Blog Archives

Pattern #1909-A-005 (Section 4, Making and Applying the Rouleaux Trim)

12/8/2019

Section 4: Making the authentic "rouleaux" trim (the swirling motifs) shown in the antique sketch and the photos.

This embellishment is optional, but adds to the authentic look of this lovely gown. You can also reduce or modify the amount of rouleaux trim you apply, based on your own preference.

Rouleaux trim (which is similar to modern "spaghetti strap" construction) was especially fashionable during the 1908-1912 period, and was used on both day wear and evening gowns. It isn't difficult to make, but does require care and patience to apply.

Click "Play" (top left, 1st photo) to run slideshow; click pause at any time. Click on a thumbnail to view an individual photo. Hover over thumbnail string to advance forward or rewind. Hover right or left over the thumbnail string to fast forward or reverse.

Rouleaux trim cut into short sections to create "faux" decorative buttonholes.

The two raw ends of the rouleaux buttonhole are stitched together to maintain their shape.

Rouleaux "faux buttonholes" pinned in place on bodice. Buttons will be sewn on later, which will cover the raw ends of the rouleaux.

Rouleaux "faux buttonholes" positioned evenly on each side of Bodice front.

A button will be sewn over the raw end of each of these rouleaux "buttonholes". This type of "faux" satin buttonhole was a common and favourite embellishment on Edwardian garments, including skirts, gowns and tailored suits.

STEP 1 in making rouleaux: Cut bias strips of satin as evenly as possible all along their length. Long strips can be cut into shorter lengths as required. Silk satin works far better than polyester satin for this type of trim.

0 Comments

Pattern #1909-A-005 (Section 3, Sleeves & Sleeve Embellishment)

12/8/2019

0 Comments

Section 3: Constructing the gown's sleeves and making and applying the embellishment shown in the antique sketch and the photos. All of this embellishment is optional, but adds to the authentic look of this lovely gown.

Click "Play" (top left, 1st photo) to run slideshow; click pause at any time. Click on a thumbnail to view an individual photo. Hover over thumbnail string to advance forward or rewind.

Pleated Inset pinned in place on Upper Sleeve. Applying the embellishment must be done on the Upper Sleeve as a flat piece, before being sewn to the Lower Sleeve.

Sewing Sleeve Inset in position on Upper Sleeve. The long stitches along the left edge in this photo were the centre basting stitches of the pleated rectangle.

Sleeve Inset sewn onto Upper Sleeve. All of the embellishment is done identically on both Upper Sleeves.

Detail of Sleeve Inset sewn to outside (right side) of Upper Sleeve. Notice that the Inset bottom goes right up to, and matches, the bottom raw edge of the sleeve. Machine-sew this short bottom portion close to the raw edge (this raw edge will be finished with a bias satin band).

The two Upper Sleeves with Insets sewn on.

0 Comments

Pattern #1909-A-005 (Section 2, Constructing Bodice & Trim)

11/8/2019

0 Comments

Section 2: Showing the steps in preparing, constructing, and trimming the gown bodice using bias bands.

Click at top left of first photo to play through the slideshow; click pause at any time. Click on a thumbnail to view a particular photo.

The Gown lining has been fitted and completed, and the Plastron has been sewn on. The Gown itself will now been mounted over, and sewn to, the completed lining. The centre front has been thread-traced in bright pink silk thread (important later).

Gown lining (side), ready for the Gown to be mounted.

Gown lining (back), ready for Gown to be mounted. The centre back seam is simply pinned and left unsewn -- it will be finished in one procedure with the gown centre back.

The neckline of Gown Front has been traced with dressmaker's carbon onto the fashion fabric and the neckline cut out accordingly. The Gown Front is folded exactly along centre front (the neckline shape is cut through both layers, so it will be identical on both sides of C.F.

Gown Front (with neckline cut out), pinned to matching underlining. The outside edges of Gown Front have already been basted to the underlining. The tracing lines that were used to cut out the neckline shape are just visible along the cut edges.

Stitching Gown Front and its underlining together along front neckline. This will act as stay-stitching to support the neck edge and prevent stretching. If you don't plan to underline the Gown Front, the neckline should be stay-stitched close to the raw edges.

0 Comments

Pattern #1909-A-005 (Section 1, Constructing the Lining & Plastrons)

11/8/2019

1 Comment

1909-A-005 Ladies Princess Day Gown

This Section 1 sets out the steps in constructing the lining and the front and back plastrons for this gown. The lining of this gown, unusual for an Edwardian style, is cut from the same pieces as the gown itself, but only to just below hip level.

Click at top left of first photo below to play slideshow through; click pause at any time. Click on a thumbnail to see an individual photo.

Front Plastron pinned to Gown Front lining, with top & outside edges matched.

Sewing Front Plastron to lining neckline.

Front Plastron sewn onto Gown Front lining.

Back Plastrons pinned to Gown Back lining pieces.

1 Comment

Pattern #1910-A-015 (Section 8, Making & Mounting the Skirt)

11/8/2019

0 Comments

Section 8: Steps in constructing and mounting the skirt of this gown. The pattern provides for both a "round" length (street length, the same all around), and a trained length as shown in the photos. You can use the Skirt Band as provided with the pattern, or draft your own -- either straight or curved, narrower or wider -- to give your own unique creative finish to the gown.

Click on "Play" (top left of photos) to run slideshow, click pause at any time. Click on a thumbnail to view an individual picture .

Finished gown, showing skirt from front & back. The skirt band is optional. You can draft your own skirt band to be completely straight, or much wider if desired.

Skirt Band (as cut from the pattern) showing the 3 layers of construction. Velvet layer (top), and lining layer with lightweight interfacing applied to its wrong side (bottom piece).

