The eleventh century outfit needs and overdress, which means I need a pattern. I want to make one based off a diagram from Kohler’s History of Costume, but the measurements are basically useless to me because my model is a doll. Fortunately, I have a chemise-y-tunic-y pattern already, and it’s a simple matter to alter that into the overdress pattern I want.
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This goes together quite easily, since it’s really just a series of straight lines. Shirts and smocks with the same general layout (small variations in neckline) continue to be used into the sixteenth century, at least, and I can see why: it’s easy. There’s no need for a gusset, because of the angle the sleeves are placed on. That is so cool. (If you don’t know why that’s cool, it’s because you’ve never sewn an underarm gusset by machine. They’re all sorts of annoying.)
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What? Why would you ever possibly want to do that, missa? This is a good question, and the answer is basically, “Because you can.” That, in an of itself, is cool enough for me. I can take the pattern of my little dolly body, or the pattern I cloned off a dolly, or even a fitted princess line sloper of a human, and make a chemise. (Also, I have drafted approximately 55,237,648,119 smocks and chemises and shirts in my life, and I’m just lookin’ for ways to keep it exciting…) This isn’t unlike draping on a stand, because we’re going to make a pattern by eyeballing fit against a human form. It’s just that my human form, in this case, is in the form of flat pieces instead of a three-dimensional stand. But those pieces convey all the same critical information the stand does, and they don’t cost near as much as a decent dress form.
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Sometimes, you have to finish a seam allowance so it won’t fray. (Or, possibly, you’re like me and compulsively finish seams, whether they need it or not.) There are times when you can’t use a french seam, or you are working in an area too tight for a felled seam, and you want something nicer than an overcast edge. This method of finishing a seam allowance by hand will prevent them from fraying, and lightly reinforce the seam.
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It sounds way too good to be true, doesn’t it? I mean, making patterns without a whole bunch of math? You can do such a thing? We’re barely even going to use measurements! We’re going to use out Basic Conic Block, and enjoy good old fashion magic of the sloper alteration. If this sounds too modern, there’s something you need to know: the idea of describing a pattern as a series of steps and measurements is less than 150 years old.
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This is a really nice looking edge finish. It’s decorative and fully sealed. It shows up all throughout the ages – sixteenth century ruffs, smocks and chemises of all eras, even on modern blankets (of all things). It’s also a great utility stitch – milliners use it to whip wire down to buckram hat brims.
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This is a very basic embroidery technique that will serve you well. It’s sometimes called a french knot or a bullion knot. It’s a nice decorative touch. It’s also the absolute fastest way to tie off a thread when you’re sewing – just make the knot on the inside of the garment instead of the outside, and bury the threads!
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This is a wonderful trick I learned in a millinery class. It’s one of those silly things that someone shows you and you wonder why you never thought of that…. It’s simply the fastest way to tie a knot at the end of your sewing thread. I mean, right at the end, every time, without the knot slipping off the end of the thread.
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Every now and again, bad things happen to good costumers. Usually, they happen at the worst time possible. I pulled out Ye Olde Disney Peasant dress for a Halloween party over the weekend, and being my normal timely self, I was done washing it about a half hour before my guy was supposed to pick me up. And that’s when I noticed disaster: a three inch rip up the center back bodice, through both layers, which had also loosened a few inches of skirt pleating. Oh, joy…. I love a last minute repair. Should you find yourself in the same situation, here’s how to fix it.
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