VPLL #0200 Skirt with Scallops - Finished!

This piece has actually been done for a while now (since June, approximately), but I got derailed in posting photos and a review.  Not to mention that it was too hot to actually wear the skirt I spent so much time on - even the "abbreviated" version that I made.

This is another piece for the 1912 Project, which has not been active lately.  Therefore I'm not pushing on the patterns I still have to complete; I'll get to them when I'm inspired to work on them, which is how we'd generally all prefer to work anyway.

VPLL Pattern Checklist

Pattern Name - Ladies Skirt with Scallops, #0200

Sewer’s Skill Level:  Advanced.

Pattern Rating: 1-Not a Fan, 2 – So-So, 3 – Good/Average, 4-Better than Average, 5-I LOVED IT! and why?  I'd give this pattern a solid 4.  It's got good lines and would look nice made up in a variety of fabrications.   

What skill level would someone need to sew this pattern and why?  I would say this would be best for an intermediate sewer simply because of the amount of bias trim and patience required to get a good result. 

Were the instructions easy to follow? If not, what needs to be changed? The instructions were good.  I really liked the description of how to construct the scallops and their facing - I had originally imagined it would be sewn right sides together, turned and pressed, and then the bias binding put on, but having them basted wrong sides together with the raw edge being bound made the edge much smoother.  The rest of the instructions were pretty clear, although I omitted the original side opening at the scallops and inserted an invisible zip in the left side seam instead.  

How was the fit/sizing?  Did it correspond to what you thought?  The measurements seem accurate to what's on the pattern.  I tapered all the pieces at the waist just a touch (my waist measurement isn't all that much smaller than the pattern, which I was somehow surprised to discover).  The fit is really good, it drapes well over the hips and hangs very nicely.

Fabric Used - Raw silk in a herringbone pattern; it feels like a very smooth tweed. This has been in stash for at least 10 years, and possibly longer.  I don't want to think about that.

Did you make any pattern alterations? If so, what alterations did you make? Where they fit or design alterations?  Minor alterations to fit at the waist.  I added scallops to both sides, because I just couldn't not do that much bias binding.  I like the look, though I can see where it would be a bit much, depending on fabric.  With my black and ivory herringbone, I think the black binding looks good.  I also added boning at the high waist because I sit most of the day and the skirt would never survive that without the waist getting all wrinkly.  I had 5 pieces of 6" long boning in my workroom, who knows why, so that's what I used.  I made tubing from the leftover muslin, cut it to size and hand-stitched these channels to the inside of the muslin skirt underlining.  I didn't insert the bones until after the facing and been sewn on, then I slipped them into their casings and tacked the facing down so that the bones were enclosed and couldn't work themselves loose.  There is one bone at center back, as the least stressed area, one in each side seam (sewn in along the zipper on the left), and two in the front beneath the scallops.  They're not uncomfortable at all and really help keep the skirt looking like it should.  I also used 14 black velvet buttons to ornament my scallops, since I didn't make them functional.  Just to keep it all looking neat, I hand tacked the points of the scallops to the center of the skirt.  There was a LOT of hand sewing in this skirt that I hadn't intended.  

Other notes:  I made a muslin of this skirt so I could get the waist fit and length adjusted.  My guesses on the muslin were good, so I used the muslin pieces to cut my silk.  The silk was a bit drapier than I wanted for such a structured skirt, and I didn't think lining it was the solution, so I used my muslin pieces to underline the silk.  It gave just enough extra weight to the silk that I didn't get any stretching or pulling anywhere.  I used purchased bias binding for this skirt, since I wanted black; if it had been a color or print, I would have made my own.  This took a 3 yard packet of bias and used up most of it.  I pinned and pressed the scallops one at a time, and then hand-sewed them down, catching both sides.  Painstaking, but much nicer and neater than machine sewing would have been.  I also used black seam binding on the hem and put that up by hand; aside from it matching the exterior - all those nice black lines - I just feel that seam binding makes a hem hang better than actually hemming fabric-to-fabric.  

** Annoying note.  I took a TON of construction photos while putting this skirt together.  However, that occurred back in June, and I now have no freaking idea what happened to the pictures.  They're not in the camera, they're not on the computer, they're not on Photobucket, they weren't attached to the draft of this post. I hate when I do all that work and then have no idea what happened to it.  And some photos, like the boning, can't easily be reproduced because all that is now hidden by the facings.  

VPLL E0189 - Ladies Spring Mantle - Finished

Just in time for the 100th anniversary of the sinking of the Titanic, I've finished my third garment in the 1912 Project, the Ladies' Spring Mantle.  The official patternreview is here; the review below is using a template supplied by the VPLL project to give them information they need in cataloging the work we've done and the work that may need to be done with these patterns.

1.  Pattern Name: E0189 Ladies' Spring Mantle

2.  Sewer's Skill Level:  Advanced.

3.  Pattern Rating and why:  5 - I LOVED IT!  It totally lived up to the pattern drawing.  Not only is it a beautiful jacket of its period, it's just as beautiful 100 years later.  I fully intend on wearing this as part of my day-to-day wardrobe, not as a period piece.


