Beautiful plates, including braid layouts.
And yet another drafting manual being slightly old fashioned.
What a clever and distinct publication! The garments are photographed and are clearly scale miniatures.
Once again very old fashioned shapes for the era.
And the tradition of drafting books appearing several years older than pattern sketches.
However this is great as this book deals with basically natural form shapes!
The full pattern is not available, but it is interesting to see the difference in how ready made patterns are drawn at this time compared to how drafting blocks are drawn.
Drafting blocks are generally still very heavily 1860s in shape whiles these pattern sketches tend to show the very long line of the era.
Highly recommended for the text as it describes the order of sewing and how to. That paragraph on the “bulgarian fold” is really amazing! At least for coming out and stating that the “peacock” style train is impossible to self arrange! Which is something I have trying to get across when getting photos of my gowns with trains- they need a wrangler to look good!
I have seen this in Patterns of Fashion 2 for years so it’s nice to be able to put it in context!
There is also a skirt pattern that shows the top and tailing cutting layout but also the curved upper section for fitting over the hips!
And this section is repeated a few times, handy for those who were collecting the magazines by month!
Plate 178 has a style I love, the self trimmed gown, the vertical folds at the neck.
Maybe I can do this with my princesse petticoat? It would make it so very much more useful!
There are other columes online too!
I don’t like to use patterns, I find infinitely more success with drafting (more than drafting, and drafting more successful than using an existing pattern.) It has everything to do with modern pattern blocks. In general bodies vary each generation but there is a fashionable shape as well as a fashionable size.
My shape goes against modern fit models in a way that does not conform to the methods of correcting a pattern.
(photos above- three mannequin torsos on narrow stands stood side by side to illustrate differences in shape despite being set to the same size. The mannequin on the left of each photo is covered in white cloth and is not adjustable, the mannequin in the centre is adjustable but is narrower across the chest/waist/hips, but wider in profile, the mannequin to the right is much rounder in all directions and has a much rounder upper back with the armscyes set further forward.
Once again these three mannequins show the different fashion shapes.
Why is this important for Mon Mothma? Isn’t it just a robe?
Nope! She has Raglan sleeves, with four seams each sleeve! Her robes have semi-princess seams (they do not cross the bust point but do terminate in the armscye.)
I do collect vintage patterns when I find useful ones however. Or useful to me 🙂
(photo above: a vintage pattern from the 1970s, three women in different variations of the same garment- all with full lower sleeves, semi fitted through the body, and flared skirts)
The dress is unfortunately four panels but has the raglan sleeve to a closed neck 🙂 And bishop sleeves.
The samples are actually much more true than I am used to so I did add too much extra SA when transferring but here is how I did it:
(Photos above: three stages of a pattern alteration, description in following text.)
I transferred all patterns to brown paper. I traces each pattern a short distance from the edge of the paper to allow the paper to be folded straight whereas in the original pattern the dress panels all tapered in to the waist and out to the hem.
For the front dress panel I first drew and then cut a semi princess shape from the front. This left a much narrower side front than I wanted, but the front needed no more work.
I then used double sided tape to stick the outer side of the new side piece to a length of narrow brown paper. I then flared that side seam out about 20cm at the hem and tapered it to the waist.
I repeated on the inside of the side panel.
Now the patter for the dress front has a side seam and a much fuller hem.
I repeated this for the back panels and the sleeves.
(Photo above: traced sleeve pattern on brown paper, parallel lines to divide the pattern into four.)
Since then I have cut the shell fabric and a stabilising lining. The lining is a loosely woven fabric to allow airflow when worn.
I overestimated my seam allowances. The next step will be to assemble this on the form that is going to most easily allow for a semi loose fit but also allow for shoulder shaping. So I shall use the non adjustable mannequin as it has curved upper shoulders at least.