Category: 1910 A 015 (8 Sections)

Pattern #1910-A-015 (Section 8, Making & Mounting the Skirt)

11/8/2019

Section 8: Steps in constructing and mounting the skirt of this gown. The pattern provides for both a "round" length (street length, the same all around), and a trained length as shown in the photos. You can use the Skirt Band as provided with the pattern, or draft your own -- either straight or curved, narrower or wider -- to give your own unique creative finish to the gown.

Click on "Play" (top left of photos) to run slideshow, click pause at any time. Click on a thumbnail to view an individual picture .

Finished gown, showing skirt from front & back. The skirt band is optional. You can draft your own skirt band to be completely straight, or much wider if desired.

Skirt Band (as cut from the pattern) showing the 3 layers of construction. Velvet layer (top), and lining layer with lightweight interfacing applied to its wrong side (bottom piece).

Interfaced lining section pinned onto corresponding velvet band. These will be sewn together by machine close to all edges, then (optional) satin bias bands will be applied to the raw edges.

Detail - interfaced lining section pinned onto velvet band. The "lining" side will become the wrong side of the Band when sewn on the Skirt.

Interfaced lining section pinned onto corresponding velvet band (from velvet side).

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Pattern #1910-A-015 (Section 7, Constructing Waist Sash & Decorative Rose)

11/8/2019

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Section 7: Steps in making the draped bias satin waist sash and decorative satin rose for this gown.

Click on "Play" (top left of 1st photo) to run slideshow, click "Pause" at any time. Click on a thumbnail to view an individual picture.

The two sections of sash sewn (right sides together) along both long edges. One section (lining) has already been trimmed at top and bottom long edges. Note top edge indicated by chalk arrows, and C.F. thread-tracing.

Another view of one end of the sewn sash, wrong side showing.

Sash turned right-side out. Do NOT press the edges; they need to remain soft, to create the proper drape of the sash.

Checking size to mark centre back point.

Centre back points marked with pins on each end. One end is left longer beyond C.B. to allow for an underlap allowance.

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Pattern #1910-A-015 (Section 6, Satin Bands)

11/8/2019

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Section 6: Steps in making and applying the bias satin bands which form both finishing and embellishment on this gown.

Click on "Play" (top left of 1st photo) to run slideshow, click "Pause" at any time. Click on a thumbnail to view an individual picture.

A length of silk satin, cut on the full bias. Whatever actual bias width is called for, cut each strip so that the width is as accurate and consistent as possible along the entire length of the bias strip.

Start by ensuring that all your bias bands are pressed smooth and flat.

Pressing the first lengthwise fold. Use the fingers on your opposite hand to guide the edge as you press. Keep the depth of the pressed edge as even as possible along the length of the bias strip.

Pressing the second lengthwise fold. The first fold is pressed under by the depth that you'll want the visible finished portion of the band will be (in this case 1.6cm [5/8"]).

The pressed bias, ready to be applied. In this case, the bias strip's remaining long edge is left raw, as this will fall to the wrong side of this particular garment area and won't be visible. Otherwise, the strip will be cut wider to allow for the raw edge to be turned under and neatened.

Pinning pressed bias band onto raw edge of garment. The first lengthwise pressed edge is pinned on, with right sides together. The raw edge (along the bottom of the band in the photo) will be slip-stitched to the wrong side of the garment.

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Pattern #1910-A-015 (Section 5, Constructing Bodice & Decorative Cuffs)

11/8/2019

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This Section 5 deals with the steps involved in constructing the gown bodice, including the decorative "cuffs" for the sleeve ends.

Click on "Play" (top left of photo) to run the slideshow, click "Pause" at any time. Click a thumbnail to view an individual picture.

Bodice Side Front & Front Sleeves (Piece 14) with organza underlining applied

Bodice Side Back & Back Sleeves (Piece 15) with organza underlining applied.

Close-up of hand stitching attaching underlining to gown bodice fabric.

Bodice (left half) with seams sewn, ready to be mounted onto Foundation. The long shoulder/arm seam and the underarm seam have been sewn. The forward raw edges have been finished with satin bias bands.

The four Satin Cuff pieces, with their end seams sewn. Two of these pieces will serve as the linings/facings..

"Top" marked with an arrow in chalk on each Satin Cuff piece. This will be important later, to ensure all the pieces match as they are being sewn.

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Pattern #1910-A-015 (Section 4, Collar)

11/8/2019

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This Section 4 shows the steps involved in creating the traditional high boned Edwardian collar for this gown.

Click at top left to play slide-show; click Pause at any time. Click on any thumbnail below to view individual photos.

Pinning boning tape (ordinary poly seam-binding) onto one organza layer of the Collar. Seam binding works well as it reduces bulk, and the bones are very narrow.

Detail, pinning seam binding on. Regular corsetry boning tape would be too bulky and heavy for a lightweight lace collar.

Sewing the boning tape (seam binding) onto the organza layer of Collar.

All boning tapes sewn and trimmed.

Detail, boning tape (seam binding) sewn onto organza. The top of the organza has been stay-stitched along the seam line to limit the travel of the bones in the tapes.

The 2 organza layers basted together after bones are put in.

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Pattern #1912-A-015 (Section 3, Lower Plastrons)

11/8/2019

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This Section 3 outlines the steps in creating and mounting the Lower Front Plastron and Lower Back Plastron for this gown.

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Lower Front & Lower Back Plastrons, underlined, embroidered & ready to be completed. The top (pointed) edge will be finished with a bias satin band.

Reverse of embroidered Plastrons (underlined side). The Plastrons can be lined, but the underside won't show when the gown is worn.

Checking the position of the bodice over the Lower Front Plastron to ensure the Plastron edges will be covered when the bodice is mounted later.

Checking position of Lower Front Plastron & Bodice edge. NOTE -- In these photos, the Bodice edges had already been finished, and the Collar had been constructed (usually the Collar is done last).

Lower Front Plastron pinned in place. The top edge has been bound by a satin bias and the other 3 raw edges have been serged to prevent fraying (these edges won't be visible when the Bodice is completed.

Lower Front Plastron pinned on Foundation, ready to be sewn on. The Lower Front Plastron is sewn on around ALL its raw edges. The top (satin-bound) edge should be sewn on by hand as invisibly as possible.

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Pattern #1910-A-015 (Section 2, Upper Plastrons)

11/8/2019

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This Section 2 shows the steps in making and mounting the Upper Front Plastron and Upper Back Plastron onto the gown's foundation.

Click at top left of first photo to play slide-show, click the pause icon at any time. Click on any thumbnail below to see an individual photo.

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Pattern # 1910-A-015 (Section 1, Foundation)

10/8/2019

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Ladies' Formal Afternoon Gown (or informal dinner gown)

This Section 1 contains two sub-albums (slide shows), under Parts (A) and (B), dealing with the preparation and completion of the boned Foundation for this gown.

Click on "Play" at top left of the first photo to play through the entire slideshow automatically. Click "Pause" to stop at any time.

(A) Preparing the Foundation