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An advertisement in the Sears catalogue for drawers. 1912

An advertisement in the Sears catalogue for drawers, 1912.

When the news of a Titanic-themed event suddenly bursts upon you, panic ensues!

Later this year a costume group that I am a part of is planning a dinner at the Titanic Restaurant in Melbourne. The only unfortunate part about it is that it means doing a whole set of new clothing for a new era – 1912 to be exact – from the undergarments out.

Chemise-drawer-combinations for sale in a catalogue

Chemise-drawer-combinations for sale in a Macys catalogue, 1911.

One of my first concerns upon “embarking on this voyage” was the quantity of undergarments that a late Edwardian woman wore; including a chemise, drawers, corset, corset cover, petticoat, brassiere, and bust improvers. Whilst I do like to make undergarments for all of my costumes, I felt that making a full list of them was going a bit “overboard”! Luckily my research indicated that Edwardian women also felt the same as I, that such an extraordinary number of undergarments could be simplified slightly, whilst still obtaining the same effect.

A chemise was always worn next to the skin, with the drawers either pulled over or slipped underneath it, and both of these were worn underneath the corset. However, as more and more undergarments were added to the undergarment ensemble during the late Victorian times, the chemise and drawers were one of the first to become conveniently combined.

A combination suit, chemise-and-drawers in one. From a private collection owned by "Lady Carolyn".

An Edwardian combination suit, chemise-and-drawers in one, showing the split crotch and the wide leg. From a private collection owned by “Lady Carolyn”. (Source link below)

In order to combine these garments, they were effectively just joined at the waistline, with the top of the combinations providing the essential layer between the corset and skin, and the bottom doing the job of the drawers. The chemise of the late Edwardian era was made from thin cotton batiste, sleeveless with thin and often lacy straps, and generally included pin tucks or lace insertion. The neckline was often decorated with ribbon-threaded lace which enabled the top to be drawn in as necessary. The drawers of this era reached to about knee length, and had a very wide leg often with ruffles or lace around the bottom. The crotch was split, as in previous eras, to enable ease of toileting which is generally difficult when wearing a long corset.

Pattern

I didn’t bother using a pattern for this undergarment, but instead used a singlet top and a pair of loose shorts as a guide to cutting out.

As this garment is worn under the corset, it did not matter too much about the fit. I took notice of my waist, bust and hip measurements to make sure I didn’t make it too small, but as this was a looser fitting garment, bigger was a bit better. The most important part of the fit, I found, was to ensure there is enough room in the length (shoulder-to-crotch) so you can still sit down comfortably.

The singlet and shorts I used as a pattern guide.

The singlet and shorts I used as a pattern guide. After cutting out, I pinned and draped the pieces on a dress form to make sure I was on the right track. I made the leg sections longer and wider.

My combinations were made from white cotton batiste, and trimmed with various sorts of cotton lace. The buttons I used were plain-and-plastic.

Construction Steps

Step One: After cutting out the pieces, I began with the top half. The side seams were sewn and then the shoulder seams. The centre front seam was cut on the selvedge and was left open for a button placket.

The top (chemise) of the combinations. The centre front is on the left, and the centre back on the right, showing the side seams pinned.

The top (chemise) of the combinations. The centre back fold is on the left, and the centre front (selvedge) is on the right. This picture shows the side seams pinned. You can also see that there is very little shaping in the bodice area.

Step Two: For the bottom half of the combinations, I first sewed the side leg seams. Then the inside leg seams were pinned and a small part of the centre back seam (at the top of the drawers) was sewn closed.

The combination (drawers), showing the inside leg seam and the split crotch.

The bottom (drawers) of the combinations, with the side seams sewn and a small part of the centre back seam also sewn. This picture also shows the inside leg seam and the split crotch.

Step Three: The raw edge around the split crotch was hemmed. At this point I decided to make the inside leg seams button-up to make it easier to use toilet facilities. As keen as I am as dressing in historical dress, I have not got to the stage of foregoing modern underwear!

The inside leg seam is buttoned up. The split crotch seam has been hemmed.

The inside leg seam is shown here buttoned up. The split crotch seam has been hemmed. At the front the split crotch goes straight into the centre front button placket.

Step Four: The top and bottoms were sewn together at the waistline. I used insertion lace to attach them but there were various other methods used, such as using ribbon-threaded lace or a simple waist seam.