4.  What skill level would someone need to sew this pattern and why? This is another pattern that looks more complicated than it is.  While it might not be for beginners, I think an intermediate sewist with patience would have no problem making this at all.  Patience simply because these patterns expect a certain level of knowledge; there's no spoon-feeding here.  And while nothing in this pattern was particularly complex, like other VPLL patterns in the 1912 Project, there are fiddly bits (i.e., the trim) that take a lot of time. 

5.  Were the instructions easy to follow? If not, what needs to be changed?  The instructions were minimal (by today's standards), but clear.  One issue I had with the instructions was regarding the underarm gusset - the instructions said to follow the marked stitching line on the gusset, rather than using the seam allowance, and I just couldn't make that work no matter how I tried.  When I did what I instinctively thought was right, using the seam allowance, it worked and fit fine.  So there's something amiss there, unless it was just me.


6.  How was the fit/sizing?  Did it correspond to what you thought?  The pattern was sized for a 36 bust, and since that's what I generally require,  I was hoping for an accurate fit.  I actually cheated and didn't make a muslin for this jacket, I was so hoping that it would fit.  Hubris isn't always rewarded, so I'd better watch it next time I think I'm safe.

7.  Did you make any pattern alterations? If so, what alterations did you make? Were they fit or design alterations?  My changes were to the order of construction - rather than constructing and trimming the shell, then constructing the lining and sewing the two together, I constructed the shell and lining and bagged them together as I would a modern jacket, leaving a small opening at the hem to turn the jacket right side out.  I then made all the trim and hand sewed it on.


8.  Changes I'd like in this pattern:  None whatsoever.  This worked out beautifully for me and I intend on making another very soon.

9.  Changes to instructions:  I think some clarification regarding the gusset would be helpful.  Also, for those who aren't accustomed to older techniques, maybe providing modern alternatives would be helpful (as in bagging the jacket lining).  Though personally I like the challenge of figuring it out on my own, but I've been told before that I'm a little strange. 


10.  Discussion of fabric/trim, etc.  I used very historically inaccurate polyesters all the way.  The shell fabric feels a bit like taffeta, with a crinkled texture and embroidery/sequins.  The lining is copper poly charmeuse.  The two fabrics work well together, but I think I could have gotten a better texture on the shirred trim if I had used silk charmeuse; even cut on the bias, the poly is just a little too bouncy. 

11.  Description of technique - insertion, cutwork, etc.  The only unusual technique in this garment is the trim, which is a 10 yard long bias strip (I used the charmeuse lining fabric), sewn together, turned and pressed flat.  The instructions offer an option of threading strips of quilt batting into the tube before it is gathered, but I found the batting to be too thick when added to the already substantial fabric.  Maybe 1912 batting had a better texture? Stuffed or unstuffed, the bias tube is then gathered on both sides and pinned or basted around the edge of the jacket and sleeves.  To gather the trim, I used my machine's basting stitch, in 2 foot long increments.  As I gathered each section, I pinned it to the jacket and then I hand sewed it to the jacket.  I did the same for the sleeves.

Pick One

E0335

The Titanic project is picking up speed. 

Hmmm.  That didn't sound good, did it? 

The Titanic project is getting under way.  (Better; it doesn't sound like looming icebergs this way). 

There are many more patterns available, and the rules have changed so that there's more freedom in requesting patterns - we don't have to wait for specific assigned patterns.  I'm thinking I may need to make another blouse, one for me this time, since I really enjoyed making the last one but didn't get to keep it.


Here are the patterns I have to choose from at this point.  The descriptions are from VPLL's website, and the colors/fabrics basically describe the source garment, not how I would have to make it up.

E1000

1.   E0335 - This blouse is made in a light weight fabric of muted blue, and is without a lining. It features groups of very small pleats in contrast to larger ones. The blouse is trimmed with white lace.

2.  E1000 - This beautiful ladies blouse features a pleated front with cutwork scallops and padded granitos at collar, cuffs and basque.

3.  E0219 - This blouse without a lining is made of checked fabric in blue, green and white.  The detachable collar is made of stiff white linen.

E0219

There are intriguing features in all 3 - I love the pleating on the first one, and the opportunity to use a piece of vintage lace (of which I have much) for the center front.  I also like all the pleats. 

The second blouse is probably the least likely to be worn, but the part of me that loves repetitive idiot work (I find it soothing) is intrigued by the cutwork scallops and whatever the heck a "granito" is.

The last one, well, that looks like fun, doesn't it?  Not the strangulating high collar, maybe, but the bias plaid and the interesting curved seam at the shoulder (and no visible armscye/sleeve seam) strike me as something I'd enjoy playing with.  Plus this one has a front closure, so I could actually dress myself.

Which blouse do you think I should tackle for May?  (1) E0335 - pleats with lace; (2) E1000 - pleats, cutwork scallops and "granitos"; or (3) E0219 - plaid, pleats and interesting seaming.

I'd love to hear your thoughts on this one. 

Decisions, decisions



VPLL 0189 - Ladies' Mantle

 Now that I'm done (or almost done - I was asked if I could do a second piece) with theater sewing, I volunteered for another pattern from the VPLL's 1912 Project.

