Making a Maroon Medieval Dress

Last October I started on a 15th century inspired project which I titled the “Maroon Medieval Ensemble”. Unfortunately it didn’t go as planned and the only finished part of the project is a rose colored chiffon chemise (which I blogged about here). The dress ended up in a bin at the top of my closet, which is where projects go to die. Or at least it’s where they go when i’m not ready to throw them out but don’t plan on finishing them.

The reason i’m now blogging about this project is because it’s survived the bin of death! Or at least part of it has.

When I was working on my Medieval Escoffin I realized the colors and materials I was using were quite similar to the fabrics in my Maroon Medieval dress. I even used some of the leftover piping from that project on the escoffin. Though the dress wasn’t wearable at all I got it out from the bin of death, I figured I could salvage some part of it and use it as the base for a dress that could be worn with my escoffin.

Which I did! And that’s what i’m blogging about.

Here is the dress in it’s unaltered half finished state:


I don’t think it looks bad from the front. The real issue is that it didn’t fit properly. The waist was too long and didn’t flare enough to sit smoothly over my hips. This caused the bodice to constantly ride up and fold around the waist/stomach area which looked pretty awful.

I majorly goofed up on the back. I added boning panels to a bias cut seam and didn’t realize until later on how warped and pointed the back had become, especially around the neckline. The eyelets were also placed too far apart into fabric that wasn’t reinforced properly. And I tried to sew them with rayon thread which is a big no-no, they were an absolute mess!

I decided that the top part was unsalvageable. But the bottom half was perfectly fine – okay, it’s a little shorter than I’d like, but other than that it’s fine. So I decided to keep that part and attach it to a new bodice which would hopefully fit better and nicely compliment the escoffin.


Before talking about the new bodice, here are some pictures of making the bottom half of the dress. My pattern for the front side looked like this.

I flat drafted it and didn’t make any mock ups, which I think is the reason behind my fit problems.


The bottom band was also flat drafted. This part of the dress is made from the cheapest jacquard fabric that Joanns has in their home decor collection.


The bottom band is trimmed with piping. I used a really pretty floral brocade for this. I cut strips out on the fabrics bias and sewed them together.


Then I folded them in half so they covered a piece of cotton cord and sewed with the presser foot as close to the cord as I could get.

I made this before I realized that lightweight fabrics need another layer of material between them and the cord. Otherwise the markings on the cord are visible through the fabric and the piping can looked puckered  – which totally happened here.


I think I made fifteen yards of puckery piping.


The bottom band was sewn together with french seams.


The raw edges were turned inward by a half inch and hand stitched down.  Then the piping was sewn on by hand. To prevent the edges from fraying I sewed some thin horsehair across the top and bottom edge, but I don’t have a picture of that


Here is the finished band, which was then sewn onto the dress. I think those are all the relevant progress photos I have of this part. The dress itself is made from a cheap suiting I got for less than $3/yard from It’s a three piece pattern and sewn together with french seams (at the sides and at the back). The collar took the most time but that part got cut off so I won’t ramble on about making it!


My new and improved bodice is made from more of the red jacquard. I used the bodice pattern from my Damask Print Dress since it doesn’t have any front seams (dresses in this time rarely did) and fit me surprisingly well. I just altered it to be a three piece pattern with an opening in the back instead of at the sides.

I would have cut this as one single piece but I didn’t have enough fabric left to do that.


I made facings to go around the arm holes and neckline of the bodice.


It all got turned inward and tacked down by hand so stitches weren’t visible.


Then I made some trim from remnants of the brocade piping, some damask print bias tape that is covered in gold mesh, and little chiffon ruffles. All these fabrics were used for my escoffin and I thought this would be a good way to bring those textures and colors into the dress.


Then I sewed a whole bunch of eyelets into the back. They are sewn between two pieces of plastic boning so they won’t stretch or tear.


Then the side seams got done up. I did this the normal way, then folded the seam allowance inward and stitched across the folded edge to create a boning channel. I added two pieces of plastic boning to each side of the bodice. This is to prevent the bodice from bunching up at the sides, which can easily happen in bodices that don’t have darts or bust allowances in them.


When that was finished I hemmed it and got to try it on for the first time. The fit is pretty much perfect, it’s the right length and doesn’t compress the bust too much or flare out awkwardly around the arms, which is great. I’m really pleased with this pattern!



Now it was time to work on the sleeves. I decided to do layered sleeves, which will make it look like I’m wearing a kirtle underneath a short sleeved dress.

The long sleeves are made from a two piece pattern. The top part will be cut from stretch velvet so it nicely clings to the arm and the lower section is made from the damask print fabric with a gold mesh overlay. The short sleeves are made from a very similar pattern that is a bit wider and much shorter. Here are the patterns:


I started by cutting out the short sleeves.


The lower edge got turned inward by a half inch and sewed down.


Then I made more of my piping/bias tape/ruffle combo which will decorate the hem.



That got pinned onto the hem of each sleeve.


And sewn on by hand. All of this was done by hand because I wanted to avoid visible topstitching.


The side seam got sewn up, then I sewed lining into each sleeve.


This is the top part of the long sleeves, made from the same velvet I used on the escoffin. In the end the short sleeved layer will cover this part, so you won’t see it, but I wanted it to match anyway.


These are the lower sections, made from the same fabrics as the sides of the escoffin. I still love this fabric combo,  I think it looks very rich and has a lot of depth to it.


To finish the edges I stitched it onto a piece of lining with the right sides facing each other, then turned it the right way out. I topstitched around the sides (by machine) and hem (by hand), then it got sewn on to the velvet part.


The side seam got sewn up and luckily they fit!


Then the top edge was sewn inside the top edge of the short sleeves. That edge was a frayed mess so I finished it with bias tape.

I set them aside for a bit and sewed lining into the bodice. When that was done they got sewed in with a whip stitch.


Which left me with a lovely wearable bodice!


I’m really happy with this. I like all the fabrics together and it fits, so I don’t have anything negative to say about it at all!


Now it was time to attach the skirt. I put the dress on and hiked it up a little bit so it fit loosely around the waist. I needed some extra room so I could take the dress in at the back so the terrible eyelets wouldn’t be visible.  Then I marked a line about one inch above my waist and cut across that point.


I ripped out the boning and as much of the eyelets as I could. I cut about an inch off either side which got rid of half the eyelets, what was still visible I covered with bias tape.


After it was sewn on you couldn’t even tell!


Then I sewed the skirt to my new bodice with tiny whip stitches. And the bottom edge of the bodice lining was stitched down to cover the raw edge of the skirt.