The two halves are attached with insertion lace. Here you can see that the side seams did not match up.

The two halves are attached with insertion lace. Here you can see that the side seams did not quite match up.

Here is a good tutorial for insertion lace, although the method I used was a little different.

Step Five: Ruffles and lace were added to the bottom of the drawers.

The lace was first attached to the ruffle strip, which was then gathered and sewn to the bottom of the leg.

The lace was first attached to the ruffle strip, which was then gathered and sewn to the bottom of the leg.

Step Six: The raw edges of the neckline and armholes were both hemmed with lace, and ribbon inserted around the lace at the neckline.

The neckline and armhole are finished with lace. The neckline has an extra row of ribbon-threaded lace to draw in the top edge.

The neckline and armhole are finished with lace. The neckline has an extra row of ribbon-threaded lace to draw in the top edge.

Step Seven: Buttons and buttonholes were added to the centre front of the combinations. I was a tad lazy and did not make a proper placket for the buttons and buttonholes, preferring to just use the selvedge edge. This has caused a bit of puckering as the material was a bit thin.

The buttons down the centre front.

The buttons down the centre front.

And all finished…

The front view. The inside leg seams are unbuttoned in order for the garment to sit on the form.

The front view. The inside leg seams are unbuttoned in order for the garment to sit on the form.

The back view. The split crotch does look as though it would be a bit breezy. Apparently drawers tended to have so much material in them with made the "breeziness" not as apparent.

The back view. The split crotch does look as though it would be a bit breezy. Apparently drawers tended to have so much material in them which made the “breeziness” not as apparent.

This was a fairly straightforward piece to sew, mainly because the fitting of it did not need to be very exact. The next thing on the list may prove to be more tricky! A 1911 corset – coming soon!

Related Posts

Making a Victorian Chemise

Making a Gored Petticoat

Sources and Relevant Links

“Titanic” Theatre Restaurant – in Williamstown, Melbourne.

Image Source (1): Sears Catalogue (No. 124) at Archive.com

Image Source (2&3): Interpreting Edwardian Undergarments – by Lady Carolyn

Tutorial: Basic Insertion Lace By Machine – by Wearing History

Dressing for dinner on the Titanic: Early 1910s Evening Dress – by Demode Couture

Turn an op shop find into Victorian/Edwardian undergarments – by Fashioning Nostalgia

Combination Brassiere-and-Drawers – by Lady Carolyn

Walking Dress, 1901, from De Gracious, Netherlands.

Walking Dress, 1901, from “De Gracieuse: Geillustreerde Aglaja”, The Netherlands.

After finishing my 1902 skirt and realising that I had an imminent Steampunk event to attend, I decided to make a jacket to match the skirt using the left over material.

Zouave and bolero jackets had become very popular through the 1850s and 60s and continued to be popular through the last half of the 19th century. They seemed to be consistently used as a fashion accessory rather than a warm jacket to protect against the cold, judging by the contemporary fashion plates. There was a tremendous variation in the styles and decoration of these types of jackets, and even different names to confuse you some more! The Eton jacket for women, for instance, was similar but tended to be always buttoned up at the front.

The zouave and bolero were generally short jackets, going only to the waistline. They could be decorated with any manner of trims, some imitating a military look, others more feminine with embroidery, or even decorated with ribbon and braid. They could have long sleeves, short sleeves, or no sleeves, and – whilst they were often left open – some did have front fastenings.

A picture of a Zouave Jacket and its pattern, in Period Stage and Screen, by Jean Hunnisett.

A picture of a Zouave Jacket and its pattern, in Period Costumes for Stage and Screen, by Jean Hunnisett.

Pattern

The pattern I used was found – again – in Jean Hunnisett’s book, Period Costumes for Stage and Screen. It is not a pattern that she had drawn up herself in her pattern sheets, but a pattern that had been reproduced in a picture as a “Pattern for a Zouave jacket.” This jacket is very similar to many fashion plates of the period.

There were a total of four pattern pieces included: front panel, back panel, collar, and cuff. I drafted these up onto 1 inch grid paper.

In order to enlarge these types of old-style patterns up to full-size, first find the starting point of the pattern piece – often indicated with a circle or the letter A. Then use the horizontal numbers (indicating width measures) and the vertical numbers (indicating height measures) to measure out the pattern piece onto grid paper.