Isn't this a beauty?  And doesn't this, made in the right fabrics with the right trim, have an absolute place in a modern wardrobe?  I haven't seen the back yet, I need to print the sheets out tomorrow at work to see if there's anything unusual there, but I'm not expecting any surprises.

I have several fabrics in the stash that are really calling loudly to me that they want to be this jacket (VPLL calls it a mantle, which is 1912-speak for jacket, I guess).  The problem is that the fabrics that are calling most loudly will also fight hardest with the several trims I'm considering.

Decisions, decisions. 

In the meantime, I've also cut into my poppy fabric and am making something totally unplanned from it.  Stay tuned.

VPLL E0191 - Striped Blouse - Finished

Pattern Description: Ladies striped blouse with pleated front, contrast collar and sleeve trim. Back button closure.

Pattern Sizing: One size, to be adapted by the sewist. Approximately 36" bust, 25" waist. I kept the bust the way it was and added some width to the waist. I'd much rather take the waist out than try to do an FBA on some of these designs.

Did it look like the photo/drawing on the pattern envelope once you were done sewing with it? More or less. I chose to omit the contrast collar because my original contrast fabric choice did not please me and I started over. Thus far I haven't found a contrast fabric I like that works well with the silk.

Were the instructions easy to follow? The instructions are translated from the original 1912 French instructions. They weren't bad, but I did a different order of construction and made some changes so I really just read them over for surprises and then did it my own way.

What did you particularly like or dislike about the pattern? This wasn't an assigned pattern for the 1912 Project but we are allowed to request patterns assigned to other groups if we want to make them up. I really liked the drawing for this one and was intrigued when someone mentioned that the construction meant that the vertical stripes on the front chevroned down the back. I had to have it after that.

Even though I'm not likely to get much wear out of these pieces (this blouse is actually going to a friend who has the kind of life where historic clothing actually will get worn), I'm trying to choose patterns that will show me something new that I can use in my own sewing. Being the stripe maven that I am, this was enough. I've attached a photo of the front and back pattern piece - it's cut on the fold in the front, with no shoulder seam, and the back slants outward, which causes the very cool stripe manipulation. I'm going to find a modern blouse pattern that I like and reconstruct it to do this, absolutely.

Fabric Used: Embarrassingly old ivory-and-tangerine striped silk dupioni bought possibly in the late 80s or early 90s. It was Very Deep Stash, but absolutely perfect for this project. I think I even have enough left over for another project. How much did I buy, and then keep it for almost 30 years? I originally chose an ivory poly-satin for the contrast fabric, and then decided it wasn't quite right and did a lace overlay, which I liked until I decided that it wasn't quite right, and I threw out the satin/lace collar and cut off the sleeve trim/cuffs at the seam allowance and went with striped cuffs. The collar may or may not be added later, when I find the right contrast fabric.

Pattern alterations or any design changes you made: A few. The pattern as designed called for a back closure. First off, how often do we have someone available to button us into our clothes when we get dressed? And more importantly, once I realized that the stripes would form a chevron down the back, no way was I interrupting that with buttons. Since my friend who is wearing this blouse likes the historic look but doesn't require accuracy, I inserted a very discreet invisible zipper down the left side seam, opening at the hem. The zipper pull sits right in the bias trim I used to edge the blouse, and it's barely noticeable. It's one of the best invisible zips I've ever done - the stripes chevron almost perfectly the entire length of the zipper.

As mentioned above, I omitted the contrast collar. There were multiple reasons for this. The neckline of the blouse as drafted is square, which I think is really pretty and flattering on most women. The collar neckline is round, which I didn't find as pretty, and no matter how I jiggered with the shape and size of the collar, I couldn't get a balance I liked - nothing quite looked like the pattern drawing. (A problem through the ages, apparently). I made a collar, decided the satin wasn't quite the right shade of ivory, layered it with a warmer ivory lace, thought it was okay, and bound the entire thing in striped silk bias tape, and then decided I hated it. I wish I'd decided that before I made 2 yards of silk bias tape. Here's the neckline as it stands now, square with bias binding (the last of that 2 yards). Unless I find a good contrast, this is the way it's going to stay.

I had also made the sleeve trim/cuffs the same way, and when I ditched the collar, the cuffs couldn't stay either. I cut them off at the seam allowance and made new cuffs from the striped silk. Since the sleeves were cut cross-grain, I cut the cuffs so that the stripes went vertical again. I backed them with muslin for a little extra body and used a very narrow seam allowance to sew them on. Even though it's a little over-stripey, I think it's a much better result.

I added almost 3" to the length of this blouse. Apparently women were either very short or very short-waisted, or both, because when I tried the muslin on as drafted, it was at least an inch above my navel. And my friend who will wear this is much longer waisted than I am, so I wanted to make sure it didn't look like a really strange cropped top on her. You can see from this side view that the blouse is also longer at the front so that when you tuck it in or put a belt around it, you get that historically accurate pouf.

