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Permalink 12:39:00 pm, by Heather McNaughton Email , 593 words   English (US) latin1
Categories: Working with patterns

I would like to talk about a couple issues that have popped up with 1903 Trumpet Skirt - TVE21 skirt pattern.    One which is entirely my fault, and the other is one which I have seen pop up a few times when alterations to this pattern go wrong. 

First up, the problem of.....  What the heck to I do with the Placket Facing piece?  I can't find it mentioned in the instructions anywhere, what did I miss?  Well, you didn't miss anything.  This pattern piece should not be on this pattern.  The long story is that I was mulling over two different means of finishing this skirt;  one way was with the lining skirt attached to the skirt proper, and the other way was to have a separate lining.   In the end, I went with the attached lining, in which case, you do not need the facing piece for the placket.   If you choose to make the lining skirt up as a separate petticoat, then you will need the placket facing.  I should have deleted the extra piece, but left it on there.    I am very sorry for the confusion this has caused so many people.  I really need to delete that piece.

Ok, so now to the fun part.   On this pattern, I have two back options, a pleated short back, or a long habit (plain) back.  Usually, when I give options like this, I like the cover the bases and draw things so it will all mix-n-match with all the option combinations.  Unfortunately, in this case,  the pattern ran off the edge of the paper, so I couldn't do that, and instead of offering pleated back in long or short, I just have the short version.  And this has lead to people asking, "can I combine the two and make the long pleated back?"  I answer with a simple yes, and leave it at that, thinking what could possibly go wrong?  And then I saw the results, and smacked my head on the wall.  I never even saw it coming. 

At right,  is the pattern piece I am talking about, and you can see the two options as drawn.  The blue lines are the short pleated back, and the orange line is the long habit back.

So when people asked if they could combine the two, apparently this is what they were thinking was the correct way to do it.  At right, the red line is where they just extended each of the lines they wanted to follow.  The problem is, that this creates a skirt that curved up  shorter in the center back.  Ooops!  How did that happen?  In short, do not lengthen it this way!!!

This is all my fault, of course. I didn't clarify, and I should have. The next diagram at the right, with the green lines, shows how to properly lengthen the pleated back to the longer length. Start by extending the first pleat line to the longer length line. Then from that point, run the new hem lines parallel to the original hem line. 

Oddly enough, no one has ever asked about making the habit back in the short length.  But just in case, here is how to do it.  Starting with the short hemline at the first pleat line, continue with a line parellel to the long hemline until you get to the Habit back line.

Ok, I think those are all the quirks in this pattern.  Hopefully, this will help people get through the pattern without tearing thier hair out over either of these problems.


Permalink 05:42:00 pm, by Heather McNaughton Email , 538 words   English (US) latin1
Categories: Excerps from The Delineator


The Delineator magazine was a monthly periodical sponsored by the Butterick Pattern Company.  The main focus was to be a selling tool for the patterns, by providing illustrations and lengthy descriptions of the new patterns as they came out.

The following is one of the listings:


The skirt is fashioned in the round, four-gored style, and has two tiny knife-plaitings about its foot; the plaitings upon the gores being surmounted by a deep, bagging puff, which is itself headed by a narrow plaiting sewed on across the top of the puff to form a self-heading. The draperies on the skirt are conspicuous for the novel effect produced by very simple drapings; the back and front draperies being arranged to produce contrasting effects at the sides.  The gores and skirt trimmings are of the plain goods, and so is the front-drapery, while the back breadth and back drapery are of the figured goods, the contrast thus developed being very pleasing.  The front-drapery is raised quite high at the left side by three deep folds, which are laid close together at this side and cross the drapery to the right side in diverging outline, giving a graceful, sweeping curve to the lower part of the drapery, which is cut in deep tabs that are lined with the figured goods and then upturned to produce a most charming effect.  The back-drapery falls in a long point, and is very full and stylish in appearance. Its edges are plainly finished.  Two varieties of silk or velvet combine elegantly in a skirt of this style, and so do velvet and cloth, silk and cashmere, and plain and figured fabrics of all kinds.

