There’s only one remaining problem. Really, it’s not even a problem, it’s just more of a mental block. See, a gore looks like this:
And we’re all used to seeing period pattern images that look like this:
It just doesn’t look like a modern gored skirt. Our pattern piece, on the other hand, looks exactly like a piece from a modern gored skirt pattern. I mean, there’s no two ways about that, unless we….
Well, you know, that does look somewhat familiar…. This is the extremely fabric-efficient way to pattern and cut a gore, especially if you’re stuck working with 22″ fabric. It works out well for fabrics that look kinda the same right side up and upside down and front to back (because the pieces get flipped round), so that you can save money making your support skirt. You wouldn’t do this on, say, a ludicrously expensive venetian silk brocade, because all those lines would really mess up the pattern and we’d be back to where we were before the waist seam, but now with an extra seam at the waist. That would be silly.
So, I hope you’ve learned a thing or two about the how-tos and where-fores of skirt patterning, and that you’re still glad you started reading this monster. All skirts come from one of these three basic cutting plans, and now you know how to make them all. Throughout history, the only thing that really changes is how much fabric is in the skirts, how curvy the gores are, and whether the skirt itself is suspended from the waist of the wearer or attached to the body of the gown (usually it’s the later, incidentally.) That’s it. Funny how much there is to say about something this awe-inspiringly simple, isn’t it?