The blouse also included pattern pieces for a lining, which I could see being necessary with a lighter or drapier fabric. Instead of pleats in the front, the lining has gathers which would help to puff the bottom of the blouse out in a historically-appropriate way. The dupioni silk I used (even though it's been washed) still has enough body that it poufs on its own. I decided I didn't want to add the extra layer of fabric, and besides, after the contortions with the contrast fabric, I'd decided I'd had enough.

Would you sew it again? Would you recommend it to others? I doubt I'll sew it again, but only because I don't have many opportunities to wear 1912-era clothing. The styles don't really fit my body type or my life. I would recommend this pattern to anyone interested in clothing from the era, or who wants to take on an interesting stripe challenge.

Conclusion: Another interesting pattern from the 1912 Project. I'm enjoying this way more than I expected to, and I can finally make something for my friend that I know she'll get some use from.

Edited on 4/24/12 to add VPLL project checklist:

1. Pattern Name   E0191 Blouse
2. Sewer's Skill Level: Advanced
3. Pattern Rating: 3 - Good/Average.  I'd give it higher marks but I think it's a pattern for a very specific body type; some of the VPLL patterns I've tried are much more wearable by a wider selection of people.
4. What skill level would someone need to sew this pattern and why? I think this pattern is fine for an intermediate sewer so long as they are patient and follow the directions, simply because some of the techniques are not familiar to a modern day sewist.
5. Were the instructions easy to follow? If not, what needs to be changed?  I thought they were fine.  I got a little confused about the pleating at first, but I took a break, re-read them and fiddled with the fabric and it all worked out.  That's generally what I have to do when I can't get the words to make sense.  The fabric doesn't lie, and it rarely confuses.  One other note: the instructions say to gather the sleeves into the armscye, and there isn't sufficient fabric in the sleeve piece to do that; I inserted the sleeves flat and they fit without easing. 
6. How was the fit/sizing?  Did it correspond to what you thought?  It was spot on to the measurements promised on the pattern. 
7. Did you make any pattern alterations? If so, what alterations did you make? Were they fit or design alterations?  I made one fit alteration, which was to add an extra pleat in the front because the friend who got this blouse is a bit smaller-busted than the planned measurements.  My design alteration were the following:  I omitted the optional lining (requested and also my fabric was opaque enough) and to add an invisible zipper in the left side seam because I wanted her to be able to dress herself and I also hated the idea of interrupting that beautiful chevron of stripes with a button placket.  I also left off the collar because my fabric choice didn't work and instead I widened the square neck by about a half inch and bound it in striped bias tape.  I also bias-bound the hem to neaten the edges at the zipper insertion.
8. Changes I'd like in this pattern:  It worked beautifully as drafted, but if it's made up with the original back closure, it should be altered to either add a button placket or note that extra fabric needs to be added to accomplish this.
9. Changes to instructions:  The instructions were clear, if minimal.  You might want to suggest a side zip or buttons/snaps for those who aren't going for complete authenticity; it made the blouse much easier to wear.  Otherwise, my suggestion above regarding redrafting to add a button placket or a note to add enough fabric to make one. 
10. Discussion of fabric/trim, etc.  I've had this tangerine-and-cream striped silk dupioni for at least 20 years, waiting for the right project.  The only problem was that I couldn't find a contrast fabric that I liked at all, which is why the blouse is made of one fabric only. 
11. Description of technique - insertion, cutwork, etc. This was a pretty straightforward pattern, construction-wise.  My only real contribution to construction on this is to note the invisible zipper insertion in the left side seam.  I inserted it so that it opened at the bottom, which made it very easy to get in and out of the blouse.

VPLL 0191 Blouse - Middles

I'm really surprised I got this much done on the blouse - sewing really goes all to hell when garden season begins.  I spent all day out there yesterday, and today until dinnertime.  But I was sewing in my head the entire time and this is the result so far.

I decided after I cut the satin trim that the color match wasn't really as good as I originally thought it was.  But I don't have anything else on hand that would work, so I made it work.  I found a chunk of lace in the remnant bin and basted it over the satin.  First off, it dulled the shine, which was a little too much, and it also added some texture and brought the color a little more in line with what I wanted it to be.  I think it's a little closer than the photos show, but I can't tweak the colors together so that they work.  But they do.  Well enough.

You can see in the one photo the invisible zipper I installed in the left side seam so that my friend can get in and out of this blouse on her own.  I think once the blouse is finished and hemmed the zip will barely be noticeable. 

Next up: making many, many yards of bias trim for around the collar and the sleeve hems.  Many, many yards.

I cut out the lining per the pattern, but I haven't decided whether or not I'm going to use it.  I could still install it just fine at this point, but I think the silk is actually heavy enough to not be transparent, and she could get away perfectly well wearing a camisole underneath. 

I think all will depend on how long it takes to make and attach the bias trim.

VPLL 0191 Blouse - Beginnings

I've been tinkering with another pattern from the 1912 Project, this one the 0191 blouse. 

I think I've got a handle on it now, and I'm looking forward to getting some work done on it this weekend. 

