use this same pattern to make a winter bonnet or hood for your little ones. Use wool or silk for the outer layer, wool batting for the inner layer (peeled thin) and a slippery fabric such as silk or cotton sateen for the inside layer.

Size: This was drawn to be roomy on an 18 month old child. I think it would easily fit a child up to 4 yrs. of age, or more, depending on head size. To increase this pattern to a larger size, please visit the link in my sidebar on how to alter pattern size.

You will need these pattern pieces:

Brim

Crown

Cut a rectangle about 4" wide x 12" long for your curtain piece

From your fabric, cut the following:

2 Brim Pieces

1 Crown Piece

1 Curtain Piece

You will measure and make the ties after the bonnet is assembled.

Assembly:

Making the Brim:

Lay your brim pieces on top of each other, right sides together. Pin along short edges and longest edge. Stitch, using a 1/2" seam allowance. Trim seam, clip corners and turn. Press well. If you will be quilting or stiffening your bonnet brim, now is when I would do that. It is easier to work with a flat brim than one that is attached to the rest of the bonnet. I originally made my boys bonnets with no stiffening at all but later added rows of machine stitches to stiffen the brim up.

*Note: On the original bonnet, it appears that the brim is made of one layer of fabric and hemmed at the exposed short and long edge, rather than being made of two layers of material. This would definitely be cooler, so feel free to make your brim this way if you would like!

Making the Curtain:

Press up a narrow hem on the short edges and one long edge of your curtain piece. Stitch hem in place. Run gathering stitches at the top of the curtain piece along the raw edge. Set aside.

Making the Crown:

Run gathering stitches along the rounded edge of the crown. Pull up to fit brim, pin in place and stitch with a 1/2" seam allowance. Bind off seam to finish, or overcast seam by hand.

Pull up curtain gathering stitches to fit the straight bottom edge of crown. Stitch, using a 1/2" seam allowance. Press seam up towards crown. You will bind this seam to finish, but before attaching the binding, stitch two eyelets in the center of the binding strip. Pin binding over seam. Before stitching, thread cotton cord or twill tape through eyelet holes to the seam between crown and brim. Pin cord or tape to seam, stitch to secure. Finish stitching binding. You will now have an adjustable drawstring at the neck to adjust for size as your child grows.

Ties:

Decide how wide you want your ties to be, and how long. Make sure they are long enough to tie in a generous bow at your childs neck. Cut two strips of fabric as long as your measurement and twice as wide as your width measurement, plus 1" for seam allowances.

Press strips in half lengthwise. Stitch around long edge and one short edge, using 1/2" seam allowance. Clip corners and turn. Press well. Turn in seam allowance at top of ties to inside of ties. Pin to bonnet and stitch securely into place by hand.

Enjoy!

1940's Toddler and Baby Rompers

2009-03-10T13:39:00.000-07:00

These rompers were inspired by these original 1940's rompers from the Wisconsin Historical Society website.

For more photos of the finished rompers and the boys wearing them, please visit this link: My 1940's Boys

Here are the pattern pieces I drafted to use for my little sons, in sizes 2T and 6 months. Following are the scans of the pattern pieces and instructions for sewing them. If anything doesn't make sense, please let me know either through the comment section or direct email at david_sarahmeister @ mchsi.com (omit spaces). If you create your own garments from these please let me know how these work for you and share pictures, if you can! :)

Love,

Sarah

Romper Bodice, 2T

Romper Pant, 2T PIECE A

Romper Pant, 2T PIECE B

Romper Bodice, 6 months

Romper Pant, 6 months

Collars

*The pant pieces, both sizes, are composed of two seperate pieces to enable them to fit on standard computer paper. Print out the size you want and tape the two pieces together along the wavy lines to get the correct pattern piece. *

1940’s Romper Assembly Instructions

Prewash and dry all fabric, even if you are recycling an older garment to make this outfit. If recycling, remove all buttons, zippers, trims, etc. and press the material well before cutting out your pieces.

From your fabric, cut out the following:
1 Bodice Front, cut on the fold
2 Bodice Backs, cut with the center line extended ½”
4 Pant Legs
4 Collar Pieces (from coordinating/contrasting fabric)

Reserve some fabric, or scrap fabric in a coordinating/contrasting color, for waistbands and sleeve bands. You will measure and cut these after the garment is assembled. You will also need some scrap fabric for a bias strip to finish off the neckline.