The skirt fabric is too weak for eyelets so I hand sewed in a zipper. It isn’t accurate, but it’s really convenient.


And that was it! The dress is finished! I love how this turned out. It was a very spur of the moment project which makes the end result feel even better.


Here are a few worn photos of the whole thing. I should have the entire set up soon but I have a bit of editing to do first!




Thanks for reading!


Posted by on November 20, 2015 in Historically Inspired, The Making Of


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Making a Damask Print Medieval Dress, Part Three


This is another project that I forgot about for a while there. I’ve been so focused on new stuff that things I finished a few weeks ago have totally slipped my mind!

This is the third post about making my Damask Printed Medieval dress. Part one about this project is posted here, and part two is posted here.

Step one was cutting out all the skirt panels. Which was easy since this skirt is just a rectangle. And since my fabric is very wide I only had to cut out two panels to get the hundred and seventy inch width that I wanted. I think they were both around fifty one inches long.

The panels were sewn together with the wrong sides facing each other, then the seam allowance was trimmed and the fabric was folded and sewn with the right sides facing each other. This way the raw edge is hidden between the folds of the fabric and you’re left with pretty french seams!



For one side of the skirt I added strips of interfacing to the top ten inches of the edge. That got fused on, then the edge was folded inward by an inch. This will be the opening of the skirt that makes it easy to get on and off.


That seam was also closed with a french seam, I tapered the stitching off once I got to the point where I wanted the opening to be.


Once ironed it looked like this!


Since I wanted to cartridge pleat the skirt I decided to back the top edge with a thick material. I’ve done this a lot and I always end up using strips of flannel, it seems to work the best for me!


Those got folded in half and sewn onto the top edge. Then I pinned some home made bias tape over top to cover the raw edge.


Which also got sewn on. These colors look so out of place against this fabric but I promise they aren’t visible in the end!


I stitched a half inch away from the hem of the skirt, then I turned the fabric over at that stitch line and basted it down with loose running stitches.


I marked a chalk line three inches away from the lower edge of the skirt, then turned the hem inward and pinned it so it touched that line.


I sewed it down with a cross stitch because I was feeling extra patient that day!


Then I switched back to working on the top edge of the fabric. I drew lines every three inches to create a guide for my cartridge pleats.


I sewed over/under each marking I made to create 1.5″ deep pleats. I used upholstery thread for this to make sure it wouldn’t snap part way through. I’ve had that happen to me a few times and it totally sucks!


I straightened out the pleats, then sewed through the back of them.


And through the front of them, about a half inch lower than where my original gathering stitch was.


I think they look pretty awesome at this point. So uniform and cool. But I regret making them this stiff and massive. They stick out too much and look a bit silly. I should have only used one layer of flannel. And less fabric.The skirt did not need to be this big.

Unfortunately this fabric is one that tears easily, and I knew needle marks would be visible all along the top edge if I removed the stitching and tried again. So I decided to stick with it and move forward.


The skirt got pinned on.


And whip stitched in place. That was pretty much it! The dress was done.


Well, it should have been done. But I tried it on and really hated the sleeves…so I cut them off. I also removed the fur trim from the sleeves edge and sewed it around the arm holes instead. I much prefer it this way. I really liked how the bodice looked over my rose colored chemise, so I think i’ll pair this dress with that and let the chemises sleeves show. It isn’t accurate at all, but I think it will look nice.


Even with the sleeve change i’m not super happy with this. It really didn’t turn out the way I wanted and i’m not sure why. I’m hoping to get some worn photos of it on Sunday, maybe i’ll like it better once it’s against a better backdrop!

Unfortunately I don’t have worn photos of it to share right now. The weather here has been stormy for the past week, which doesn’t provide enough lighting for indoor pictures.

I’m sorry I haven’t had very positive feelings about my last couple projects, they just didn’t work out that well in my opinion. But I recently finished two more things and I love how they’ve come out. And i’m really loving my current works in progress too, so I think my next couple posts will have happier endings!

Also! There is a video that shows the whole process. It can be watched here or below.

Thanks for reading!


Posted by on November 13, 2015 in Historically Inspired, The Making Of


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Making a Floral Regency Dress, Part Two

I might have forgotten about this project. Again. I finished making it at the beginning of August and still haven’t finished writing about it, how awful is that?

Today i’m fixing that! This is the second post about making my Floral Regency Dress, part one is posted here and shows how I made the bodice. I also have a post about making the bonnet that goes with this, which is posted here.

The first step in making the skirt was cutting it out. I decided to use my usual four piece skirt method, which involves rectangular front and back panels and two side panels. The side panels are made from a rectangle that is cut horizontally to make two gored pieces which add volume to the hem but keep the skirt relatively narrow at the waist.

That process has never given me any trouble before. But this time I messed up because I forgot something very important: for this to work you have to be using a fabric that is the same on both sides.

Would have been great if I remembered this before cutting the fabric!


To fix it I placed the pieces together with the right sides facing each other. Then I trimmed away a lot of the length and width so they were mirror images of each other instead of being identical.


Much better! Just not the size i’d wanted them to be.

I should also mention that due to limited amounts of material these panels were cut on a different grain than the front and back panel. Which isn’t ideal but luckily isn’t too noticeable once everything is sewn together.


I cut out the front panel and pinned everything onto my dress form so I could see the shape. The skirt is definitely too wide for Regency Era fashion, but I liked it so I left it that way.


Then I made a bit of bias tape and marked a slit down the center of the back panel.


That got slashed open, then I whip stitched bias tape on to cover the raw edges. This creates a nicely finished opening  which makes the dress easy to get on and off.


And then all the pieces got sewn together with french seams. After this was done I trimmed the top edge and rounded out the hem so the skirt will have a nice little train.


Then the skirt got hemmed. I left one and a half inches for the hem. The first half inch got tucked inward and basted down then the hem was turned under by an inch and whip stitched in place.


I gathered the top of the skirt down. I realize now that I really should have removed volume from the front, but at this point it was a little too late. It’s most densely gathered at the front and back, the sides are left completely smooth.


Here it is pinned onto the dress form. Aside from the misplaced volume I was happy with it.


So I pinned it onto the bodice, then sewed it on with a one inch seam allowance.


I made some more bias tape out of scraps.


And used that to cover the raw edges.


Speaking of bias tape, I cut out a bunch of four inch long one inch wide bias cut strips. These will be used as ties for the back of the bodice.


I ironed the raw edges towards the center then ironed them in half so no raw edges were visible. To make sure they stay this way I whip stitched around the edges of each one.