The part of the pattern that was the most tricky was the right side of the front panel, as the sudden use of large quantities of letters (instead of numbers) was hard to interpret. I eventually made the presumption that the jacket picture was drawn to scale and sketched it as closely as I could.

The pattern pieces, in which the seam allowance was added.

The finished pattern pieces, in which the seam allowance was added when cutting out.

This jacket was made from a cotton with a woven stripe, lined with a black broadcloth and trimmed with black polyester braid. Interfacing was used in the front lapel facing. As usual, I did a mock up in calico before I started. The size of this pattern seemed to be pretty perfect for me and needed hardly any adjustment.

Construction Steps

Step One: First I added facing to front lining piece, trimming off any excess material. The seam allowance was pressed to the front and top-stitched down.

The lapel facing is sewn to the lining to make one front-panel-lining piece.

The lapel facing is sewn to the lining to make one front-panel-lining piece.

Then add interfacing to the wrong side of the front lapel area.

Step Two: The front and back pieces were then all sewn together; first the centre back seam, then the side seams, and then the shoulder seams. This was done for the lining pieces and then the outer pieces, resulting in “two” jackets.

The centre back seam of the lining is sewn together.

The centre back seam of the lining is sewn together.

The outer layer of the jacket is sewn together, except for the shoulder seams.

The outer layer of the jacket is sewn together, with the shoulder seams pinned ready to sew. You can see the front darts already sewn in.

Step Three: At this point the front darts of the jacket can be taken in. This is also a great time for a fitting!

Step Four: The two layers of the jacket are sewn, right sides together, along the bottom edge – matching all seams and darts. Continue to sew up the centre front and around the lapels until you reach the neckline. Leave the collar area open. (You may need to pin your collar on at this point to check where it will sit.)

The two layers of the jacket are put together and sewn.

The two layers of the jacket are put together and sewn around the bottom and centre front edges.

Clip any seam allowances and turn the jacket right sides out. Press well. You could top stitch the edges at this point, however I intended to add braid which would hold the edges in place.

Step Five: The collar pattern is a fold-down collar, and has a centre back seam. This means that the pattern piece needs to be cut out four times in the outer material, and four times in the lining/interfacing (I have used the black cotton broadcloth as a stiffener).

At first I was a little baffled about how to sew it. First, I flatlined the collar with the lining material, which meant it did not require interfacing. (You could always use interfacing instead though.) Both layers were then treated as one.

The centre back seam of the collar was sewn next. This has to be done a second time with the other collar pieces. (This second collar will form the collar facing.)

The centre back seam for the collar is sewn.

The centre back seam for the collar is sewn. (The pattern piece is there for comparison, but I didn’t sew a centre front seam, even though it looks like I did!) In this picture the collar is already folded in half for the next step.

Then the top edge of the collar was sewn according to the pattern line, to form a “curved dart”. This needs to be done to each side of the collar and for the collar facing pieces as well.

The top edge of the collar is pinned right sides together to sew.

The top edge of the collar is pinned right sides together, ready to sew as per the pattern line.

I could have cut the top and bottom halves of the collar separately but then I would have had a thick seam on this top edge, so instead I have sewn it as a dart. Press the centre back seams open at this point.

Then the collar is opened out and sewn, right-sides together, to the collar facing around the sides and top of the collar. The bottom edge of the collar is left open, with the seam allowance of the facing folded up.

zouave jacket collar 3

The collar is pinned ready to sew around the outer edges. Make sure it is sewn on the “top” or “fold-down” edge. The bottom edge is left open, with the seam allowance of the facing folded up.

The seam allowances of the collar should be clipped and then turned the right way and ironed well.

The collar is then sewn to the jacket, matching the centre back seams. The seam allowance of the neck/collar can then be turned inside the collar and hand-sewn down.

The collar is attached to the jacket, with the raw edges turned under and hand-sewn.

The collar is attached to the jacket, with the raw edges turned under. The inside edge of the collar will then be hand-sewn down.

Step Six: The sleeves were flatlined first and then the sleeve seam was sewn.

The sleeve seams are sewn.

The sleeve seams are sewn.

The head of the sleeve was then gathered to fit the armhole, and sewn in – right sides together. The raw edges of the sleeve were trimmed and bound with black bias binding. The bottom edge of the sleeve was gathered to fit the cuff.