Interfaced lining section pinned onto corresponding velvet band. These will be sewn together by machine close to all edges, then (optional) satin bias bands will be applied to the raw edges.

Detail - interfaced lining section pinned onto velvet band. The "lining" side will become the wrong side of the Band when sewn on the Skirt.

Interfaced lining section pinned onto corresponding velvet band (from velvet side).

0 Comments

Pattern #1910-A-015 (Section 7, Constructing Waist Sash & Decorative Rose)

11/8/2019

0 Comments

Section 7: Steps in making the draped bias satin waist sash and decorative satin rose for this gown.

Click on "Play" (top left of 1st photo) to run slideshow, click "Pause" at any time. Click on a thumbnail to view an individual picture.

The two sections of sash sewn (right sides together) along both long edges. One section (lining) has already been trimmed at top and bottom long edges. Note top edge indicated by chalk arrows, and C.F. thread-tracing.

Another view of one end of the sewn sash, wrong side showing.

Sash turned right-side out. Do NOT press the edges; they need to remain soft, to create the proper drape of the sash.

Checking size to mark centre back point.

Centre back points marked with pins on each end. One end is left longer beyond C.B. to allow for an underlap allowance.

0 Comments

Pattern #1910-A-015 (Section 6, Satin Bands)

11/8/2019

0 Comments

Section 6: Steps in making and applying the bias satin bands which form both finishing and embellishment on this gown.

Click on "Play" (top left of 1st photo) to run slideshow, click "Pause" at any time. Click on a thumbnail to view an individual picture.

A length of silk satin, cut on the full bias. Whatever actual bias width is called for, cut each strip so that the width is as accurate and consistent as possible along the entire length of the bias strip.

Start by ensuring that all your bias bands are pressed smooth and flat.

Pressing the first lengthwise fold. Use the fingers on your opposite hand to guide the edge as you press. Keep the depth of the pressed edge as even as possible along the length of the bias strip.

Pressing the second lengthwise fold. The first fold is pressed under by the depth that you'll want the visible finished portion of the band will be (in this case 1.6cm [5/8"]).

The pressed bias, ready to be applied. In this case, the bias strip's remaining long edge is left raw, as this will fall to the wrong side of this particular garment area and won't be visible. Otherwise, the strip will be cut wider to allow for the raw edge to be turned under and neatened.

Pinning pressed bias band onto raw edge of garment. The first lengthwise pressed edge is pinned on, with right sides together. The raw edge (along the bottom of the band in the photo) will be slip-stitched to the wrong side of the garment.

0 Comments

Pattern #1910-A-015 (Section 5, Constructing Bodice & Decorative Cuffs)

11/8/2019

0 Comments

This Section 5 deals with the steps involved in constructing the gown bodice, including the decorative "cuffs" for the sleeve ends.

Click on "Play" (top left of photo) to run the slideshow, click "Pause" at any time. Click a thumbnail to view an individual picture.

Bodice Side Front & Front Sleeves (Piece 14) with organza underlining applied

Bodice Side Back & Back Sleeves (Piece 15) with organza underlining applied.

Close-up of hand stitching attaching underlining to gown bodice fabric.

Bodice (left half) with seams sewn, ready to be mounted onto Foundation. The long shoulder/arm seam and the underarm seam have been sewn. The forward raw edges have been finished with satin bias bands.

The four Satin Cuff pieces, with their end seams sewn. Two of these pieces will serve as the linings/facings..

"Top" marked with an arrow in chalk on each Satin Cuff piece. This will be important later, to ensure all the pieces match as they are being sewn.

0 Comments

Pattern #1910-A-015 (Section 4, Collar)

11/8/2019

0 Comments

This Section 4 shows the steps involved in creating the traditional high boned Edwardian collar for this gown.

Click at top left to play slide-show; click Pause at any time. Click on any thumbnail below to view individual photos.

Pinning boning tape (ordinary poly seam-binding) onto one organza layer of the Collar. Seam binding works well as it reduces bulk, and the bones are very narrow.

Detail, pinning seam binding on. Regular corsetry boning tape would be too bulky and heavy for a lightweight lace collar.

Sewing the boning tape (seam binding) onto the organza layer of Collar.

All boning tapes sewn and trimmed.

Detail, boning tape (seam binding) sewn onto organza. The top of the organza has been stay-stitched along the seam line to limit the travel of the bones in the tapes.

The 2 organza layers basted together after bones are put in.

0 Comments

Pattern #1912-A-015 (Section 3, Lower Plastrons)

11/8/2019

0 Comments

This Section 3 outlines the steps in creating and mounting the Lower Front Plastron and Lower Back Plastron for this gown.

Click top left icon to play; click to pause. Click on any thumbnail to view individual photos.

Lower Front & Lower Back Plastrons, underlined, embroidered & ready to be completed. The top (pointed) edge will be finished with a bias satin band.

Reverse of embroidered Plastrons (underlined side). The Plastrons can be lined, but the underside won't show when the gown is worn.

Checking the position of the bodice over the Lower Front Plastron to ensure the Plastron edges will be covered when the bodice is mounted later.

Checking position of Lower Front Plastron & Bodice edge. NOTE -- In these photos, the Bodice edges had already been finished, and the Collar had been constructed (usually the Collar is done last).

Lower Front Plastron pinned in place. The top edge has been bound by a satin bias and the other 3 raw edges have been serged to prevent fraying (these edges won't be visible when the Bodice is completed.

Lower Front Plastron pinned on Foundation, ready to be sewn on. The Lower Front Plastron is sewn on around ALL its raw edges. The top (satin-bound) edge should be sewn on by hand as invisibly as possible.