Then the little ties got sewn between the lining layer and the top layer of the bodice. When they were attached I stitched the back of the bodice lining shut.

Then I made a sash from a long strip of cotton sateen and sewed that around the bottom of the bodice.


And that’s it! The dress is finished!



I did take some worn photos of this, but i’m not happy with them. I worked hard on the dress and bonnet but seriously slacked off on the undergarments. My chemise was too short and gaped horribly at the back. The petticoat was too long and not the right shape. The fichu is just a piece of lace because I forgot to make one and was in a rush to get this photographed. I think the sloppiness of those things really effect the way the dress looks when it’s all put together.

I think when summer comes around i’ll make some major changes to this and hopefully end up with a dress (and ensemble!) that i’m happier with. In addition to the changes mentioned above i’m going to hem the dress and remove a good 20″+ of volume from the skirt.

It’s not perfect but I think with a few fixes I can get this project to a point where i’m happy with it. At least I actually finished this project, which is more than I can say for my previous two Regency fashion attempts (they both ended up in my scrap bin…)





Thanks for reading!



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Making a Night Fury / Toothless Pajama Set, Part Two

I managed to figure out how to make the hood for this thing, which means it’s time for the second post about making my Toothless PJs! Part one is posted here, and shows how I made the shorts and top. This post is about making the hood for my PJs…and that little dachshund sized Night Fury hoodie I mentioned last week.

I decided to use the pattern I drafted for my Appa hoodie as a base. But I made it larger in both length and width because I wanted the hood to be deeper. I also drafted a stripe that would go down the back and serve as a base for little spikes.

 Speaking of spikes I drafted a dozen of those as well. And I drew out all the “ears” Toothless has – I think these should be referred to as spines or spikes, but they move and react to his emotions the way an animals ears would, which is why I think of them that way.

These were tricky to draft, since they react and change depending on Toothless’ mood. There isn’t reference photo that shows how they are supposed to look since they look different in every photo. I basically guessed on the shape and kept holding them up to my head to see if they looked right.


Guin’s hoodie was based off the pattern I drafted for her Momo hoodie a few years back, with only a few alterations. I also drafted a tail, rectrices, wings, ears, and a few mini spikes to decorate the base pattern.


Step one was tracing all the spines and spikes onto flannel and cotton. For the small spikes I used cotton, since it’s easier to get clean lines with lighter weight fabric. For the larger ones I used two layers of flannel.

I backed the minky for the six largest spines with fusible interfacing to help them keep their shape.


I showed this process in part one, so I won’t go into too much detail about it this time. I placed two layers of minky between the layers of flannel (or cotton) and sewed around the guidelines.


Then the spikes were turned the right way out and the lower edges were turned over by a quarter inch. This way all the visible edges are finished nicely. These spikes were eventually stuffed with batting.


The pieces that make up the spines (or ears) are relatively flat so they don’t need stuffing. I thought they would need wire or something to give them shape but the interfacing did a surprisingly good job, so I didn’t think that was necessary. Because they were so stiff all the pieces (except for the ones on the left) can be sewn directly into seams and don’t need to be whip stitched on.

But to give them a bit more stiffness I sewed a quarter inch away from the edges of each piece, all the way around. The stitching holds the layers together and makes them feel a lot heavier.

The ones on the left are supposed to be pretty perky, in the movies they even stick straight up at times. So I’m going to create a stiff base that slides into them before they are sewn on, which will hopefully keep them upright.


Before attaching any of those I needed to make the actual hood. Below you can see the hood lining and the two pieces that make up the top layer of the hood. The back portion is made from the cuddle fleece (so it the lining) and the front piece is made from minky stone.

The front portion eventually got backed with interfacing to add a bit of volume to the hood.


Now I ran into a little problem with the spines. Ideally these would be sewn into the seam between the front and back part of the hood, but I was having a hard time visualizing where they should go and I couldn’t get it to look right.

While I was trying to figure that out I did up the back seam of the hood and the lining. I also made the stripe for the back of the hood and sewed that on.

I knew roughly where I wanted the spines to go but I still couldn’t get them to look right. So I sewed the seam most of the way up, but left five inch openings for the spines on either side. This way I could add them a little later on when I had a better idea of how the hood would look.


After doing that the hood was still really floppy, which prevented the spines from sitting the way I wanted.  To fix that I sewed in the lining, then I stitched a half inch away from the front edge to create a channel, which I inserted a piece of quarter inch plastic boning into. Now the hood actually kept its shape when it was up!


So the spines could finally be sewn on and the opening in the seam got sewn shut. I also got all the spikes stuffed and sewed them down the center of the hood with a whip stitch. There are seven mounted on the stripe down the back, and three smaller ones at the very front.

I made sure the whip stitches that secure the spikes on went through the lining as well. This tacks the lining to the top layer of the hood, which prevents it from looking baggy on the inside.


Unfortunately I wasn’t really happy with the largest, most expressive spines. I thought they looked too much like massive elf ears because they were so pointy. Luckily the fix was easy, I just turned the tip over and whip stitched it down so the top looked more like a square than a triangle!

When I was happy with that I made little buckram cones which fit inside the spines and keep them upright.


The buckram was inserted and the bottom edge of the spines got turned over. Then I whip stitched them onto the hood.

The final step was attaching two larger horns on either side of the stripe that goes down the back. Once that was done the hood was finished!


I made sure the top layer of the hood and the lining were secured together, then sewed it onto the body of the hoodie.


And it’s done! I have mixed feelings about this. I really love everything except for the hood. I’m just not happy with the shape and placement of all the spines on the hood, which is a bummer since that’s one of the most important parts. But I like everything else! I think it’s cute and it’s really comfortable to wear. So I’m considering it a success and i’m happy I decided to make it.





Worn photos of it will be at the end, I just want to go through the process of making Guin’s hoodie really quickly!

The first thing I made were her little wings. I used one layer of flannel and one layer of minky for this and inserted wire into them so they would stick up. I used grey embroidery floss to stitch the joint pattern into them but I don’t have a photo of that process.


I made all the rectrices next (not sure if that is the right word for these) and used a similar embroidery process. My stitching on both these and the wings is really bad, I’m a bit ashamed. I was using five strands of floss and a very big needle which made it really difficult to get even lines and stitching.


Then I cut out the body of the hoodie, along with the hood and tail piece.


Here is her little hood and the spines – the construction process for this was really similar to mine!


Here is the placement of the spines on her hood! It was much easier to figure things on on this small scale…


The front part of the hood got sewn on and I stitched the lining in.