Step Seven: The cuffs – like the collar – were also in two pieces, so had to be cut four times for each sleeve. I did not use interfacing for these either, but instead used one layer of broadcloth as a stiffener (which meant there were two cut from the lining material for each sleeve).

The cuffs were then sewn, right sides together, around the lower edge of the cuff (with the seam allowance of the cuff facing turned over in the same way as the collar). Seam allowances were clipped and then the cuffs were turned right side out and pressed well.

The cuffs were then sewn to the bottom of the sleeve, with the cuff facing being turned under and handsewn down to hide the raw edges.

zouave jacket cuffs

The cuffs sewn, turned right side out, and sewn to the bottom of the sleeve. The inside raw edge will be turned under and handsewn down.

Step Eight: The last step involved the hand sewing of the braid and the addition of two buttons and buttonholes.

The braid and buttons attached

The braid and buttons attached

I am really pleased with the finished result!

The front view

The front view

The back view

The back view

The collar does not sit quite like it should (from in the picture, anyway), so I think I will use a few tacking stitches to keep it in place.

It does look a tiny bit short at the back, but I am planning on making myself an Edwardian belt to go with this ensemble which should disguise that.

But there it is, my new dancing and (quite historical) steampunk outfit! It is lovely to dance in, too!

Related Posts

Making a 1902 Walking Skirt

Making a Bolero Jacket

Sources and Relevant Links

Image source: Walking Outfits, published in “De Gracieuse: Geïllustreerde Aglaja” (1901) from The Netherlands.

Bolero and Zouave jackets of the mid-19th century – by The Quintessential Clothes Pen

Bolero jackets of the 20th century: 1900-1909 – by The Quintessential Clothes Pen

Period Costumes for Stage and Screen, by Jean Hunnisett – buy on Amazon

McCalls Dressmaking 1901 – by Dressmaking Research

Fashions in The Delineator, 1902

Both of these skirts have a form of circular flounce, taken from The Delineator, October 1902.

For a while I have wanted to make a new dancing skirt. I have loved dancing in my Victorian Fan Skirt and I really love this style of skirt prominent in the late Victorian and early Edwardian period. The long A-line shape with the pleated fullness at the back seems so elegant, and it is a style that I think I could wear everyday!

After the late bustle period faded away in the 1880’s, the skirt – which had already become tighter over the front of the waist and hips – lost the bustle bulge at the back and became fitted closely around the waist, but full at the bottom. This basic style continued through the 1890’s and into the Edwardian period until around 1908 when the fashions for skirts began to change again.

The type of skirt that had particularly caught my eye was one that had a circular flounce that kicked out below the knees. This seems to have been particularly popular during the early Edwardian period, when S-bend corsets were also in fashion.

“They’re–they’re not–pretty,” said Anne reluctantly.

“Pretty!” Marilla sniffed.  “I didn’t trouble my head about
getting pretty dresses for you.  I don’t believe in pampering
vanity, Anne, I’ll tell you that right off.  Those dresses
are good, sensible, serviceable dresses, without any frills
or furbelows about them, and they’re all you’ll get this
summer.  The brown gingham and the blue print will do
you for school when you begin to go.  The sateen is for
church and Sunday school.  I’ll expect you to keep them
neat and clean and not to tear them.  I should think you’d
be grateful to get most anything after those skimpy wincey
things you’ve been wearing.”

Anne Of Green Gables, by Lucy Maud Montgomery

Walking Dress, c. 1902, pattern in Period Costume for Stage and Screen, by Jean Hunnisett.

Walking Dress, c. 1902, pattern in “Period Costume for Stage and Screen”, by Jean Hunnisett.

Pattern

I found the pattern I wanted to use in Jean Hunnisett’s book, Period Costume for Stage and Screen. All of the patterns in this book are based on period patterns or fashion plates, but have been altered by the author to fit the more modern figure.

This particular skirt had a straight front panel with the circular flounce only going around the bottom of the side panel. This pattern consists of four main pieces; front panel, side panel, side circular flounce, and back panel (plus a waistband).

The only two measurements I took was my (corseted) waistline and my waist-to-floor length. This skirt was made from a cotton fabric with a self-woven stripe. It was flat-lined with black cotton broadcloth and trimmed with black polyester braid.

Construction Steps

Step One: All pieces of the skirt were flat-lined with cotton broadcloth. I began by basting the lining to each panel.

The front panel of the skirt, flat-lined with cotton broadcloth.

