Black Wool Dress

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

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

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.

Green Cotton Day Dress

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.

Little House on the Prairie Sunbonnet

“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

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

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

1820's Basic Cotton Day Dress

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.