I'm using the striped silk I posted last week, found in the Deep Stash, and an ivory poly satin (quite drapy and not very poly-looking) for the contrast (the collar, cuffs and sleeve seam trim).  It's going to look very cream-sicle, which may or may not be historically accurate, but I'm not going for complete accuracy here.

As will be seen when I show off the immaculate invisible zipper in my blouse.  Invisible zipper . . . not very 1912, but (a) I didn't want to mess up the chevron stripes down the back with a row of buttons, and (b) we don't have ladies' maids anymore to get us in and out of our clothes. 

It's a very discreet invisible zipper, running from the left hem up under the left arm, opening at the bottom.  The stripes do a much sharper chevron down the side seams, and somehow I dumb-lucked the stripes into matching over the zipper.  You know I couldn't have managed that on a dare if I'd been trying to insert the zip in the back.

All this work and I'm not even keeping the blouse.  It's a beautiful piece, and I'm loving the fabric, but I'll never wear it.  The princess slip can be a summer dress or one hell of a nightie, but this . . . it's always going to look like I'm wearing great-grandma's clothes.  It doesn't suit my body or my life, so I found someone who it would work for.  A friend of mine is an actress, and she has the life (and social life) that requires interesting clothes.  And she's a redhead, which will look fabulous with the creamsicle silk.  She's also smaller than I am, so I didn't have to do much in the way alterations other than lengthening it by 2.5" - all these clothes seem really short-waisted, and my friend's height seems to be mostly in her waist, so I'm hoping this will be long enough for her.

All I've done at this point is press and stitch the front pleats, insert the zipper and sew the back seam.  I'll have time to work on it tomorrow and there will be proper photos then.

How deep is your stash?

I really need to know (with apologies to the BeeGees, I've just been hearing that song all evening as I've been up to my eyebrows in stash).

That wasn't the plan.  I've been working on a long cardigan from the first issue of My Image and I'm close to finished, so I decided to take a break and rummage around to see if I could find an appropriate fabric for the next piece of my 1912 wardrobe, the striped blouse pictured here. 

I didn't need to use a stripe, but I wanted to - I love that the stripes are vertical on the front and horizontal on the side.  And I think, though I'm not sure because I haven't muslined it yet, that because there's no shoulder seam and the piece curves, the stripes might actually go diagonal on the back.  How cool would that be?

But I digress. I had a nice pale gray shirting with narrow white stripes that would make an acceptable blouse, but I wasn't excited by it.  So I decided to dig around and see if I had anything better in the deep stash. 

Deep stash, you'll understand, is the stuff not on the shelves, it's the stuff so old, so obscure, out-of-style, or pretty but without purpose, that it lives in random containers in a wardrobe closet in my workroom.  For those who commented on my recent admirable fabric-rolling and questioned whether that was all my fabric, the answer would be, "no."

This, the fabric closet of doom, is all my fabric.  Except for the fabric that's in 3 vintage trunks also in the workroom, but I'm pretty sure I know what's in them.  This was the mystery fabric.

For those who have really large stashes, or old stashes (or both), you'll understand - digging through deep stash is like excavating your own past.  Every piece I pulled out was a memory, who and where I was when I acquired it.  In some cases it's a memory of my grandmom's or my aunt's stash.

And, no surprise, I found not one, but TWO fabrics that would be much more appropriate for my 1912 blouse than the shirting I had reserved.  They are pictured together here.  One is an ivory textured poly blend that feels like silk.  I know it isn't because I purchased that fabric in 1982 to make into a blouse to wear to my very first job, and I did not have a silk budget at that time.  And here it sits, nearly 30 years later, possibly being made into a very different blouse. 
The second fabric is a bit more recent, I'd say later 80s.  Real silk this time, dupioni without too much texture, a nice warm ivory with a light orange stripe.  I bought it because even though I had no idea what I'd use it for, I loved that it wasn't the usual jewel tones I saw in dupioni, and I thought it might have a purpose.


I haz a bellyache

And at last it might.  Both pieces are 2 yards long, and I believe both are either 54" or 60" wide. The 1912 pattern calls for more yardage than that, but it's also calculated for 45" wide fabrics, so I'm pretty sure I can make either one work.  I'm going to press them tomorrow and stare at them for a while to see if one of them speaks louder than the other.

Also - all you cat people out there, fingers, toes and claws crossed for my little fat man, Archie, who has to take a trip to the vet tomorrow.  It's probably something minor, except that he's 11 years old and 27 pounds, which will complicate anything else that might be going on.

VPLL E0336 Princess Slip - Finished!

Pattern Description: Ladies' princess seamed slip with lace insertion and trim from the March 24, 1912 issue of La Mode Illustree (French fashion and pattern magazine).

Let me preface this review by explaining that I'm involved in the Vintage Pattern Lending Library's 1912 Project, which is an attempt to recreate an entire year (1912) of La Mode Illustree's patterns to mark the 100th anniversary of the sinking of the Titanic. The patterns are sent in PDF format, to be printed and taped or printed at a copy shop. They are directly taken from the original patterns and any grading or modifications is up to the sewist. A lot of the people doing the 1912 Project are historical costumers, but I signed on because I thought it was interesting and I knew it would expose me to techniques that I've had no reason to learn up until now. A challenge is always a good thing.