The front panel of the skirt, flat-lined with cotton broadcloth.

Step Two: Then I sewed the circular flounce to the bottom of the side panel.

The circular flounce is sewn to the side panel.

The circular flounce is sewn to the side panel.

Step Three: Then all the skirt pieces were sewn together.

The back panels are sewn together.

The back panels are sewn together.

Step Four: At this point I fitted the skirt. The side panel had darts to fit it to the waist, and the back panel had two large pleats on each side of the centre back seam to take in the fullness of the skirt.

The back pleats of the skirt

The back pleats of the skirt

Step Five: Once the skirt was fitted, I attached it to the waistband in the normal manner.

Step Six: Up to this point the skirt construction had been fairly straightforward, but the hemming practices of 1902 was something I had never done before. My skirt was levelled and then hemmed using some helpful advice from Historical Sewing.

I cut a length of black broadcloth on the bias (7″ wide) for my hem facing. I also cut a length of white cotton duck on the bias (4″ wide) for a modern version of “horsehair stiffener” enclosed in the hem.

I laid the broadcloth and duck strips together and treated them as one layer. It was placed, right sides together, on the hemline of the skirt. The raw edges were stitched together at the bottom of the skirt and then the broadcloth/duck layers were turned to the inside of the skirt. The end result was that the white duck was hidden in between the hem facing and the skirt lining.

The inside of the hem, showing the folded facing stitched down.

The inside of the hem, showing the folded facing stitched down. This makes four layers at the hemline; outer skirt, skirt lining, duck stiffener, and hem facing. You can see the stitching lines for the braid attached in the next step.

The upper edge of the hem facing was pleated to fit the skirt and, with the raw edge folded under, hand stitched down on the inside of the skirt. The duck would be attached/anchored in the next step.

Step Seven: Next was the trimming! Two lines of braid were handsewn through all layers along the hemline (which effectively fixed the cotton duck in place and stopped it bunching up in the hem).

The hem finished with trim.

The hem finished with trim.

Then a bias strip of black broadcloth was added to the seamlines, with the raw edges turned under and then edged with more of the black braid used at the hem. (At this point I had to unpick small portions of the waistband to slip the trimming into the waist seam.)

The seam trimming

The seam trimming

I am very pleased with the end result!

The front view

The front view

The back view

The back view

I decided – on a whim – to use this skirt for an upcoming steampunk event, and so then I began planning a matching jacket for it!

Related Posts

Making a Victorian Fan Skirt

Sources and Relevant Links

The Delineator, March 1902 – an article by Antique Crochet

Anne Of Green Gables, by Lucy Maud Montgomery – read online

Period Costume for Stage and Screen: Patterns for Women’s Dress 1800-1909, by Jean Hunnisett – buy on Amazon

Flatlining 19th Century Skirts – by Historical Sewing

How to Finish Skirt Hems for the Most Support – by Historical Sewing

Blouse

1910’s Edwardian blouse, made from cotton batiste

I made a Victorian Fan Skirt a while ago and recently made a bolero jacket to match, using the last of the leftover fabric. The next thing to make was a blouse, often called a “shirtwaist” during this period.

Blouses for women had increased in popularity during the second half of the 19th century. This new form of dressing for daytime meant that there was a bit more flexibility in shirt-and-skirt combinations than had previously been the case, especially when the mode of dress in previous times had been only gowns. This change in fashion during the Victorian era, from gowns to two-piece ensembles, really paved the way for a new element of women’s dress that would continue into the 20th century, gradually making women’s clothing more similar to mens.

I particularly wanted a blouse with a high collar, back-closing, with a pin-tucked front and insertion lace, and with sleeves that were not too full. In short, I can’t tell if my new blouse is an early Edwardian blouse or a late Victorian one!

Pattern

I used a variety of sources to “make” my pattern.

Ladies' Street Costume, Summer 1893, from Authentic Victorian Fashion Patterns.

Ladies’ Street Costume, Summer 1893, from “Authentic Victorian Fashion Patterns”.

The pattern I used for my bolero jacket (from Authentic Victorian Fashion Patterns, edited by Kristina Harris) included a pattern for a shirtwaist blouse. I used this pattern for the sleeves and the cuffs, as well as the back panel.

A free pattern from Ladies Treasury for a sleeveless blouse was helpful to use for the collar shape.

A free pattern from Vintage Connection for an Edwardian blouse was helpful to use for the enlarged front panel, which I needed to make the tucks.

