1880s Squirrel Dress, Part IV: Bodice Mockup

With my skirts basically finished, it was time to start work on the bodice. I specifically planned to make it before pleating up my trim for the skirts, since trim can be pieced together and fudged a bit, whereas the bodice needed to be perfect (and stripe-matched). Anyway, I used Truly Victorian 466, the Alexandra Bodice, and I admit that at first glance it looked pretty daunting. So many pieces! Obviously, I started with a mockup.

My first try wasn’t awful, but it needed some work:

The sleeves were too far off the shoulder and I think the back of the bodice was just a touch too long, which made the whole back wrinkle oddly. I took some width out of the shoulders, and shortened the bodice at the shoulder seam because it was loose in the upper chest and back. Plus, once I had all of my skirts on the added bulk at the front required some extra room over the tummy, which I achieved by adding a little extra flare to the bottom of the side pieces. Oh, and the sleeves were far too loose for my arms, so I took out a whole inch of width all the way down the back seam, and shaved off some of the curve at the elbow because it pooched weirdly when my arms were straight. So basically I changed everything. ūüėČ

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1830s Butter Yellow Day Dress, Part II: Bodice

1830s-yellow-bodice

The first thing I do for any new pattern these days is make at least a partial mockup– and in this particular case I’m extra-glad that I did, because the bodice was just WEIRD on me as originally drafted. I must have extremely square shoulders or something, because when I pulled the neckline out to the correct width, the center front got pulled up to make a really prominent bulgy area right at the bust.¬†

1830s-mockup.jpg

At first I tried taking a fisheye dart right in the center to pinch out the extra fabric, but eventually I realized that it was a shoulder issue. Once I added a little extra space to the shoulder line (an extra size’s worth, front and back), that opened things up and smoothed out the center front. Whew! I suppose it might not have been a big deal anyway, given that the smoothly-fitted bodice lining is covered up by an over-layer, but I want the fit to be right even if I can’t see it. One more thing I did change was to add an extra 2″ to the side seams to allow for some expansion if required in the future.

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Lady Macbeth Beetlewing Gown, Part III: Patterning and Mockup

In determining how this gown would go together I reviewed a lot of the photos of the restoration of the original gown. Since it was crocheted it’s not surprising that there are few (if any) shaping seams– it looks as though the top of the gown is shaped only through side seams, and there’s a dropped, pointed waistline (front and back) where the gathered skirt is attached.

I decided to cut the top section in panels for shaping, which would also minimize the stretchiness of the fabric– I figured that the bodice would be more stable if it were interspersed with non-stretchy seams connecting the panels. I started with a basic princess-seamed dress pattern (Butterick Sew Easy B5872) and cut it out according to the size chart for my first mockup. That was a big mistake, since there was a ton of ease in the dress and I ended up pinching out a whopping 8 inches of width to get a fitted bodice.

Eventually I cut the bodice mockup to a deep, rounded point both front and back, and moved on to the sleeves. And let me say right now, they were a serious pain. The problem was that my bodice pattern was for a sleeveless dress, and it’s not as easy as it looks to just graft a sleeve pattern onto a sleeveless bodice. I went through way too many iterations, altering both the sleeve and the armscye, before I finally got my basic sleeve right.

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1882 Tea Gown, Part II: Mockups and Pattern Alterations

With all the pattern alterations I’d be making to TV432, I knew I’d have to make at least one mockup, likely several. Since I don’t have a ton of experience altering patterns so drastically, I decided to cut a mockup from the straight pattern just to see how it fit. Oddly, the size according to my measurements ended up being too small, so I cut the front two sizes bigger to give myself tons of room, marked (but did not stitch) the darts, and then tried on the mockup so I could pinch darts and seamlines to fit.

I determined (like the Modern Mantua Maker) that the best way to incorporate my center front panel was to morph the darts into princess seams, one of which would form the closure of the gown. I basically put the mockup on, pinned the center front closed, and pinched in princess seams on either side. You may be able to see that I tried two (very slightly different) options for the shape of the curve– I ended up going with the one on the left. There are also single darts to the outside of the seams, for better fit.

teagown-mockup-1

I will note that while the original center front line was shaped to allow the two pieces to be sewn together for a nicely curved bustline, I pinned the center front down a straight line so I could cut the center panel as a single piece later on. I’m small-busted enough that this didn’t cause any issues, but if you’re well-endowed you may want to keep the center front panel as two pieces so you can sew in that curved bustline. As long as you add an overlay to cover the seam it won’t matter.

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1840s Day Dress, Part II: Bodice Mockup

calico-mockup

So I had my fabric– red calico– and my pattern– Laughing Moon 114. It was time to get to work!

As usual, before trying to make the actual bodice I made a mockup from the pattern, to ensure that it fit properly. Luckily for me, the measurements and proportions of my dress form are pretty darned close to my corseted measurements, so I can do most of the fitting work on the form rather than having to put on the mockup every time.