Pattern Sizing: Basically one size, as the pattern is drafted from the original magazine pattern. Thankfully it's not too out-of-scale for the modern woman - it has a 36" bust. However, the waist is considerably smaller since these women were corseted.

Did it look like the photo/drawing on the pattern envelope once you were done sewing with it? Remarkably so. The envelope illustration is the only one you get, but it was very detailed and I was even able to closely replicate the trim to the extent that I wanted to.

Were the instructions easy to follow? Especially considering that the instructions were translated from the original magazine instructions. We were warned on taking on the project that the instructions might be minimal, but I found these to be very clear, especially in explaining how to do lace insertion, which I've never done before (and probably never will again, more's the pity).

What did you particularly like or dislike about the pattern? I thought it was absolutely gorgeous, and since I'm slowly coming down from a Downton Abbey binge, the idea that I was recreating clothing from that era made it even more interesting. And I've always loved Edwardian/pre-WWI era white cotton dresses; I decided that since I would never have the opportunity to wear this as a slip, I'd make it up and use it as a dress (with a more modern slip underneath). I loved all the detailing and trim, even though I tend normally toward busy prints without embellishment.

Fabric Used: Ivory cotton batiste from Gorgeous Fabrics (3 yards, used all but tiny scraps). 10 yards of 1.5" insertion lace (straight on both sides), 1 yard of vintage (and slightly discolored) threading eyelet found on Etsy, 1 yard of 3/8" pink ribbon and 6 buttons.

Pattern alterations or any design changes you made: Very few, all things considered. When I printed out the pattern, I noted that the bust measurement was indeed 36". The waist was more like 26", and that's only because this garment was intended to be worn over a corset, which would in turn have been worn over another undergarment. Swoon much?

I tend not to make muslins, but first off, my batiste hadn't arrived by way of the postal elves, and second, I didn't want to waste it by making something unwearable. Because the slip flares out, I knew I'd have no hip issues, so I just muslined the bodice to the marked natural waistline. When I cut the pieces, I added an extra inch outside the seam allowances for the waist, tapering up to nothing around the bust. I pin-fit it and took it in a bit from there, and also took it in at the armholes, which were a little generous, though nicely high so there will be no bra showing.

I took the muslin apart, marked my changes and cut the batiste using the muslin pieces. The additional change I made was to add 1.5" in length at the waist - the marked waistline on the pattern was just at my bottom rib, and I tend to expand outward a bit from there.

The slip made up beautifully, and very quickly. The instructions tell you to make the fronts and backs, do all the insertion work, button placket and buttons, then sew the two pieces together, add the eyelet and ribbon at the neck, the bottom ruffle and another row of lace insertion (between the slip and the ruffle).

Doing it all by machine (they did have sewing machines in 1912, after all), this probably took me about 10 hours, and a good part of that was the learning curve for the lace. The first strip probably took me an hour, but by the end I could sew the lace on, slice the fabric behind it, press the seam allowances back, fold them, press again and topstitch in about 20 minutes.

There were a few other changes, but they were in the area of trim. The pattern suggests gathered lace around the neck (in addition to the eyelet and ribbon) and around the armholes. Yikes. My lace is a cotton-poly blend, but seems to tend toward the poly when gathered and put near my underarms. Plus I thought it looked fussy. I decided to go my own way there and did a bias binding for the armholes, which looked much cleaner to me. I also didn't like the gathered lace at the neckline; I liked the idea, but the lace itself again seemed fussy. Plus I didn't think I'd have enough left for a respectable gather. I did, however, have enough scraps of batiste left to cut into 3" strips, fold in half, gather, press flat and sew on a self-fabric ruffles. It fills the space at the neckline appropriately without looking overdone.

Also, the ruffle at the bottom was supposed to be pleated.  That's fine and dandy if you have a maid around to press your pleats for you every time they get crushed, but alas, I do not.  I took a width of fabric about 3 times as wide as the hem, gathered it and attached.  Being that there was going to be a line of lace added there, I pressed the gathers flat for several inches so that the lace would attach smoothly.

Another benefit to this process was that I forced myself to slow down and sew this pattern in the way it deserved to be sewn. I did French seams, which I normally can't be bothered to do (and will line a garment to avoid doing). I was as precise as possible in my pressing so that when seam allowances showed through the slip, as they're going to do because of the sheerness of the fabric, they were even and looked intentional.

Biggest mistake I made:  Sewing while cranky and distracted.  This is like sewing under the influence or cutting after midnight.  Big mistake.  On the other hand, it resulted in a very nice design opportunity, so there.  I had finished the front of the slip and did the button placket and center back seam.  Then I added the side pieces, and very carefully and painstakingly did French seams.  I was so proud of them I didn't even look closely until I was done (other than pressing), and that's when I noticed that both my nice French seams were on the outside of the garment.  Both of them.  At least I'm consistently wrong?  I sulked for a minute, thought about it, and cut 2 more lengths of lace and ended up by trimming the back of the slip to match the front.  Better anyway, since I'm going to wear it as a dress.  That's my story, and I'm sticking to it.