I graded the different parts of the original patterns up and then made the necessary adjustments according to my measurements.

This blouse was made from white cotton batiste, with cotton embroidered insertion lace, cotton lace edging, and plastic “mother of pearl” buttons.

Construction Steps

Step One: First I did pin-tucks down the centre front of the front panel. There were fours sections of pin-tucking, each with four rows of pin-tucks each. Then the material was slashed in-between the two rows at the left and in-between the two rows at the right. This slash allowed for the insertion lace to be attached.

The front panel, with rows of pin tucks.

The front panel, with rows of pin tucks. The slash on the left of the centre front is for a row of insertion lace.

Step Two: As my insertion lace had a “seam allowance” on each side, I could not sew it the easier way. Instead I had to slash the material and sew the lace on right-sides-together. The unfinished raw edges were folded under on the wrong side and hand-stitched down.

The insertion lace pinned down to sew.

The insertion lace pinned down to sew.

Step Three: The last thing to do on the front panel was to pin-tuck the shoulder seam area. This was tucked to fit the back shoulder seam. The tucks were released before the bustline, to allow a bit of extra fullness.

The front panel shoulder seam is tucked to fit the back shoulder seam. The tucks are released to form fullness for the bust.

The front panel shoulder seam is tucked to fit the back shoulder seam. The tucks are released to form fullness for the bust.

Step Four: Once the centre front was completed, I turned my attention to the back panel. As the back panel housed the button placket, I prepared the centre back by folding over the centre back edges.

The back panel, with button placket preparation.

The back panel, with button placket preparation.

As it turned out, the back panel was not wide enough for my figure and I had to unfold this section and then add a separate button placket later to give me a few more inches!

Step Five: The side seams and shoulder seams of the blouse were then sewn.

Step Six: The top edges of the collar were sewn together. A small lace edging was also included in this seam so it would adorn the top edges of the collar when it was right side out.

The two layers of the collar was sewn right-sides-together. A small lace edging was also sewn in the seam.

The two layers of the collar was sewn right-sides-together. A small lace edging was also sewn in the seam at this step.

The collar was then attached to the garment, sewing the outer layer of the collar to the blouse with the machine, and then hand-sewing the inner layer of the collar, making sure all the raw edges are tucked under. I did gather (or heavily eased) the neck edge of the blouse to get the collar to fit better.

The collar finished, showing the lace edging.

The collar finished, showing the lace edging.

Step Seven: The sleeves were then sewn. As this blouse needs a shirt-sleeve placket, it is wise to make the placket *before* you sew the sleeve seam (which of course is NOT what I did!). Here is a great tutorial on making a shirt-sleeve placket.

Once the sleeve seams were sewn, the head of the sleeve was gathered and set into the armhole of the blouse.

The bottom edge of the sleeve was gathered to fit the cuffs. The cuffs were sewn together, with the same thin lace edging around the outer edge that I used in the collar. Then the cuffs were attached to the bottom of the sleeve. (For more on the basic attaching of cuffs, see this tutorial.)

The cuffs finished, showing the lace edging and the button.

The cuffs finished, showing the lace edging, the button, and shirt-sleeve placket.

Step Eight: The final finishing steps involved hemming the bottom of the shirt and running a bias-binding casing around the waist. A cotton tape was inserted through this so it could be drawn up to fit snuggly underneath the skirt. Finally a row of buttons were sewn as fastenings down the centre back and on the cuffs.

Unfortunately I had not taken adequate measurements of my width, nor my height, nor my arm length! This meant that the centre back had to have an extra placket added (as mentioned above), the bottom of the blouse had a bit added beneath the casing to make it longer, and the sleeves still need to be pulled apart and re-made so they reach down to my wrists! This is one of the lessons I seem to have to learn again and again with each sewing project.

Anyway, here is the finished garment!

The front view

The front view, with three decorative buttons sewn down the centre front.

The back view

The back view, showing the buttons and the casing ties.

Myself and my daughter at our recent outing to see the new Anne of Green Gables movie.

My daughter and I at our recent outing to see the new Anne of Green Gables movie.

My new ensemble was now desperately looking for a place to “go-and-show” and it was lucky that the new Anne of Green Gables movie was coming out in Melbourne at just the right time! My daughter and I got dressed in our finery, stocked ourselves up with some raspberry cordial and plum puffs, did our hair the best we could, and took ourselves off to the theatre.

