Workings of a Garment: a 1950’s rose-print cotton gown
Study and analysis of how this summer gown was constructed.
Brand & Era
Selfridges (emulating Nina Ricci)
1950’s
Fabric type & weight
cotton, printed or possibly chintz
estimate 160-180gsm
NOTES FOR A DRESSMAKER
Fit - This is a close-fitting garment. Almost all fit is achieved through the princess seams, with only two darts at the side waist. Rather cleverly, given that this is a ready-made garment, the pleated section over the bust would disguise any less-than-perfect fit issues around the bust, making it wearable by different cup sizes without detracting from the finished look.
Panels - 8 total panels
Zip - metal teeth, cotton tape, lapped construction. Hook and thread-eye added across centre of zip to hold the lap down covering the zip, and at the top of the zip for ease of closure.
Seam allowance - very wide, around 1 inch/2.5cm. Much more common for this period, and allows for tailoring and adjustments by the owner for a better fit and longevity as the body changes shape. Also, since this is cotton, any let out seams should not have obvious pinholes if changed.
Interior seam finish - for the bodice, the seam allowance is turned-and-stitched. From the waist down, it is simply pinked. Note also the one clip at the waist to release the concave seam allowance. Considering this garment is around 70 years old, this simple and easy finish is clearly durable enough for this type of garment, in this type of fabric. No evidence of fraying (and I myself have worn this garment at least 8 times in the past few years).
Hem - evidence of original hem being very narrow 3mm double-fold hem, but a previous owner has hemmed again to shorten, fairly neatly but not as neat as the original.
Hand-finishing - thread loops would have been done by hand, and the pleated detail across the bust is also hand-tacked down in key places.
Notable absenses - no lining, no interfacing on any section, and no waist-stay (which I actually think would be very useful and protect the seams from any stress on such a fitted item.
Other Cotton Garments
Square neck tiered midi dress in Liberty Heidi cotton poplin
Perfected the fit, and finally making with an expensive fabric, Liberty’s cotton poplin. Detailed dressmaking closeups.
TOTAL TIME COMMITMENT: 17 hours
Toile (without zip, lining, interior seam finishing, basting stitch removal or hemming): none
Cut out & transfer all pattern markings: 3 hours
Main construction: 10 hours
Lining construction, attachment and hemming: none
Finishings (hem, enclose zip): 2.5 hours
Fabric type
Cotton poplin (Liberty)
Fabric weight
110gsm
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
Cut out four of the sleeve frills, so that you see the print on both sides
Overlock each edge of skirt pattern piece before construction, press open
Overlock raw edges together at gathered tier seam
Overlock raw edges separately before construction on zip seam
Attach bodice facing to rest of garment using stitch-in-the-ditch
VERDICT & LESSONS LEARNT
A truly beautiful dress, perfectly fit at the bodice, bust and shoulder. I have worked so hard on this pattern, I now have two fit versions - one as a pinafore, fit to go over a top, and a closer fitting option (as here) to be worn alone.
The amendment to cut four of the sleeve frills really elevates the finish, where you see a printed face on the underside and upperside of the frill.
The only error is where I have managed to mis-align the top of the zip slightly, which I think is due to sewing the centred zip in one continuous line from neck edge, around bottom, to neck edge. In the future, I plan to sew each side from neck edge down to bottom of zip, sewing twice over the bottom for reinforcement.
Having made the garment multiple times has really paid off, and my technique is improving, which I can see here in this garment. Perhaps my proudest make ever, tied with the wool flannel shirt I made for my partner.
A beautiful addition to my summer wardrobe and one that I am extremely pleased and proud to wear.
Travel itineraries for Summerwear
Puff-sleeve midi dress in khaki green linen-cotton twill from 1970’s pattern
Fourth make with this pattern, following several refinements on fit and pattern instructions.