Would you sew it again? Would you recommend it to others? I don't know as I'll sew it again, but that's more a reflection on how little need I have for 100 year old garments in my wardrobe than my thoughts on the pattern itself. I would highly recommend it to anyone who does historical sewing, or who wants an interesting, challenging project that results in a really pretty summer dress.

Conclusion: I'm thrilled with this. I accomplished what I set out to do with this first pattern of the project: I learned a new technique, I forced myself to slow down and give the project my full attention, and I ended up with a garment that I actually can't believe I made.
----------------
Edited on 4/17/12 to add template info for the 1912 Project:
Pattern Name: E0336 Princess Slip
Sewer's Skill Level: Advanced
Pattern Rating: 4 - better than average
What skill level would someone need to sew this pattern and why? Intermediate skill level and a comfort with learning a new technique. The pattern itself is quite uncomplicated, but someone without experience might be put off with all that lace insertion.
Were the instructions easy to follow? If not, what needs to be changed? The instructions were clear for the most part, though perhaps they could be expanded a bit for the button placket in the back. The instructions for how to do the lace insertion were very clear; I've never done it before and had no problems at all.
How was the fit/sizing? Did it correspond to what you thought? The bust sizing was spot on; I made a muslin and saw that the pattern was a bit short-waisted, so I added 2" in the waist length, and about 2" to the waist circumference.
Did you make any pattern alterations? If so, what alterations did you make? Were they fit or design alterations? My only alterations for fit were to adjust the waist length and width to fit me. My only design alterations were to omit the lace ruffles around the armholes (a matter of taste) and to add lace insertion on the back to mirror the front. Since I'm wearing it as a dress (with a slip underneath) I wanted it to be as elaborate on both sides. In addition to omitting the armhole ruffles, I changed the neckline ruffle from lace to a self-ruffle using cotton batiste.
Changes I'd like in this pattern: The pattern seems extremely short-waisted for a modern figure; I'm not sure if that's simply a change in bodies in 100 years or simply a difference in shape due to corseting. Beyond that, I thought it was well drafted and quite easy to construct.
Changes to instructions: My only suggestion would be to elaborate a bit more on the back button placket instructions; they were a bit minimal but served the purpose.
Discussion of fabric/trim, etc. I used ivory cotton batiste and a combination of new insertion lace, semi-vintage ribbon and truly vintage threading eyelet for the neckline.
Description of technique - insertion, cutwork, etc. The lace insertion was what drew me to this pattern. I always thought it was complicated and this seemed like a good opportunity to learn a new technique. It turns out that insertion wasn't really that bad at all - topstitching the lace down to the marked areas, carefully cutting the fabric behind the lace, trimming and folding it back and stitching again. It's time consuming and a little fiddly, but nothing that can't be accomplished quite easily with patience and a good iron.

Lady Mary's Underthings

Bodice from the right side - one row
of lace left to be finished.

I will admit it. I have an unhealthy obsession with Downton Abbey. I don't worry about it too much, because I think it's a very common problem right now. Hopefully it will fade with time, only to come back with a vengeance in time for season 3. (Shirley MacLaine! In hats! Trading barbs with the Dowager Countess!)

It's not going to clear up as quickly as I would like because the series coincided with the Vintage Pattern Lending Library's 1912 Project, so I'm basically sewing things right now that would have been in the Crawley girls' wardrobes at the beginning of the series. Right now, I'm working on a princess-lined slip that would have gone over their corsets. All this work and prettiness only to be hidden by more work and prettiness on the exterior.

I've never done insertion lace before, and that was why I took on the challenge project. Turns out it's not that bad - especially if you're using a machine. I can't imagine the horrors of pre-industrial insertion lace, where every seam has to be sewn basically 5 times (seams, lace sewn on either side, then the central seam slashed and rolled back and sewn under the edge of the lace). No wonder they needed dressmakers and ladies' maids.



Cutting behind the lace is a little nerve-wracking.

That being said, I got my ivory cotton batiste from Gorgeous Fabrics yesterday (this project also coincided with Ann's 5th anniversary 25% off sale, which made her cotton batiste less expensive than Fabric.com's, and we all know the quality will be 10 times better). I soaked it in hot water, then threw it in a hot dryer for a half hour, and am hoping I got maximum shrinkage because I wanted to get started.



Once the cut is made, the
seam allowances are
pressed back.



Since I'd already muslined the bodice of the slip, I used the muslin pieces to cut, adding 1.5" to lengthen the waist and then drafting outward over the lines of the skirt to match the width I added above. I sewed the front pieces together, then pinned and stitched the first 3 lines of lace, down the center front (nicely marked by folding and ironing) and then down each of the princess seams. The lace only starts below the bust. After the lace was stitched and pressed, I took scissors and sliced up the center of the fabric - a little nerve-wracking considering that if I slipped I'd have to find a way to repair the lace. And I'm no lady's maid, doing invisible mending in the servants' hall.

Once the seams were opened, they were pressed back against the garment and trimmed so that they would fold back neatly, to be pinned down and stitched almost on top of the original stitching line. The historically accurate instructions say to roll the seam allowance and whipstitch it, but that means I'd still be on the first seam, so it's me and my Singer, all the way.