The bodice is constructed out of a fitted lining and a gathered overlay, so I figured that I really only needed to mock up the lining to make sure it would fit. I cut out the entire bodice lining (View B, size 14) and tried it on.

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1910 Afternoon Dress, Part III: Pattern Alterations and Bodice Mockup(s)

IMG_8413

Since I’m modifying Laughing Moon 104 so extensively, I knew I would have to make a mockup, or several mockups, before finalizing the pattern. Honestly, I’d have done at least one mockup anyway, but the pattern alterations just made it even more important. (sadly, the cat decided that she was more important, which delayed things a bit)

I decided to start by using the princess-seamed front pieces of the underbodice, but the more simplified back pieces of the guimpe (separate underblouse). I figured that this would allow for easier application of the trim and reduce bulk under the bretelles in front (since I could stitch the trim across the bustline to just the center front panel and hide the raw edges in the seams), but still allow movement due to the looser fit of the back. I first cut out the pieces as-is out of an old sheet and seamed them together as instructed, but it quickly became apparent that the bustline didn’t fit properly at all. The dress doesn’t appear to have been designed to be worn over a corset, or at least not the kind of corset that I have, since the curve of the dress bodice creates a high, perky bustline that’s almost pointy in shape. It doesn’t seem to match either the slight flattening effect of my mid-Victorian corset (I know, wrong corset, but it’s all I have), or the low, full bust effect that was en vogue in the Edwardian era.

I ended up cutting the side front pieces with a shallower bust curve, figuring that the bodice itself doesn’t fit that snugly (at least, not with the loose back piece), so it wouldn’t be an issue even if I did eventually get the right Edwardian corset. Anything was better than the bullet-bra shape I was getting from the original pattern.

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The Grey Lady, Part III: Mockup

Knowing that I would be modifying the pattern for this dress, I decided to make a mockup first to ensure it would fit after I’d changed things¬†up. I’d intended to use my lining fabric, figuring that I could make the mockup, cut the new pattern, and then re-sew the pieces for a lining, but once I decided to use¬†the slippery polyester lining fabric¬†I was reluctant to subject it to too much stress with basting and ripping and re-sewing. Instead, I purchased some pale yellow cotton shirting for $1/yard to serve as my muslin.

The first thing I did was cut out the paper pattern pieces and re-trace them onto butcher paper, then tape on extra pieces of paper to modify the pattern. I added about 5″ to the hem, drafted a full-length straight sleeve instead of the flowy one on the pattern, and drew a much higher neckline than called for, since I’ve heard this pattern can run short and be rather revealing.

I also experimented a bit with the back pattern pieces, since¬†I want to add some lacing¬†to the back side seams to allow for fit adjustment. The first thing I did was change the position of the back princess seams, since they curve out to the armscye instead of going up over the shoulder like the seams in the front, making it impossible to just add lacing and expect it to fit¬†properly. Once I figured out how to redraw the seam lines I added width in the seams to allow for the panels to expand and fold in on themselves depending on how tightly they’re laced. I did leave the center back zipper in– I couldn’t remove it¬†completely because I’m not adding enough extra space in the waistline to allow¬†it¬†to fit over my bust, even when unlaced. It’ll make lacing kind of a pain, since the laces will have to be done anew each time the zipper is zipped or unzipped, but I think it’ll be good to have the flexibility in sizing.¬†It’ll also give me some wiggle room (literally) for when I sew up my seams and blithely eyeball the seam allowance.

GL mockup

You can see the folding back seams here– I’ve pinned them in place, as well as overlapping the back to simulate a zipper closure. Just imagine the lacing between the black threaded seams down the back.

GL mockup backGL mockup back close

Once the mockup was cut, basted, and on my dress form, a few issues became apparent. First, my added hem length was probably overkill– at most I’d need an inch or two extra, not the five I’d added. The back lacing alterations looked good for the most part, though I’m beginning to see why the back seams were drawn curved in the first place– there’s a weird little blousy area right over the shoulder blades that I’m sure wouldn’t have been there if I’d kept the original seam lines. However, since I can’t figure out how to fix it short of putting in darts, I’m just going to ignore it and hope no one notices. I also noticed that the sleeves weren’t set deeply enough into the bodice– the “shoulder strap” sections were so wide that they restricted my arm movement– so I ripped out the seams and re-set them on a deeper curve.

I drew out a new neckline and marked where my gores would fall on the skirt, front and back. I also tried it on just to be sure that things fit properly (my dress form isn’t perfectly matched to my measurements), and marked the correct hem length and where I wanted my sleeve puffs to fall on the arm.

Then I carefully ripped out the necessary¬†seams and used the mockup pieces to¬†modify my paper pattern pieces, including completely re-drawing the sleeve (you’ll see how later).

GL mockup sleeve

Now that my pattern pieces are set, it’s time to get cutting on the real stuff!