Then I assembled the bottom half of the hoodie. These two pieces zip together which makes it really easy to get on and off.


I made a little tale using the same process I used on the spikes for my hoodie. The lower half was stuffed and rest was top stitched onto the hoodie.


Then I added a zipper and did up the side seams.


The hood got sewn on and it was finished! I wish I had added more stiffening to the spines, because they are floppier than they should be. But I think it’s pretty cute.


I don’t think Guin liked her hoodie very much. The hood didn’t fit the way had hoped, since it was too small in the chest to zip up all the way. If I use this pattern for another dachshund hoodie I’ll have to let it out a bit.




Now for pictures of my PJs! I need to take more photos against this wall. I love the color of it.
Toothless Resize 4

Toothless Resize 2

Toothless Resize 3

Toothless Resize 1

That’s it! As I said, I like how this turned out a lot. I would just do things differently with the hood if I made it again.

Thanks for reading!


Posted by on October 30, 2015 in Original Designs, The Making Of


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Heinrich Mücke Inspired Dress, Photos

I have some photos to share today! It’s been a while since i’ve gotten proper pictures of a costume, so I’m excited about these.

These photos were taken in a pumpkin patch and in front of a corn maze that a local farm had set up. I took pictures in one last year but didn’t plan on doing it again this year since I didn’t feel any of my costumes were appropriate for the location.  But when we passed by this one I changed my mind. Something about the color of the corn and the reds of changing trees reminded me of my Heinrich Dress.

So my dad and I got up early on a Saturday and drove out to the farm to get some pictures! It was kind of a frustrating shoot because the camera seemed determined to focus on the corn instead of me, and things looked overexposed no matter how much I fiddled with the settings. But things turned out okay! I ended up with a few shots I really love, and a half dozen more that i’m also happy with. I think the costume has a Harvest Princess kind of vibe to it in this setting, which I really like.

More information about this dress can be found here.

Harvest.Red Foiled Dress.1

Harvest.Red Foiled Dress.10

I was either squinting or had my eyes closed in most of these because it was so sunny, but I’ve tried to pick the ones where it looks intentional.

Harvest.Red Foiled Dress.6

Harvest.Red Foiled Dress.7

Harvest.Red Foiled Dress.9

Harvest.Red Foiled Dress.3

Harvest.Red Foiled Dress.5

Harvest.Red Foiled Dress.4

Harvest.Red Foiled Dress.2

Fun fact about these photos: I was barefoot in all of them because I thought the skirt looked better that way!

That’s it! Thanks for reading! A ‘Making of’ post will be up later in the week.


Posted by on October 26, 2015 in Uncategorized


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Making a Night Fury / Toothless Pajama Set, Part One

That title probably seems really weird if you aren’t familiar with the “How to Train Your Dragon” books, films, and franchise. I won’t get into the details about the series but it centers around vikings and their relationships with dragons. Specifically between the main character Hiccup and his Night Fury who is named Toothless.

The movies are animated and really well balanced when it comes to humor, drama, and adorable dragons. The first one is my favorite movie ever and the second one is definitely in my top five. If you haven’t seen them, I’d highly recommend them regardless of your age or usual movie interests.

If you’ve been following my blog for a while you may be familiar with the Appa inspired pajama set I made a couple years ago, which is based off the Sky Bison design in Avatar the Last Airbender. After making that I immediately wanted to do something similar with the character Toothless. I bought materials for it a week later and started sketching design ideas around that time, but I never began work on it.

I recently came across those sketches and thought this would be the perfect time of year to make something based off of my favorite character from my favorite film. So that’s what i’ll be talking about today!

I don’t have any pictures of my sketches, since I didn’t end up following them very closely. I’d originally played around with the idea of fake paws, wings, and a tail that would velcro onto the hoodie, which were all illustrated in my sketches. But I decided that those ideas really overcomplicated things and weren’t necessary to the design, so I went with something simpler instead.

But here is a picture of my materials! I have some normal black minky, some black double sided fuzzy fabric, and more double sized fuzzy fabric in red. I also used scraps of the brown and ivory fabrics from my Appa hoodie. And for lining the horns I bought black flannel.

The fabric in the middle is something called minky stone. I think this is supposed to look like pebbles, but the texture reminded me of scales, which I thought was perfect for a dragon!


I used the See & Sew B4329 pattern as a base for the shorts, sleeves, and top. This is the same pattern I used for my Appa PJ’s, which turned out well, so I figured I might as well use it again. The top will be a hoodie, but I drafted the hood pattern myself and that will be the focus of the second post about this project.

Here the pieces are all cut out – I added a couple inches to the length of things since they turned out a little short last time. All these pieces were cut from the double sided black fabric except for the back left side of the shorts. That side was cut from red fabric and will be embellished with a viking skull, just as the left side of Toothless’ tail is.


Here are the patterns I drafted to imitate the Night Fury markings and scale patterns.  There is a strip that goes down the back, cuffs, and a pocket for the front.


There are also a ton of little spikes that I drew and copied onto bristol board. There are six on the back of the top, and three on each sleeve.



Lastly I drafted the skull for the back of the shorts. Like all the other patterns I drew this out by eye and fiddled with it until it looked okay. I think it looks more like a goblin with big ears than a skull wearing a viking helmet, but I guess it could look worse!

I fused interfacing onto the back of my ivory cuddle fabric, then traced the skull pattern onto the back and cut it out with sharp scissors.


I blanket stitched it onto the left side of the shorts by hand and that part was done! Still think it looks like a goblin, but i’m pretty happy with it.


I traced all the other pattern pieces onto flannel with chalk, then roughly cut around them.


Then I pinned them to pieces of minky that were cut to the same size. Once I sew around the chalk likes, trim the edges, and turn them the right way out i’ll have pieces with pretty finished edges!


Here is the pocket for the front that I created with that method. The main part of the pocket is minky stone, but there is a one inch border around the top made from regular brown minky. I did this to represent the harness that Toothless wears so he can transport Hiccup.


Here the pocket is with all the brown borders sewn on. It’s pinned onto the front panel of the top.


I stitched across the top and bottom edges to secure it to the front panel….but I did a really bad job. My topstitching looked terrible.

It isn’t unreasonable to assume that the edges of the leather harness were bound with some type of cord, and I thought I could imitate that with embroidery floss. I used four gold strands twisted together and sewed across the edges to try and hide my stitching. Unfortunately they disappeared into the shag of the fabric so you can’t even see them!