The basque has looped tabs attached in regular succession to its lower edge to harmonize in disposal with the front-drapery. The tabs are of the figured goods lined with the plain, and are thus made to present a very pretty contrast with the front-drapery. The basque is of the figured goods, and is elegantly fitted by double bust darts, narrow under-arm gores, low side-back gores and a well curved center seam. It is quite short, but the addition of the tabs produces a pretty and stylish depth. The coat sleeves have looped tabs like those on the lower edge of the basque attached to them, the tabs on each being underlaid with a frill of deep lace, and the seam attaching them being covered by a fold of the plain goods pulled  through an oval slide to wrinkle it softly.  A standing collar encircles the neck, and inside it is worn a lace frill, while outside it is arranged a ribbon that has one end sloped off in a point and pulled through a slide at the throat.  Basques of this style are appropriately made of all varieties of dress goods, and the contrast of the tab-linings may be in color, texture or design, as preferred. Such dress-bodies are very stylish in effect, and require little or no decoration. Just now there is a decided fancy for developing rich contrasts by the introduction of vivid or deep tones in the facings, etc. - for instance: ruby-colored velvet is united with gray or brown cashmere, camel's-hair or other fine dress goods.

Permalink 05:29:00 pm, by Heather McNaughton Email , 498 words   English (US) latin1
Categories: Excerps from The Delineator


The Delineator magazine was a monthly periodical sponsored by the Butterick Pattern Company.  The main focus was to be a selling tool for the patterns, by providing illustrations and lengthy descriptions of the new patterns as they came out.

The following is one of the listings:


One of the prettiest costumes of the Fall season. Camel's-hair and velvet were united in making it, and lace and appliqué or hand-embroidery are used in trimming it.

The skirt is of the usual shape, and its front and side gores may be cut from lining material only, as they are covered for two-thirds of their depth with shirred fabric. Above the shirring the goods may be flatly laid over the gores in the ordinary manner, if considered necessary. The back-breadth is of the goods, and is trimmed with a flounce cut by the lower part of the shirring pattern and arranged to correspond by directions found in the label to the model, so as to match the front decoration. When the back-draperies, which consist of two, straight, hemmed or lined widths of velvet are added, the skirt appears as if shirred all around, as seen in the engraving. A satin skirt, arranged in this manner, is very dressy indeed. The top of the back-drapery is shirred for quite a distance downward, and is then attached to the belt with the rest of the skirt.

The waist-portion is cut with a deep, double breasted vest of velvet, with an extended skirt, which reaches to the middle of the back, where it is laid in upward-turning plaits and the two sides are joined under the back by a center seam. The front is in short jacket shape and is fitted by a bust dart that confines the back edge of the body portion of the vest, which is curved to the figure without darts, except a short one over the hip, An under-arm gore adjusts the remainder of the jacket-portion, being joined to the side-back, except along its skirt edge. This leaves the side-back skirt loose at its front edge, and its back edge is joined to the back, while the center seam is left open below the waist-line, thus producing a broad tab at each side, each tab-end being gathered and tipped with a tassel or drop-ornament, as preferred. The jacket edges are bordered with narrow ecru lace and have a band of appliqué or, if preferred, a design in hand-embroidery as a heading to the lace. A velvet lapel-collar is about the neck, giving the latter a very jaunty finish. The sleeves are very novel in construction, and, with the waist, are intended to convey the effect of a jacket slipped on over a velvet polonaise. They are of "three-quarter" length and are finished to correspond with the rest of the jacket-, and under their lower edges are slipped and fastened deep, velvet cuff-sections, cut like the lower part of a sleeve and finished plainly at the wrists.