TOTAL TIME COMMITMENT: 20 hours
Toile (without zip, lining, interior seam finishing, basting stitch removal or hemming): none
Cut out & transfer all pattern markings: 3 hours
Main construction: 11 hours
Lining construction, attachment and hemming: none
Finishings (hem, enclose zip): 2.5 hours
Applying studs: 2.5 hours
Fabric type
Cotton-linen twill
Fabric weight
estimate 250-300gsm
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
Overlock each edge of skirt pattern piece before construction, press open
Overlock raw edges together at gathered tier seam
Overlock raw edges separately before construction on zip seam
Attach bodice facing to rest of garment using stitch-in-the-ditch
VERDICT & LESSONS LEARNT
For a centred zip, I must not sew the whole thing around in one continuous line - this is what made the top of the zip and the seam go out of alignment
Travel itineraries for Autumnwear
Boat neck summer dress with tie back in a novelty print cotton
Journal of making a dress with boat-neck, shaped underbust seam and large tie bow at the back.
TOTAL TIME COMMITMENT: 10.5 hours without toile (note this dress is unlined)
Cut out & transfer all pattern markings: 2.5 hours
Main construction: 6 hours
Lining construction: none
Finishings (hem): 2 hours
PATTERN CHANGES
None
SEAM FINISHING & DECORATIVE EXTRAS
Skirt side seams – French sea
Super narrow double-fold hem – beautiful finish
VERDICT & LESSONS LEARNT
The biggest lesson I learnt making this, is that sometimes, an adjustment for my narrow shoulders needs to come from the centre front, to bring both shoulders closer to one another, rather than simply making the shoulder seam itself thinner. The boat neckline of this dress should be ideal on me, but it’s much too wide, meaning the narrow shoulder sections want come in and settle further on my natural shoulder, creating a bunch of excess fabric at the centre neck. I also find that with this fit issue, the armscye is too far over onto my arm, restricting movement. None of this would be fixed by my narrowing, or even sloping the shoulder (common adjustments for me) – instead, this needs a narrowing of the whole neckline, then perhaps adding what I have narrowed, onto the side seam, to keep the overall correct width at the bust and underbust.
This is a full circle skirt and that can create a challenge for cutting out on a fabric which has a print with a very obvious right-way-up, as in this one here
VARIATION IDEAS FOR ANOTHER MAKE
Make this in linen, or a linen viscose blend
Travel Itineraries for Summerwear
A tent dress in Liberty crepe-de-chine from Very Easy Vogue 8593
Reflections on the first time working with silk. Main lesson: crepe-de-chine is difficult to cut out…
TOTAL TIME COMMITMENT: 16 hours
Cut out & transfer all pattern markings: 3.5 hours
Main construction: 7.5 hours
Lining construction: none
Finishings (buttons, hem): 5 hours
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
Interior seams - stitch-and-pink
No buttonholes (didn’t want to risk it on the crepe-de-chine!) Went with faux buttons, with press-studs underneath.
VERDICT & LESSONS LEARNT
This was one of those ‘scary projects’ for me. My first attempt using crepe-de-chine and it was a gift to boot, so the fear about getting it wrong felt real enough to put me off getting it made for a long time - too long. The trigger was reading this great article from Closet Core Patterns, which really cut through and reminded me that I won’t learn anything unless I just get on with it.
What greatly helped, was using a pattern that a. I know I love, b. I know fits me, and c. is quite a simple design. I think it could have gone poorly if I’d attempted to make something in this more difficult fabric whilst also grappling with a new or more challenging pattern. I set myself up with success being a strong possibility.
My main learning was the application of crepe-de-chine needs considering, and some design elements need changing when using it. For example, I don’t think garments made from crepe-de-chine should have pockets. Part of the appeal in this fabric is its featherlightness when wearing, and when you have a pocket, you put something in it….weighing down that airy fluidity you (probably paid so much) to wear. So, the lesson for me is: if I’m intending to make something from crepe-de-chine, skip any pockets on the pattern.
I actually found the cutting out, not the sewing, to be the most challenging aspect of using this fabric. I don’t own a cutting mat or rotary cutter, so it was good old fashioned pins and scissors and this fabric definitely shrinks away from the scissors very readily. While the sewing wasn’t dreamy, it being a matte fabric, it was actually fairly grippy and steady under the machine, more than I expected it to be.