So I couldn’t hide my stitching. But I could make the thing look a little fancier – I went ahead and added a button to each side of the top edge, to imitate studs that would secure pieces of heavy fabric together.


That pretty much finished the front side of the hoodie, so I began work on the backside. This piece of minky stone runs down the centerback and will be the base for all the spikes down down Toothless’ spine.

I marked where the spikes would be by sewing around guidelines drawn on the back of the fabric with pink thread, but much like my embroidery floss, the stitching kind of disappears into the fabric.


Here it is sewn onto the back panel – if you look really hard you can see some of the pink stitch lines!


Before moving forward I had to make the spikes. I did this by tracing the spike patterns onto flannel with chalk.


Then pieces of minky were folded in half and sandwiched between two flannel layers.


I sewed around the guideline.

DSC_8079Trimmed the edges down.


Then sewed a quarter inch away from the bottom edge. The fabric gets folded inward at this line and stitched down by hand, so the bottom edge is finished.


After doing that and stuffing all the spikes, they looked like this!


I whip stitched them onto the back and tah-dah! Aren’t they cute?


The next step was cutting the hems of the sleeves so they had a more rounded shape. Then I pinned the minky cuffs on.


And here they are with the cuffs sewn down!  I went with the rounded hem because I think it hints at the shape of paws, but is obviously a lot more toned back than making fake paws.


Since the front and back of the top were done I could go ahead and sew it all together. After taking this picture I stitched up the side seam and hemmed the lower edge.


Now lets take a break from the top half and focus on the shorts for a minute – and only a minute, because these shorts are crazy easy to put together. Once the skull was sewn on I did up the crotch seam on the front and back.


After that the back looked like this – which I think looks pretty awesome! The contrast between these fabrics is so striking.


After the side seams were stitched up I used a basting stitch to turn over the top edge and the hem of the shorts.


Then I turned the hem of the shorts over by one inch to create a rolled hem. I sewed this down by hand because I didn’t have a red bobbin on hand and didn’t want the stitches to show.


I turned the top edge over by two inches, then sewed that down by machine with the normal running stitch. I left a one inch opening at the back so I could thread my elastic through. I’m using some really soft, stretchy, sheer elastic that I got in NYC. I’ve never seen this type in Joanns or online, which sucks because I really like it!


I cut the elastic  to be few inches smaller than my waist measurement, then threaded it through the channel with a safety pin. Once I had an end sticking out through both sides of the opening I made the elastic got stitched together. Then the opening was sewn shut and the shorts were finished!


Probably would have looked better if I used a thinner elastic, but these are high waisted so it won’t be visible when they are worn.





Now I could finally try everything on and see how it looked! It’s really unflattering, but it’s also really cute and comfortable so I can’t complain too much.

Also, I wouldn’t recommend this design for people who sleep on their back…


Here is the back of the top when it’s laid flat – I really like how these fabrics look together!


Now it was time to add the sleeve spikes. I marked where they should go with pins.


Then whip stitched them on! My little Toothless figure is watching over my progress…


And the top is done! Except for the hood, which at this point I hadn’t even drafted. The hood is the most complicated part so it gets a post all of its own.


Though that post might also talk about making a little mini Night Fury hoodie that would fit a dachshund…

That’s it for today! Thanks for reading!


Posted by on October 23, 2015 in Original Designs, The Making Of


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Making a Medieval Escoffin / Heart Shaped Headpiece

Last week I decided to make a Medieval Escoffin. They are a tall, usually elaborate, heart shaped headdress with a padded roll on top. I thought it would be a fun little project and unlike any of my previous headpieces.

The finished piece looks like this – I’ll be taking better photos of it when I have the matching dress finished.

Photo on 10-19-15 at 3.18 PM #4

I’ve seen these headpieces in a lot of paintings and etchings, though they are usually just called heart shaped headpieces or heart shaped hennin. Fig. 50 from the page below was my main inspiration for this, since I thought the slightly wider shape would be more flattering on me than the completely upright ones (like Fig. 51). I didn’t intend for mine to look so similar to the drawing, it just sort of worked out that way.

Also this isn’t to go with the Damask Medieval Dress I’ve been working on – I just borrowed some materials from that piece.


Oh, and those drawings are all from this book. It’s really great for seeing the styles from various periods but it doesn’t have any information on the patterning or making of any headdresses. Which is totally fine with me – I like making that part up on my own.


I started doodling what the pattern might look like flat. Once I realized the curves in the headpiece could be created by adding batting to a flat pattern this became way easier.

My first  few sketches kind of look like the Modius crowns from Ancient Egypt – in fact the shape of a lot of early European headpieces remind me of ones Egyptian Royalty wore. Which I wouldn’t have expected.


 I started by drawing out the shape I thought it would have on newsprint. The right side is what it looked like originally and the left side is the one I altered. I took it in a lot, lowered he top arch, and raised the bottom. Then I drew out the various sections onto the newsprint so I could better visualize the proportions.

I kept holding it up to/putting it on my head and adjusting things until I liked the way it looked. It was surprisingly easy!


This is the pattern I ended up with. But I ended up raising the bottom portion since it was lower than I wanted.


I traced the pattern onto heavy felt weight interfacing and cut it out. I also drew on the separate sections so I would know where to put the padding.


Then I hand sewed wire around each edge. This makes the headpiece a lot more durable and shapeable. For the lower edge I stitched the wire about a quarter inch away from the edge. This will help reduce the bulk at the there, which is good since a lot of fabric will be layered there.

I also tried it on at this point to make sure everything looked okay – and it did, so I carried on.


Then it was time to pad the lower section (I’ve been calling these the “ears” but there is probably a proper name for it). I used circles of quilt batting which I cut up and layered until I had a nice rounded shape.


Here they are pinned on. I whip stitched the edges down shortly after taking this picture.


Then I covered the ears lower section with a damask print fabric. To jazz this fabric up a bit I covered it with a gold mesh – the damask fabric is from NYC and the mesh is from Joanns.



Then I sewed some home made brocade piping across the bottom edge. And I covered the lower edge of the felt interfacing at the centerfront with a scrap of red fabric. This part will eventually be hidden by a ruffle but I didn’t want the felt to be visible from any angle.


Here you can see the textures of these materials together, I really, really, love the combination.


I decided to line the interior before doing anything else. I used some red suiting for this.


Then I tried it on. I was happy with the way it was looking but I thought the lower panels looked a little empty.

Photo on 10-13-15 at 2.33 PM #2

So I started fiddling around with some beads and I realized I had enough of these gold glass beads to embellish the lower panels with a cross pattern.