Permalink 11:06:00 am, by Heather McNaughton Email , 260 words   English (US) latin1
Categories: What is the Edwardian Sihouette?

The 1890's saw the introduction of the Blousewaist and Shirtwaist, but the Edwardian Era saw them reign supreme. As the new century unfolds, the fitted bodice looses favor. The new style becomes full through the lower ribs and the bust shifts to a lower position, otherwise knows as the Pigeon Breast. Made of light or fine fabric or lace, these waists were either tucked into the dress skirt, or ended at the waist with a band. They could be unlined, or have a fitted lining.

at right  - 1903

Below - 1904






In the early years of the decade, the sleeves are slim at the shoulder, and full at the wrist. By 1904, the fullness had moved up to the elbow, with tall fitted cuffs to the wrist. By 1906, the fullness is at the shoulder.

Necklines are typically very high, with decorated, detachable stock collars. But you could also have short sleeves with a conservative open neckline, as well. The Duchess Square, Duchess Round, and Jewel necklines all become popular, with or without a gimp to fill in the neckline.

Below - 1905






As the skirts gain pleats and fullness, so do the blouses. Tucks, and pleats are added to the shoulders and sleeves. Or fullness is gathered onto yokes.



By 1905, a slimmer look through the ribs is desired, and tall, shaped belts are added to emphasize a small waistline. By 1907, the Jumper made it's debut, as a loose overblouse, typically of the same fabric as the skirt, and with an open neckline and sleeves to show a gimp or fitted blouse underneath.


Below left - 1906                                                       Below right - 1907

Permalink 10:20:00 am, by Heather McNaughton Email , 475 words   English (US) latin1
Categories: Excerps from The Delineator

The Delineator magazine was a monthly periodical sponsored by the Butterick Pattern Company.  The main focus was to be a selling tool for the patterns, by providing illustrations and lengthy descriptions of the new patterns as they came out.

The following is one of the listings:


The engraving illustrates a costume that is suitable for either house or street wear, and includes two garments and two popular fabrics in its composition. The skirt is of walking length and is four-gored, and, owing to the depth of the trimming, may be made up in "sham" style-that is, the skirt may be of lining material and the trimming only of the camel's-hair of which the polonaise is made. The trimming consists of a deep plaiting, which is a kilt at the back and sides and has wide triple box-plaits across the front. If preferred, the decoration may be narrower or varied in any other style to suit the taste of the wearer. The model is No. 6725, price 1s. 3d. Sterling or 30 cents, and is in nine sizes for ladies from twenty to thirty-six inches, waist measure. 

The polonaise is a familiar style with modified drapery, and is also made of camel's-hair. It is fitted by two bust darts at each side of the front, which closes to some distance below the waist-line with button-holes and buttons. Below the closing the hems are overlaid with a broad band of velvet, pointed at its lower termination and having a bow over its upper end. The back adjusted by a seam at the center and by English side-backs.

The center seam terminates in an extra width, which is folded underneath in a large box-plait, and, when the side-drapery is drawn backward, the plait assists in forming a pretty puffed drapery. The bottom of the polonaise is bordered with a broad velvet band like that over the hems, and other bands simulating lapels are about the neck, where they are fastened under buttons and imitation button-holes. A bow conceals the closing of the military collar, and another is tacked over the lapel ends. Demi-cuffs of velvet, ornamented with buttons and simulated button-holes, are over the inside seams of the sleeves, while ruffles of the goods encircle the wrists in addition, thus filling in the spaces back of the cuffs and also extending from underneath their lower edges.

The model to the polonaise is No. 6879, price Is. 3d. Sterling or 30 cents. It is in thirteen sizes for ladies from twenty-eight to forty-six inches, bust measure. For a dressy garment of silk, brocade or cashmere, fringe or lace may be added to the bottom of the polonaise; and the latter may be worn over a longer skirt for the house, if a short skirt be not admired for such a purpose. A vest or plastron facing maybe applied to the front.

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