Stitching the seam
allowances.

 I have to admit that so far, I'm enjoying the process far more than I expected. It's nitpicky, but not really difficult once you get the idea down. I actually cut my seams and pressed them last night in the workroom and came out to the desk and caught up on some online reading while I folded and pinned the seam allowances back. Talk about a juxtaposition of time and place, Edwardian underwear sitting in front of the computer!

I don't know when I'm ever going to get to use this technique again. I think it's lovely, but it's a little frou-frou for my taste (unless it's a historical costume) but I'd love to find some way to work it into something, just because. I hate learning a technique, knowing I'm likely never to use it again.



Closeup of the neckline.

 This evening the postal elves delivered the last bit of trim I was waiting for, a length of threading eyelet I found on Etsy. I didn't know the difference between eyelet and threading eyelet (can't even say I've heard of it before), but apparently threading eyelet is what you can THREAD a ribbon through. Gotcha. The eyelet gets applied to the unfinished edge of fabric around the neckline, has ribbon threaded through it, and then there's gathered lace sewn around the neckline and armholes. 

I've pinned the eyelet onto the neckline here to get the effect, but it will be done more neatly and the corners will be mitered.  And I need to find ribbon to thread through it.  That I'm sure I have in the trim stash.



Slip front with trim pinned
at neckline, all lace inserted.

 My weekend sewing: hopefully finishing this up and working on a little something for myself. 

I haven't even starting constructing the back yet, or added the ruffle at the bottom. The back is pretty straightforward, princess seamed again, with a button placket because of course a lady couldn't dress herself. It might have been a prettier time, but damn, it was inconvenient.

Raising the Titanic: the first pattern

We're slowly but surely getting our first round of patterns in the Vintage Pattern Lending Library's 1912 Project.  Technically, my group hasn't gotten their pattern yet, but the pattern pictured here was issued as a special challenge pattern, to be sewn at our choosing.  Challenge patterns are either more difficult than the other patterns, or have special or more time-consuming techniques.

With this much insertion lace, this pattern definitely falls under "time-consuming," but I think it also falls under "gorgeous," "fabulous" and "I want a waist small enough to wear that."

Which I do not have, but I don't think many women do - even back then.  That's why they wore corsets.  And this beauty was meant to be worn over the corset, which was in turn worn over some kind of combination chemise/underdrawers garment.  So this is actually the third layer of getting dressed. 

No wonder these women felt faint all the time.

After I printed and taped the pattern together and laid it out on the living room floor (do I need to tell you how many pictures I erased before I got one without a cat in the frame?), I flat measured the waist seam, which is marked.  Sorry the markings are so faint - they're pretty light in reality and no matter how I tweaked, I couldn't get them to come up any darker. 

Get this - with a corset and more underwear underneath, the waist measurement is 26 inches.  How much wearing ease do you think that probably is?  Again, no wonder these women felt faint all the time. 
I'll be making this up to fit me, but it's going to take some maneuvering.  Just looking at it, I know I'm going to have to lengthen it from shoulder to bust, and then again from bust to waist.  Waist to hip I might be okay, and the fit isn't as specific there anyway. 

The slip, by the way, takes 3 yards or so of lawn for the garment itself, 12.5 yards of 1" lace for the insertion (or 8.5 if you don't add it to the pleated ruffle), and an additional 1.5 yards for said ruffle.  There's also 2" lace for the top, and eyelet that gets threaded with ribbon.  That's a lot of work for underwear.

Even though I'm generally not the fluff-and-ruffles type, this will probably end up being a nightgown.  I can't go through all this effort only to have it hang in the closet, unworn, and damned if I'm making going through all that for someone else's benefit.

Raise the Titanic

Or at least the luggage. 

This is beyond vintage, folks.  Because obviously I don't have enough to do with a husband, a job, 10 cats, 2 chickens and an old house in need of hand-holding, I signed up to be a test sewist for the Vintage Pattern Lending Library's 1912 Project. Have you heard about it?

Almost 100 years ago - in April, 1912 - the Titanic struck an iceberg and went down in the north Atlantic.  (On a personal note, my father would turn 100 this April, so I've always had that date in my head.)  The Vintage Pattern Lending Library is providing patterns, starting from the April 1912 issue of La Mode Illustree, to a group test sewers, and I'm fortunate enough to be one of them.

Of course, this isn't going to be a walk on the promenade deck.  From the website: 

Construction and cutting information for these patterns are very vague, usually amounting to only a paragraph or two. These patterns come from a different era without all the luxuries that we have come to rely on.  They may have no instructions and no markings. Any notes or supplementary information about the construction process that you are willing to share would be wonderful.  The patterns are replicated directly from the original pattern sheet without changes – so sizing tends to run fairly small. 3/8-inch seam allowance will be added, and other information to clarify construction.

In other words, I'm going to be banging my head on the sewing table to make something that in no way, shape or form will fit me - or my dress form. 

And I think I might enjoy it.  I'll post photos of what pattern I get and what it turns into.

Away all boats.