I got these from Michaels (or maybe Joanns?) the pack of gold ones was on sale for $2. I also decided to stitch fake pearls across the bottom of the panels. For that i’m using super cheap 6mm ones by darice, I think these are 99c a strand.


I made up a paper template for the cross pattern, which looked like this.


I pinned them on and traced the edges of each strip with a yellow copic marker. If I did this again I would definitely draw this pattern onto the fabric before sewing the fabric over a dome. Because that make it way more difficult and the design isn’t even on both sides, which is a bummer.



Taking the fact I was trying to draw straight stripes on a dome into account, I think this looks pretty good!


But I still wanted it to have more details. So I decided to add a little ruffle. I had pink, red, and ivory chiffon, but none of them looked quite right with the damask material. I found this orange chiffon at the bottom of the stack and thought it was perfect, so I cut it into strips which got folded in half to create a finished edge.


I gathered that down and sewed it onto the escoffin. It looks a bit silly, but I was happy with it.


I started doing a little bit of the beading, as you can see on the right side. But the major difference here is the addition of batting to the top portion of the headpiece. This is seriously just a giant rectangle of quilt batting that I folded three times. Then it was pinned and draped inside the guidelines I had drawn.


Here it is after being sewn down!


Now I came to a little roadblock. I had no idea what fabric to use to cover the top portion. This is a spontaneous project, so I didn’t buy any materials with it in mind, I’m just using things I have around.

I figured if the fabric stretched that would give a smoother finish, and the only stretch fabrics I have are stretch velvets. So I raided that bin and luckily came across scraps of red velvet that I used for the cloak on my Christmas Costume in 2013.

I had just enough to cover the top portion. It took a lot of pins, stretching, and pricks to get it to lay smooth but I managed!


I had to cut centerfront to get it to lay flat. I didn’t want the raw edge to show so I covered it with a scrap of velvet.



With the assembly done I went ahead and finished the beading.

(I did this well watching American Ninja Warrior – that show is really addicting)



The last thing to do was add a gem to the front. I don’t actually have any gems, but I do have glass montees. I used a clear one and painted it with alcohol inks until it was a rich gold that matches the other materials used. Then I glued gold beads around the edge and set it into one of the brass cameo frames I got in NYC a few weeks ago.

I think it’s super pretty!


That got sewn onto the center front.



Then I did up the back and it was finished!


I love how this turned out. It’s one of my favorite pieces i’ve made in a while.  That is probably  because it’s so different from any of my other pieces. But I also really like all these materials together, I think they look quite stunning.

And this was really fun to make, which  raises my opinion on it. I love figuring stuff out without any information other than what the finished thing should look like, and I definitely got to do that with this. So that was great.

No photos from the back yet. I think i’ll make a veil to hide my hair, because right now it’s visible from the back and doesn’t look great.

Photo on 10-19-15 at 3.18 PM #4

Photo on 10-19-15 at 3.20 PM #3

Photo on 10-19-15 at 3.21 PM

Cost Break Down:

1/4 yards of:  velvet, damask fabric, gold mesh, chiffon, and suiting = $6

1/2 yard of interfacing & quilt batting = $5.00

Beads, cameo frame, glass montee = $6.00

It probably has fifteen hours of work into it. Maybe twenty. I was pretty damn focused on it for three days, and by the fourth day it was finished. But all the work was fun, I really enjoyed this project!

Thanks for reading!


Posted by on October 19, 2015 in The Making Of


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Garment District Haul, Fabric & Trim

It’s been more than six months since my last one, so I think it’s time for another fabric haul! I usually go into the Garment District twice a year, once around my birthday, and once before Christmas. So this trip was a little bit out of the ordinary for me, but it came at a perfect time since i’ve been feeling quite uninspired recently. But I think having the opportunity to plan a few new projects and purchase fabrics for them was just what I needed, I’m feeling very excited about everything I got and the things I plan on making with them!

I was mostly shopping for materials for three projects and I ended up being really successful.  Here are my swatch cards for those projects.


I had a list with me, and at the top of the list were materials for a Burgundian dress. I actually bought the trims for this dress first, so I had to find a material that matches those. I was expecting this to be a challenge, because my fur trim for the dress is a greyish brown, and the beaded trim I bought is a bright gold. Finding a fabric that goes well with gold and a cool toned brown isn’t something i’d classify as being easy.

But I got really lucky! The first fabric store I went into had just what I needed: A beautiful blue jacquard with a gold scroll print.

I’d sort of expected this project to be red in color, because that is a color I really gravitate towards. But the cool tones in the blue went really nicely with the fur, and the gold perfectly matched the beaded trim. This fabric is part of the 120″ wide home decor collection that i’ve used before, and since it’s so wide I only had to buy five yards.


Here it is in the store, Zahra fabrics. It’s sitting alongside a gold brocade, which I ended up buying for the same project.


Burgundian dresses are usually worn over kirtles. In medieval times these were slim fitting, long sleeved dresses which get wider towards the hem. The neckline of this kirtle will be visible when the Burgundian dress is worn, so I wanted a fabric that went nicely with the jacquard, but also had enough contrast to be interesting.

I found this gold and silver brocade which has a geometric print to it and knew right away that it was perfect. Not only is the shade of gold spot on, the silver threads tie in the cool toned theme and go beautifully with the blue.



At another shop, which I can’t remember the name of, I got this beautiful beaded trim which will be used on the neckline of the kirtle. Usually trims embellished with seed beads are way out of my price range since they are more expensive than sequined trims. But this one was reasonably priced, and I thought the design was too lovely to resist.

Unfortunately I didn’t buy the amount I was supposed to – I had 2.5 yards written down on my list, but only purchased a yard and a half. So I won’t be able to use it around the waistline of the Burgundian dress, which sort of sucks. But I should have enough to use it on the kirtle, and if enough is leftover I’ll put some on the headpiece which will match this ensemble.


The next project I was shopping for is a Cotehardie. This is another medieval garment and I actually plan to make two of them – one inspired by the female version of the garment, and another inspired by the mens version. The women’s version is quite similar to the kirtle, but it’s made from heavier material and is usually more embellished. Which means they are more of a standalone garment than a layering piece.

The mens version looks like a fitted jacket, though it’s less hardy. They extend past the rear, almost like a dress, and were frequently worn over slim fit pants.

For the women’s version I found a beautiful blue velvet which I thought would be the perfect base fabric.