Last learning point was the stitch-and-pink method for finishing interior seams works a treat. OK, not necessarily the sort of finish you get on designer or ready-to-wear, but straight-foward to sew, reliable, and crucially adds no bulk. Its a finish I will use again on this fabric.
In terms of the result, I. Am. Thrilled. I feel like a flipping goddess wearing this garment, and it’s turned out to be a compliment-fetcher too. It’s the epitome of effortless chic, and has me wafting about with the air of a woman who knows what she’s about.
Travel Itineraries for Summerwear
A scoop neck tiered sundress from a 1970’s Butterick 7012 pattern
Going off-piste, using quilting cotton for a simple summer tiered dress with topstitching.
TOTAL TIME COMMITMENT: 7.5 hours
Cut out & transfer all pattern markings: 1.5 hours
Main construction: 5.5 hours
Lining construction, attachment and hemming: none
Finishings (hem): 0.5 hours
PATTERN CHANGES
None
SEAM FINISHING & DECORATIVE EXTRAS
Vertical interior seams – overlock
Raw edges at gathered seam - overlock
Attach bodice facing to rest of garment – stitch-in-the-ditch
VERDICT & LESSONS LEARNT
Very very very simple to make. There are hardly any fit devices on this garment (which also means its not very figure-showing either) and there is no closure - it pulls over the head - so it is very easy to knock togther. This looseness of fit makes it ideal for a very very hot day, or as a cover up over a bikini, both of which I have used it for and its ideal.
I absolutely love the Painters Palette solids quilting fabric as an option for dressmaking. It’s so very easy to sew with, and is ‘substantial’ cotton fabric that is not sheer at all. It seems very hard to find a similar weight cotton in true dress-making fabric.
Did a ‘quick and dirty’ Full-Bust-Adjustment on this bodice, that doesn’t have any darts, by simply lengthening the bodice front and back, then adding two darts. Result is not bad, though darts feel like they are in the wrong place.
VARIATION IDEAS FOR ANOTHER MAKE
I would like the gathering to be more generous than it is – would like to widen each of the tiers to get more gathering into each one
Make in a viscose crepe or a crepe-back satin. The result will be more drapey and the loose fit means seams won’t get stressed.
Other Sewing Projects in Cotton
Princess seamed dress with short puff-sleeves from 1980’s Style 4603 pattern
First time sewing princess seams, first time sewing with proper shirting fabric.
TOTAL TIME COMMITMENT: 37 hours including toile
Toile & pattern fitting: 15 hours
Cut out & transfer all pattern markings: 2 hours
Main construction: 9.5 hours
Lining construction, attachment and hemming: none
Finishings (attach buttons, make button holes, hem sleeve and hem skirt): 9.5 hours
PATTERN CHANGES
Deepened the scoop neckline
Changed the patch pockets to pockets concealed in the front skirt seams
SEAM FINISHING & DECORATIVE EXTRAS
Princess seams on bodice – overlock together
Armscye & attach skirt to bodice – overlock together
Skirt seams – overlock together
Shoulder seam – Overlock each side separately
Sleeve seam – Overlock each side separately
Facing edge – bias bind raw edge
Topstitch sleeve hem
Handworked buttonholes
VERDICT & LESSONS LEARNT
This is my first princess-seamed garment, and I spent a loooooong time analysing the fit on the toile, pinching out excess and transferring the adjustments to the paper pattern. In the end, this amounted to removing some excess both just above and just below the waist to account for my hollows, a slight decrease in the shoulder width, and a slight tapering in at the underarm. This is probably the very first garment I have made so many fit adjustments to, and even though this process took quite a while, and the adjustments were really quite small, I am thrilled with the result. It fits me so well, especially around the shoulder and bustline, and hence, looks so lovely on me.
I liked working with the shirting fabric. The Panama weave is quite a loose airy weave, and I find the resulting fabric has that kind of floppy lived-in chic of linen, perfectly suited for wearing on a warm summer’s day.
Other Dress Sewing Projects
A floral needlecord dress from 1970’s Style 1169 pattern
Third make with this pattern, following several refinements on fit and pattern instructions.