Notions: Thread, six buttons, hook and eye for neck. For 6 m. size, you will need snaps to sew into place for the crutch seam.

Collar:
Lay out your collar pieces, one of top of the other, right sides together. You will make two collar pieces that are mirror images of each other. Pin baste the collar pieces together and sew around short and curved edges, using a ¼” seam allowance. Trim seam, clip curves and turn right sides out. Press and set aside.

Bodice:
Sew Bodice Front and Bodice Back pieces together at the shoulder and side seams. Pin baste into place, and sew, using a ½” seam allowance. Finish seams for smooth interior. (on my rompers, I used French seams but that made puckers in the curved areas, so I had to clip there).
Sew center back seam of bodice, using ½” seam allowance. Stitch from bottom edge of bodice to 4” from top of bodice. Clip to seam at the top of the seam you just stitched. Finish seam below clipped area. Hem the seam allowance to the bodice above the clipped area to finish neckline opening.

Attaching the Collar:
Mark the center front of neckline on bodice. Pin collar to bodice, matching collar at center front. Baste. Cut a 1” wide bias strip the length of your neckline, plus ½”. Pin to neckline, right sides together, sandwiching collar between bodice and bias strip. Stitch, using a ¼” seam allowance. Trim seam, clip curves and press bias strip to inside of bodice. Turn under a ¼” hem on raw edge of bias strip and carefully stitch to bodice neckline, stretching around curved areas where necessary for a smooth fit.

Finishing Bodice:
Sew a hook and eye at back neck opening. If desired, trim bodice with decorative applique.

Finishing the Sleeves:
Measure the circumference of the sleeve opening. Cut two strips of fabric that measurement, plus 1” for seam allowances, 3” wide. Sew strips together along short edges, right sides together. Pin to sleeve opening, right sides together and stitch with a ½” seam allowance. Turn under ½” along free edge of strip and fold up to encase seam allowance, pinning along sewn seam. Slip stitch to secure.

Finishing Bodice:
Press raw edge of bodice hem up ¼” and again ½”. Stitch.

Making the Pants:
Sew each leg by stitching along the outer seam and inseam, right sides together. Finish seam so inside is smooth. Pin legs together along crutch seam, matching inseams. Finish seam. Turn right sides out and press well.
(*for baby pants, hem the legs and leave the crutch seam unsewn and finish by turning under a 1/4" hem to the inside on each pant leg. Lay a piece of bias tape or twill tape along the open crutch seam, covering the turned under hem. Stitch into place, stretching to fit smoothly around curves. Sew snaps to crutch seam to close. Finish the top of the pants by pleating or gathering to fit bodice edge and sew right sides together.)

Making the Waistband:
Measure the circumference of the pant waist. Cut a 3” wide strip of fabric this measurement, plus 1”. Sew together, right sides together, along short ends. Press seam open. Matching waistband seam with center back pant seam, pin waistband to pant waist, right sides together. Sew with a ½” seam allowance. Press under ½” on free edge of waistband strip and turn over to inside of pants, enclosing seam allowance. Slip stitch to seam line to secure.

Making the Hem:
Turn under raw edge of pant hem ¼”. Turn under again 1- 1 ½” (or more, or less, depending on how long you need the pants to be). Stitch into place.

Finishing the Rompers:
Mark 6 buttonholes on trouser waistband, evenly all around. Two in the front, two in the back, and two at each side. Stitch buttonholes. Sew corresponding buttons to hem of bodice. Button the bodice to the trousers.

Enjoy!

Regency Gowns

2008-12-24T12:09:00.000-08:00

The Regency Era

c. 1795-1820

1795-1800 Gray Striped Drawstring Gown

1795-1800 Blue "Linen" Longsleeve "Elinor" Drawstring Gown

1795-1800 Pink Longsleeve "Lizzie Bennet" Drawstring Gown

1795-1800 Shortsleeve Pink/Purple "Ballgown"

1795-1800 Patterns of Fashion Crossover Gown

"Generic" Blue Cotton Calico Regency Day Dress, Shortsleeve

Early Regency Embroidered Short Stays

Soft Regency Corded Short Stays