Then I found another brocade, which is a bit more subtle than the gold one. I love how much texture this has, I think that will read well on camera. It also has gold in it, which will work well with the gold trim I bought earlier in the day with this project in mind. It is also in that light blueish grey shade, which is quite similar to the fabric I picked for the Burgundian dress. That wasn’t intentional at all, but I don’t mind too much, I think it’s a pretty color!



The trims for this dress were actually bought before the fabrics. These are trims that have been made with an embroidery machine, so the stitching of them actually looks quite similar to the embroidery on garments hundreds of years ago. Which is why I thought they were the perfect choice for a medieval costume!

I got four yards of the bottom one, and a yard of the top one. The top trim will be used to trim the sleeves, and the bottom one will decorate a sash at the waist of the dress.


Here are the fabrics for this costume all together!


For the mens version I decided against velvet, since I thought it would look out of place. Instead I bought a navy wool suiting, which is quite similar in color but lighter in weight. I got three yards of this, which is probably more than I needed. But at least if I mess up i’ll have extra!


Mens cotehardies are often worn with capelets. Which meant I was on the hunt for a sturdy wool coating. I ended up lucking out and finding one in the same greyish blue color as the brocade I bought for the women’s version. These pieces don’t have to match, but I kind of love that they have the same color scheme.

I only god a yard and a half, but I think that will be enough. This wool is very heavy and has a lovely texture, I bought it for $15 a yard which I think was a good deal!


I didn’t find a fabric I liked for the bottom half of the mens cotehardie ensemble, but I was okay with that. I have this four way stretch knit in a champagne color with gold threads running through it, which I think will work really nicely for a pair of leggings to wear underneath it.


Cotehardies are also known for having a crap ton of buttons. They extend down the front of the garments and up the sleeves until past the elbow. In those times buttons were more decorative than they were functional, which is why there were so many of them.

NYC isn’t the cheapest place to buy buttons, so I didn’t get any there.  I ended up ordering from this shop on etsy that was selling 20 half inch buttons for five dollars. I bought a hundred, which should be enough for the two costumes!



With fabrics for the costumes I had planned found, I was mostly in browsing mode. But I had a few things left on my list. The first was a sheer light brown fabric with silver threads running through it – this may look familiar if you’ve seen my birthday haul, since I purchased two yards of it on that trip. I recently decided to make that fabric into a long shift, to wear under a future project. But two yards wasn’t enough for that, so I picked up two more yards.


The other thing I planned to buy were small montees from Beads World. These are for my 1630s taffeta dress, which I will hopefully be starting on soon. I had planned on buying clear ones, but these taupe-y/champagne colored ones caught my eye so I bought those instead. I think the shape and tone of these is a bit more interesting than clear square ones!


And pretty much everything else are impulse purchases. I managed to only buy one fabric that wasn’t on my list, and that’s this neat iridescent blue material that has a gold shift to it. I used this type of fabric for my Silvery Blue Dress earlier this year, but had no idea what it was called. The store owner called it Cotton Fallie, so let’s assume that’s the name for it. I picked up three yards and i’m sure i’ll find something to make with it eventually!



I saw this greyish blue sequined trim and fell in love. It was thirteen dollars a yard, which is more than I like to pay for a yard of anything, much less trim, but I couldn’t resist! Something about the pattern and color really stood out to me. I think around the waist or collar of a dress this would look lovely.


Speaking of greyish blue trim…

I also picked up four yards of this lace. Do you see a pattern in my purchases? It was totally not intentional, but it seemed all the things I really liked were in this color! This was in the case at the front of Zahra fabrics when I went to pay. They only had four yards, and I believe it was $35 for all of it. I think that’s a pretty good deal, plus with the design of this lace it can be fussy cut out so you have two borders, which gives you eight yards of trim.

I think i’ll use this to edge the hem and hood of a cape. I think my Silvery Blue Dress would look lovely with a big cloak overtop, and this trim matches that dress really nicely. The sequins on it look almost like snow when the light hits it, it’s really beautiful. When it gets a bit colder and we start to get snow i’ll add that to my project list!



Lastly I have a pile of things from trim and bead shops. The first thing is from Pacific Trimming, where I got this gold clasp. I might use this on the wool cloak and pair it with the mens Cotehardie ensemble, or maybe i’ll save it for something else. I just really liked it!


At Hai Trimming I went a little crazy. I got twelve of these brass stampings which I plan on soldering together to create a crown. I also got some brass cameo frames, because they were two for a dollar, which is a lot cheaper than i’ve seen them online.


Then I saw these beads and I couldn’t leave without them! I think they look like the eyes of a dragon, with the bright orange and red veining. Not sure what they will get used for, but they really stood out to me. I got twelve of the smaller ones and three big ones.



I also picked up some in a purple color. I have heaps of purple velvet and some purple satin which are collecting dust in a bin on my top shelf. These match those fabrics quite nicely, so maybe I can come up with a design that incorporates all those materials.


I saw these in Beads World and really liked them. They are circular metal beads which almost look like buttons. They are quite heavy, so I’m surprised a pack was only $2.50. Not sure why I liked these so much, and I don’t know what i’ll use them for, but I think they would look quite nice on the front of a jacket or up the cuffs of a dress!


Then I got sequins! The two packs on the left were the first things I bought that day. I was kind of looking for lace that could be turned into a 1920s evening dress. I was imagining that project would have a light pink or green color scheme, so when I saw these sequins that had both of those colors I decided to buy them. The burgundy ones were bought with my medieval projects in mind, because I was so certain that one of them would be dark red.

Jokes on me, I couldn’t find lace I liked and the other project ended up being blue, not red. But i’m sure these will come in handy someday!

The feather shaped gold sequins were bought because I loved them. No idea what these will be used on, but I’ve gone through half the circular gold sequins I bought last time I was in. So I think gold feathered shape ones actually have a decent chance of being used.


The last thing I bought isn’t from the Garment District, it’s from ebay. And it’s a real leather hide! This isn’t something I ever expected to be buying, and i’ve never worked with leather before, but I really want to try making a pair of 19th century slippers. Specifically velvet covered slippers that are embellished with sequins, which will match a court gown made from the same materials.

I think leather is the right material for that, and the flexibility of real leather will make a difference over the pleather alternatives. So when I found this on ebay for $20 I decided to get it – i’m kind of nervous but excited to attempt this project. It might go really wrong, but if it goes well I can say i’ve made a pair of shoes, and that would be quite neat!


And that’s it! This post is absolutely massive so i’ll end it here. Thank you for reading!


