Lady Macbeth Beetlewing Gown, Part V: Bodice Construction

beetlewing-bodice-done.jpg

I decided that rather than trying to stitch the beetlewings onto the individual bodice sections before assembly, I’d put the bodice together first to ensure proper fit and placement of the beetlewings. I was actually really excited for this step, because my pieces were finally starting to look like an actual dress after months of collecting supplies, dyeing, patterning, etc.

As noted before, the bodice was cut with princess seams to add stability. I┬ábasted the pieces together by hand to make sure that everything went together smoothly (had a moment of panic when my first iteration seemed to be HUGE, then realized I hadn’t used wide enough seam allowances), then machine-stitched the seams. They were kind of bulky with all the layers in there, so I trimmed down the seam allowances before folding one of the gauze layers over and flat-felling each seam. It wasn’t the neatest process, but it helped clean up the inside and kept the somewhat scratchy tulle layer from irritating my skin.

I was originally going to add a waist stay to support the weight of the skirt, but decided instead that I would mount the skirt on an entirely separate waistband, which would then be tacked to the bodice like a waist stay, so I let that step go for now.

I installed a 22″ long invisible zipper down the center back (would’ve been better to have a 24″ zipper but I couldn’t find one), leaving a 2″ seam allowance on each side to allow for sizing adjustments later on if necessary. I was happy to see that it appeared to fit perfectly, likely helped along by the slight stretch in all of my fabrics. Now I just have to hope that the skirt won’t mess up the line of the bodice after I’ve attached it…

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Regency Pashmina Dress, Part II: Bodice and Skirt

Let me just say at the outset that I am never going to make a dress out of pashmina shawls again. The fabric is so loosely woven that it’s next to impossible to cut straight, it frays if you look at it funny (I had to zig-zag every single edge to keep it from unraveling entirely), and it snags at the slightest provocation. Unpicking seams takes forever and leaves gaping wounds in the fabric, the weight of the skirt alone appears to be pulling the fabric itself out of shape, and I have no idea how I’ll wash this thing if it ever needs cleaning. Never again. Never. Again.

Anyway, back to a time when I didn’t know all this…

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1860s Embroidered Ballgown, Part VI: Finishing the Bodice

ivory bodice fixed

So as you recall, I had some issues with the seams rippling in my bodice— I wasn’t sure what was causing it, but after some consultation with other costumers online we determined that it was likely due to the bodice being too long. The extra length was being pushed up and forwards by the curve of my skirt, causing the seams to buckle.

ivory-bodice

One way to remedy this issue is to fix the shape of the bottom of the bodice– since the original pattern hadn’t provided a stitching line or directions for how to shape it, I’d just done a basic pointed bodice, front and back. However, closer examination of the fashion plates and extant gowns showed that pointed bodices back then had an entirely different shape– much more curved, with a distinctly long front point when compared to the rest of the bodice. This allows the skirt more room to bell out without pushing out the bodice edges.

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I removed my piping and adjusted the shaping of my bodice hem to get it closer to that high arch on each side of center front– I couldn’t make it nearly as extreme as the example above, but I think it’s a little better– besides, not all period gowns had the extreme arch shape anyway.

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1915 Picnic Dress, Part II: Bodice

I had originally planned on making this a two-piece dress with a separate blouse and skirt, but then realized that my fabric was so sheer that it would clearly show the tucked-in blouse through the skirt, making the whole thing look weird. I decided instead to turn it into a dress and add a closure to the side front. The layered design of the skirt would help with this, since it would disguise the closure once it went past the bodice.

I started with Truly Victorian’s TVE45, the 1911 Narrow Panel Blouse, cutting out a mockup just to see how it would fit. To my surprise, it did not go well.

TVE45 - 1911 Narrow Panel Blouse

The pattern is so basic– two T-shaped side panels connected by a front and back– that I’d assumed it would go together easily and without much trouble. Well, it went together easily, but the fit was all off. The front panel was far too low on the chest, and the kimono sleeves pulled the already slightly-angled neckline even more towards the sides of the shoulders, causing unsightly pulling across the bust and skewing the neck opening. The sleeves were also too baggy, which is probably a matter of preferences vs. a flaw in the pattern, but which still had to be adjusted.

I endeavored to fix things first by altering the shape of the front and back panels to be wider and less angled. I like the angled look in general, but here it was not only causing the above-mentioned fit issues, but also reducing the amount of visible space available for my lace bodice insert, which I’d intended to show off. Making the panels wider gave me more space, and making the sides straighter kept the neckline stable. I also raised both panels up several inches– the front for modesty’s sake and the back to keep the neckline where it belonged.

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1860s Embroidered Ballgown, Part V: Bertha

So it’s time to make the bertha (weird name for an article of clothing, but whatever). Berthas can be made of flat or pleated/gathered pieces of fabric, trimmed in any number of different ways. TV442 comes with two options– a flat one and a gathered one.

tv442-01

I decided to make the gathered bertha, which was really just a long, hemmed rectangle with angled lines of gathering to form the ruffles. I figured that I’d cover up my gathering lines with some blue and gold trim to add some visual interest. Accordingly, I cut out the fabric, ran gathering stitches along the appropriate lines, and started pinning things to see how it would look.

Unfortunately, it ended up looking like this (ribbon is tacked down as a placeholder only, but you get the idea). Ugh.

bertha-ruffled

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1840s Day Dress, Part IV: Sleeves and Closures

calico-sleeve

I chose to use the sleeves from View A of the Laughing Moon 114 pattern– short mancherons over tight, bias-cut long sleeves. While the pattern said that I wouldn’t need to line the mancherons, I didn’t like the look of them unlined– instead, I cut out identical pieces out of my fashion fabric and self-lined the mancherons before attaching them to the long, unlined sleeves.

I hand-basted the sleeves into the armscyes to make sure that all of the layers stayed where they were supposed to be, then machine-stitched over my basting. Then (important step) I clipped the curves on the armscye seams, allowing for more movement. The piping turned out looking great– such a nice tiny detail.

calico-shoulder

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1840s Day Dress, Part III: Bodice Construction

Once I finished my mockup, it was time to cut into my fabric. I made the bodice lining out of ivory cotton sateen– it’s a nice, firmly-woven fabric that’s silky-smooth on one side, so perfect for sturdy linings. I couldn’t tell from the pattern whether the center front seam was supposed to be facing the right side or wrong side, so I made it face the wrong side. In retrospect, it probably should’ve gone the other way, to make the foldover neckline easier to do on the overlay, but it was fine.

calico-lining

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