My daughter wore her Anne of Green Gables outfit, while I wore my gored petticoat, fan skirt, bolero jacket and my new shirtwaist.

Needless to say, the movie was a great success! Whilst it could never compare to my own personal favourite Megan Follows, I am excited that a new series may reinvigorate a new generation to be Anne-ites.

Related Posts

Making a Bolero Jacket

Making a Victorian Fan Skirt

Making a Gored Petticoat

Sources and Relevant Links

Image Source: 1910’s Blouse at Adored Vintage

Authentic Victorian Fashion Patterns: A Complete Lady’s Wardrobe, edited by Kristina Harris – buy on Amazon

Sleeveless Blouse for Suits, c. 1905 – free pattern from Ladies Treasury

Edwardian Shirt Waist (Blouse) Pattern, c. 1903 – free pattern from Vintage Connection

How to sew insertion lace – by Wearing History

Attaching a collar – by Grainline Studio

The Shirt-Sleeve Placket – by Off The Cuff

How to sew a button cuff – Youtube tutorial by Professor Pincushion

The new Anne of Green Gables movie – trailer on Youtube

Ladies' Street Costume, Summer 1893, from Authentic Victorian Fashion Patterns.

Ladies’ Street Costume, Summer 1893, from Authentic Victorian Fashion Patterns.

Quite a while ago I made a Victorian Fan Skirt, which I generally wear dancing with just a T-shirt. However, I began to feel that it would be nice to make a matching jacket using the left over material. It could then be used as more of a complete costume, instead of just a dancing skirt.

I did not have very much material left, so I thought a bolero jacket would be the easiest option, as it used the least fabric.

Bolero jackets had been quite popular since the 1850’s and 60’s, and continued to be so through to early Edwardian times. They differ from the warm winter jacket and coats, that clearly were designed for warmth. Instead they seem to be more of a decorative fashion.

Pattern

I used a pattern from Authentic Victorian Fashion Patterns, edited by Kristina Harris. This pattern book is a reproduction of patterns that were published in the popular dressmaker’s journal, The Voice of Fashion. The patterns are all authentic 1890’s patterns and cover a wide range of women’s clothing.

I graded the original pattern up and then made the necessary adjustments according to my measurements.

The pattern drafted and then cut out enlarged to fit my measurements.

The original pattern is drafted onto grid paper and then cut out enlarged to fit my measurements.

This jacket was made from the same materials as my Victorian Fan Skirt, with blue cotton outer and white cotton broadcloth lining.

Construction Steps

The construction of this bolero jacket was very simple, as there was no sleeves, no collar and no fastenings. It was also fairly simple to fit without doing a mock-up.

Step One: I began by sewing the side seams together in the outer fabric. Then I sewed the side seams of the lining together.

Step Two: Then the outer and the lining were placed right sides together and sewn around the outer edges. In the picture below you can see that the only part left unsewn is the shoulder seams.

The side seams have been sewn and now the outer is attached to the lining.

The side seams have been sewn and now the outer is attached to the lining.

The curves are clipped and then the jacket is turned the right way and pressed well.

Step Three: The shoulder seams can now be sewn. The outer layer is sewn first with the sewing machine, and then the raw edges of the lining are folded in and handsewn down.

Step Four: Embroidery is one embellishment that I love to do on my clothes, and this jacket was no exception. I drew a design on the edges and embroidered it with one strand of white DMC cotton in chain stitch.

The embroidery, which is a more mid-19th-century design.

The embroidery, which is a more mid-19th-century design.

And here is the finished garment!

The front view

The front view

The back view

The back view

Stay tuned for the next post on making a shirtwaist blouse to complete this ensemble!

Related Posts

Making a Victorian Fan Skirt

Making a Gored Petticoat

Sources and Relevant Links

Authentic Victorian Fashion Patterns: A Complete Lady’s Wardrobe, edited by Kristina Harris – buy on Amazon

Pattern for a Bodice with Bolero Front (c. 1896) – at Ladies Treasury

How to make a simple bolero jacket – Youtube tutorial

These are the last two embroideries for my new quilt project, “Jane Austen’s Bonnet” by Brenda Ryan.

This quilt is a wall-hanging, and features 20 diamond patches that are embroidered with various stitcheries on a Regency theme. The embroideries are nicely framed within the patchwork structure of the quilt and the result is very pretty.