TOTAL TIME COMMITMENT: 17.5 hours
Cut out & transfer all pattern markings: 3 hours
Main construction: 12 hours
Lining construction: none
Finishings (buttons, hem): 2.5 hours
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
Vertical interior seams – overlock
Raw edges on zip seam – overlock each side separately
Raw edges at gathered seam - overlock
Attach bodice facing to rest of garment – stitch-in-the-ditch
VERDICT & LESSONS LEARNT
This fine needlecord is surprising substantial, offering a slight bit of warmth for a Northern European spring summer. The length and amount of fabric also contributes to this, making it something I can wear more readily in England, for our temperate climate.
Travel itineraries for Springwear
Cotton lawn dress from Givenchy 1970’s Vogue Paris Original 1950 pattern
Shortening a 1970’s Givenchy pattern I have worked with before, turning midi into mini, my journal on making this dress in Pima cotton lawn in a busy print.
TOTAL TIME COMMITMENT: 20.5 hours
Cut out & transfer all pattern markings: 5 hours
Main construction: 10 hours
Lining construction: none
Finishings (buttons, hem): 5.5 hours
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
4x side seams, armscye & pocket bags – bias bind together
Pocket-to-dress seam – French seam
Underarm – French seam
Shoulder seam – bias bind each side separately
Sleeve seam – French seam
VERDICT & LESSONS LEARNT
I find this fabric a bit ‘busy’ for my liking though I can’t pinpoint why………..I also think it really needs to be made in a plain fabric to really see those beautiful released tucks down the bodice.
VARIATION IDEAS FOR ANOTHER MAKE
Add a collar, turning the original mandarin collar into a collar stand?
Make in teal single wool crepe
Turn the sleeve into a half sleeve
Sewing Other Springwear
A square neck pinafore dress in grey wool from 1970’s Style 1169 pattern
Journal on making a midi dress with a ruffle tier, suitable for an autumn pinafore. Made in light grey wool from a 1970’s pattern.
TOTAL TIME COMMITMENT: 18.5 hours
Cut out & transfer all pattern markings: 3 hours
Main construction: 12 hours
Lining construction, attachment and hemming: none
Finishings (hem, enclose zip): 3.5 hours
SEAM FINISHING & DECORATIVE EXTRAS
Vertical interior seams – french seam
Raw edges on zip seam – overlock each side separately
Raw edges at gathered seam - overlock
Attach bodice facing to rest of garment – stitch-in-the-ditch
VERDICT & LESSONS LEARNT
This dress pattern is equally suitable to lined or unlined.
Choosing the correct construction technique for the hem is important – I used overlocking with a blind hemstitch but upon wearing, I am finding my boot hardware (since that is how I wear it) is catching the loose threads and pulling them. I need to redo the hem with a better technique where this will not happen.
VARIATION IDEAS FOR ANOTHER MAKE
Make a puffball tier at the bottom, rather than a simple gathered tier. The fabric might need interlining with silk organza to maintain the structure of the puffball.
Make in a fine denim, with some embroidery.
Other 1970’s Sewing Projects
Square neck pinafore dress in navy blue needlecord
Made as a gift. Details on total make time, adjustments and lessons learnt.
TOTAL TIME COMMITMENT: 34.5 hours including toile
Toile (without zip, lining, interior seam finishing, basting stitch removal or hemming): 12 hours
Cut out & transfer all pattern markings: 3 hours
Main construction: 12 hours
Lining construction, attachment and hemming: 4 hours (optional)
Finishings (hem, enclose zip): 3.5 hours (did a baby rolled hem by hand)
SEAM FINISHING & DECORATIVE EXTRAS
Add a lining to the skirt part only
All interior seams – overlock
Attach bodice facing to rest of garment – stitch-in-the-ditch
VERDICT & LESSONS LEARNT
THIS PATTERN IS FANTASTIC! I removed the lower tier to make this a midi dress and this feels so current. The tiers and gathering are also gorgeously generous – makes the garment feel really luxurious.
Needlecord is pretty dreamy to sew, but remember that there is a slight nap when cutting
I used a baby rolled hem with a hand finish and I think it is a beautiful way to finish fine needlecord and one I will use again – adds a really gorgeous touch to an otherwise quite utilitarian fabric.