Posted by on October 13, 2015 in All about Fabric


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Making a Floral Regency Dress, Part One

It’s been almost two weeks since my last post, which is pretty awful. I had a month where I was feeling very uninspired and didn’t get very much done. Then my family was traveling and I ended up going almost two weeks without sewing, for me that’s kind of crazy since I usually sew everyday.

But i’m back in the swing of things now! I have a few new projects already started, and plans for several more. I’m feeling really enthusiastic about all of them so I think this next month will be a lot more productive. And the more productive I am, the more blog posts I write, so I should be getting back to my twice a week schedule soon.

As much as I want to post about the things i’m actively working on, I should probably start by blogging about the dress I finished almost a month ago.

I’ve already written about making the bonnet that goes with this dress, that post can be read here. But today i’ll be talking about the process of making the actual dress.

This dress was inspired by a set of curtains. Yes, this is another curtain dress. When I was in Ikea I saw this set which reminded me of Chintz print dresses from the early 1800s.


The more I’ve worked on this project the more modern I think this fabric looks. It definitely has a different color palette than chintz dresses had a couple hundred years ago, and the pattern is a little more abstract. I still really like the fabric, but i’m not sure if it was the best choice for a historical project.


After I bought the curtains I began searching for inspiration online. Almost a year ago I pinned a few photos of this dress, which I decided to use as my main reference point for this project. I also used this blog post for more reference images, since it has many detailed photos of the back of regency bodices.


Then I got to draping the pattern. This was quite tricky to drape since I wanted a low neckline, but not too low. And I wanted a tightly gathered bust, but not so tightly gathered that it looked bulky. It was difficult to balance those things but after a lot of fiddling I had something I was happy with!




When it was removed from the dress form it looked like this. I ironed it, then copied it onto paper and added seam allowances.


And here is the paper pattern.


After making a mock up I decided I was happy with the pattern. So I cut each piece out twice, once from the curtain fabric, and again from a white linen which will be used as lining.


Then the front side of the bodice was gathered down by hand.


When the gathering was finished the back panel and strap got sewn on.

I did a quick little fit test here before moving on.


Then the raw edge around the armhole got turned over and sewn down.


Here you can see the peculiar patterning on the back. This was very common on regency dresses and I actually really like how it looks. The only thing I don’t like is drafting sleeves that fit into those funny arm holes…


I went ahead and sewed together my lining. Then it was gathered and had the edges around the armholes turned over.


Now it was time for the dreaded sleeves. But for once this went surprisingly well! I drafted a pattern with a few measurements and a lot of guess work and didn’t have to make any alterations! The mock up fit perfectly. So that was awesome.


The sleeves got cut out and darts were sewn in.


Then the bottom edge was turned under.


And the back seam was done up with french seams.


The sleeves got sewn on by hand with little whip stitches.


Now it was time for lining. I pinned the lining to the neckline of the bodice with the right sides facing each other, then stitched a half inch away from the edge. When it was turned the right way out the neckline had a finished edge. Then I topstitched around the neckline by hand, to keep the lining in place.

The lining at the back, bottom, and around the armholes was left open. Eventually the lining around the armholes was whip stitched down, so it covers the top edge of the sleeves, which was left raw. The back and bottom edges can’t be sewn down until the back closures and skirt are attached, so that will be done later on.


Here it is with the lining sewn in!


And here it is on my dress form. As I said, I don’t love this print for a historical costume, but I am pretty pleased with how this bodice turned out. Two of my recent (as in within the last year) big project failures have been Regency era pieces, so i’m happy to finally have one go as planned!

And as a bonus, it’s really comfortable compared to most of my historical dresses.



Thanks for reading – I think I will have a fabric haul up on Friday!


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Making a Damask Print Medieval Dress, Part Two

It took me almost a month to get to this point, but it’s finally time to talk about the sleeves for this dress! I’m not sure why this project has dragged on so long, it’s such a simple design. But it’s almost done now! Which is great because I have new projects I want to get started on.

Part one of making this costume can be read here, and a video about making the sleeves is posted here!

This is one of the sleeves cut out. The hem is thirty inches long which is pretty massive for sleeves!


Speaking of hems, they got turned under by three quarters of an inch and sewn down by hand.


The back seam was sewn as a half inch french seam. Even though these sleeves will be lined this fabric frays so much that I felt this was necessary.


I took a minute to rest the sleeves on the dress form and they actually looked pretty good! I really like the shape.


I pinned the fake fur trim onto the hem of each sleeve then sewed it on with a slip stitch. I whip stitched the fur together at the back instead of seaming it, which worked surprisingly well, you can’t even see it. I did this because the fur is super thick and I didn’t want to add the bulk by sewing it as a regular seam.



Now it was time for the lining. I cut the lining out using the same sleeve pattern. They were cut from the really thin cotton which was also used to line the bodice.


I also cut out two 2″ wide strips of cotton, which were cut on the fabrics bias. Then the edges got folded inward to create one inch wide bias tape.


Then the back seam was done up. This pattern had a one inch seam allowance included so the top layer could be sewn with a french seam. But the lining doesn’t fray much at all, so I sewed it as a regular one inch seam.


The lining was tucked inside the sleeve and they were sewn together at the top edge. After I did that I realized I had forgot something kind of important – the opening on the right sleeve. Without this you can’t actually get into the bodice…

So I pulled out my seam ripper and opened the top three inches of the sleeve. I ironed the edge so it was folded over and repeated the process with the lining. Then I whip stitched the lining around the opening to keep it in place. This opening lines up with the laced side of the bodice and gives enough room for the bodice to get over my shoulders.


With that fixed, I carried on by sewing the bias tape onto the tops of the sleeves. This was done just to cover the raw edge.


The bottom edge of the lining was folded inward and pinned to the top edge of the fake fur trim.


It got sewn down with whip stitches and the sleeves were done!



Here they are on the dress form. I think the fur trim should be a little wider, the proportions are a little weird in my opinion. But it’s being used as trim, not as a cuff, so I think it’s okay. I was originally worried about how the fur would look with this fabric, since there isn’t much contrast it could have really clashed. But I’ve decided that I like the combination, so that’s good!


The sleeves got gathered slightly at the top, then sewed to the bodice. The seam allowance at the sleeve tops got whip stitched to the lining so the interior looks super smooth.


The outside looks pretty okay too!



I like how this is coming out, and i’ve liked working on it, but i’m kind of over it. I have so many future plans (a couple which are from a similar time period) and i’m itching to work on those. So i’m a bit fed up with this project even though it’s going smoothly. Luckily it should be done soon, then I can start on wonderful new things!

Thanks for reading!


Posted by on September 25, 2015 in Historically Inspired, The Making Of


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