These last two embroideries are quotes and are not in the original quilt. These replace some of the flower embroideries that weren’t really my style. After I searched up some quotes, I printed up a design on my computer that could be traced onto the fabric and then embroidered.

A quote

A quote from Jane Austen’s letters to her sister, Cassandra.

This quote is from one of Jane Austen’s letters to her sister, Cassandra.

Next week shall begin my operations on my hat, on which you know my principal hopes of happiness depend.

I thought a hat quote was essential in a Jane Austen’s Bonnet Quilt! The embroidery is done with a backstitch in one strand of DMC embroidery cotton. I should have done two strands, as all of the other quotes have used two strands.

A quote

A quote from “Emma”, by Jane Austen.

The above quote is from Emma, by Jane Austen.

If I loved you less, I might be able to talk about it more. But you know what I am. You hear nothing by the truth from me.

Mr Knightley says these words to Emma as he tries to find a way to ask her to be his wife. This embroidery has also been stitched with a backstitch, but using two strands of DMC embroidery cotton. I have also stitched a quick running stitch around the outside of the diamonds to mark the stitching line, which I hope will be useful when I put the quilt together.

Stay tuned for the last post of this series, Part Eleven, where I will be putting the quilt together and finishing it all off! – coming soon.

Related Posts

Jane Austen’s Bonnet – Part One

How to make an American Quilt

My English Paper Piecing Project

Sources and Relevant Links

Brenda Ryan Embroidery Designs

Jane Austen’s Bonnet – by Brenda Ryan Embroidery Designs

The next two embroideries I had planned to do for my project, the “Jane Austen’s Bonnet” quilt by Brenda Ryan, were ones of Regency men. These embroideries are not included in the original quilt, but I chose to replace four floral arrangements in the quilt that weren’t really my style.

The easiest way to get a suitable picture to embroider seemed to be to find a fashion plate of the era. I particularly wanted pictures that had very little of the face showing, as I find faces quite difficult to embroider. The first picture I found was of my intended “Mr Bingley” portrait.

Costume Paresian, 1809.

“Habit de Drap Vert Melange. Culotte de Peau Blanche.” Costume Parisien, 1809.

Google Translate kindly translated the French for me: “Green coat cloth mix. White leather breeches.”

The next image was for my intended “Mr Darcy” portrait.

Costume Parisien, 1806.

“Habit a Pattes de Redingotte. Culotte blanche de Veloursacotes.” Costume Parisien, 1806.

Google Translate also translated the French for me on this one, although a little more cryptically: “Great coat dress has legs. White pants corduroy.” One day I will learn French, but at least you get the idea.

I used a light box to trace an outline of the images in fine-liner, only copying the detail that I wanted to include. Then I enlarged my fine-liner copy to the size needed for the quilt. The enlarged copy was then traced (again with the aid of a light box) on to the material to be embroidered.

The first one to complete was “Mr Bingley”.

Mr Bingley was good looking and gentlemanlike; he had a pleasing countenance, and easy, unaffected manners.

Pride and Prejudice, by Jane Austen

Mr Bingley, embroidered

Mr Bingley, embroidered, wearing a dark green coat and buckskin breeches.

This embroidery uses backstitch, running stitch, colonial knots, satin stitch and whipped chain stitch.

The second embroidery to complete was “Mr Darcy”.

…Mr Darcy soon drew the attention of the room by his fine, tall person, handsome features, noble mien; and the report which was in general circulation within five minutes after his entrance, of his having ten thousand a year.”

Pride and Prejudice, by Jane Austen

Mr Darcy, embroidered

Mr Darcy, embroidered, with a dark blue coat and grey breeches.

This embroidery uses backstitch, running stitch, and colonial knots, with some gold beading being used for the buttons. I quite like how they have turned out!

I have also stitched a quick running stitch around the outside of the diamond to mark the stitching line.

The last two embroideries of the quilt will be included in the next post, Part Ten.

Related Posts

Jane Austen’s Bonnet – Part One

How to make an American Quilt

My English Paper Piecing Project

Sources and Relevant Links

Brenda Ryan Embroidery Designs

Jane Austen’s Bonnet – by Brenda Ryan Embroidery Designs

Image Source: Regency man fashion plate, from 1809 – via Pinterest

Image Source: Regency man fashion plate, from 1806 – via Pinterest