Quality needlecord can look and feel like velvet – my Mum thought it was velvet when she first saw it.
Corduroy doesn’t necessarily need lining, but the interior is a lightly brushed cotton which can rub and catch on things like tights so better to line it for an autumn/winter garment.
I overlocked the acetate/rayon lining but I didn’t particularly like the finish – made it quite wibbly. Either need to choose a different technique to finish the raw edge or maybe expand the width of the overlock??
VARIATION IDEAS FOR ANOTHER MAKE
For summer, make a version in a mid- or light-wash denim
Add a contrasting topstitch around the neckline, hem and frill edges??
A loose-fitting tent dress with dagger collar
Working from a 1970’s Style pattern, turning craft cotton to the job of dressmaking - here’s how I got on. Main lesson: oversized is still a fit….
TOTAL TIME COMMITMENT: 18.5 hours including toile (note this dress is unlined)
Toile (without buttons, lining, interior seam finishing, basting stitch removal or hemming): 7 hours
Cut out & transfer all pattern markings: 2.5 hours
Main construction: 5.5 hours
Lining construction: none
Finishings (buttons, hem): 3.5 hours
SEAM FINISHING & DECORATIVE EXTRAS
Around all raw edges – overlock
Handworked buttonholes
VERDICT & LESSONS LEARNT
Oversized is still a fit – while I might not need the kinds of amends that make a garment fit closely to my body, I still need to pay attention to things like dart placement and length, size of armscye, position of shoulder seam etc. If anything, the precision of these details is what makes it look purposefully oversized, and not just a baggy shapeless mess. More so than with fitted garments, I also found myself considering how elements like proportion, fabric drape and hem depth contributed to the overall visual and ensuring that these design aspects offered balance, purpose and structure to the oversized fit. Overall, I loved fitting this oversized garment; it was such an enjoyable experience where I could try out some pattern adjustment techniques and exercise my ‘design eye’ at the same time.
I adore this pattern and the finished garment. As a petite, oversized is a very tricky thing for me to buy ready-made – they tend to swamp me as they aren’t proportionate for petiteness - and has led me to believe it doesn’t suit me but this project has disabused me of that notion. Being able to proportion the oversized-ness for me personally, I now have a garment that suits me well.
I don’t like the instructions for the interfacing on the inside of the button placket, but haven’t figured out a better option.
VARIATION IDEAS FOR ANOTHER MAKE
Use the facings as a guide to make a version with a cutout back
Make this in a liquid, drapey silk (Crepe-back satin silk?! Dare I?!) with smaller buttons up the front
Eliminate some of the fullness in the skirt, turn the side seams into slits, and make it into a long tunic for a co-ord set with a matching pair of wide-leg trousers
Make it a mini
Other Sewing Projects in Cotton
A wool dress from Givenchy 1970’s Vogue Paris Original 1950 pattern
Main lesson: get more knowledgeable about fabric weights and gsm…..it not enough to know the fibre…
TOTAL TIME COMMITMENT: 31.5 hours including toile (note this dress is unlined)
Toile (without buttons, lining, interior seam finishing, basting stitch removal or hemming): 12 hours
Cut out & transfer all pattern markings: 5 hours
Main construction: 10 hours
Lining construction: none
Finishings (buttons, hem): 5.5 hours
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
4x side seams, armscye & pocket bags – bias bind together
Pocket-to-dress seam – French seam
Underarm – French seam
Shoulder seam – bias bind each side separately
Sleeve seam – French seam
Handworked button holes
VERDICT & LESSONS LEARNT
This fabric I chose was a poor choice for both my petite frame and personal style – it felt too dark and heavy for me to wear as an all over colour, especially in a loose-fitting dress like this. I felt my frame was ‘weighed down’ by both the colour and weight of the fabric.
In addition, it was ill-suited to the dress design in two ways; it was quite thick for the tucks which added lots of bulk to the bodice; it was heavy and structured so lacked the fluid drape that I think this design is better suited for.
When a panel is going to be button-holed (like the front of this dress), the interfacing should blend into the fabric colour-wise, otherwise it will show through when you cut for the button holes
Other Wool Sewing Projects
