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Art of Dressmaking Challenge

Howdy and Happy New Year!
I’ve been sewing for a long time (25+ years!) but I’m still always looking for ways to build my skills – there are neverending things to learn in this fabulous field. For 2020 I decided to practice new techniques and share it with others if they want to join in.

While thinking about how to accomplish this, I was perusing my bookshelf and re-discovered a Butterick sewing manual from 1927, called Art of Dressmaking. Remember in my post about 1920s patterns where I said the user was expected to reference sewing manuals if they had questions? This is exactly one such sewing manual. It’s kind of dry material if you just try to sit down and read it, because it’s meant to be used more like a dictionary where you pull it out when you have a question. BUT! It has loads of detailed instructions on different sewing techniques, with the added bonus (from my perspective) that these were the techniques called for in sewing clothing in the 1920s.

I decided that for every month in 2020, I’ll publish a section of the book as a free PDF download, and try a couple of the techniques for myself. I’ll be sharing my sewing experiments on Instagram, and I invite you to join me! This is not meant to be anything time-consuming or expensive – in fact I encourage you to just use scraps and give it a couple hours a month. I plan to do research on each section and share the context of how some of the techniques were intended to be used in 1920s sewing. A lot of these techniques will vary in its success with different fabrics, so I’m really interested to see how one person’s experiments using taffeta will differ from another person’s use of chiffon or twill.

For January, I’ve decided to start with the chapter on Gathering. It opens with some fairly basic techniques, but also includes some unique trim ideas that I’ve not tried before! I’ll try to make sure that there is a range of options to try every month for all skill levels.

Please join me here and on Instagram for the #artofdressmaking !

Anatomy of a 1920s Pattern

As we approach 2020, there has been a marked uptick in interest in the 1920s. (How many Great Gatsby parties have YOU been invited to for New Year’s Eve? Remember, ain’t no party like a Gatsby party until there is a sizable body count!) I’ve been beefing up on my 1920s dressmaking for a couple years now, and I wanted to share an original pattern with you.

There were variations between the pattern companies, but this Pictorial Review pattern is pretty typical of the era. The pattern is only provided in one size per envelope, and the pattern pieces are unprinted tissue. There is no separate instruction sheet – all the instructions given are what you see on the pattern envelope. There is actually quite a bit of information provided, but it is certainly much less than modern sewing patterns contain!

Pictorial Review Pattern 1973, c. 1924
Pictorial Review 1974, Envelope Back

The front top of this pattern envelope gives the size (Bust 36″), the price, a sketch, and a basic written description of the garment.


Underneath the sketch there are yardage requirements listed for different widths of fabrics and it tells us that the seam allowance for all seams is 3/8″, and then a visual construction guide for the pattern is provided. The pieces illustrated represent all the pattern pieces provided inside the envelope, and there are notes labeling what the pieces are (Front, Back, Sleeve, etc). This construction guide also numbers all the notches which shows how the pieces fit together – notch 3 on the skirt front matches to notch 3 on the skirt back, indicating that those seams will be joined. Less obvious are the armhole notches – notice that the front armhole has notches 11 & 12, and the back armhole has notches 13 & 14. These notches correspond to notches 11, 12, 13 & 14 on the sleeve cap (both the long and short sleeve versions). ALWAYS mark your notches when cutting out your fabric, as this is how you’ll know how the pieces fit together!


On the back of the envelope, it tells us a bit more about the symbols used on the pattern pieces. Large (O) perforations (like on the long sleeve) indicate the grainline. Three (TTT) notches show where to place the piece on the fold (like at Center Front or Center Back). Some of these symbols are more relevant during the cutting phase, and others are needed during the construction phase.


Next up, we have the cutting guide. This shows us, in diagram form, which pieces to cut on the fold, which ones should be cut separately, and the grainline alignment of the pieces on the fabric.


And finally, we have our written cutting and sewing instructions. I’m sure you’ll notice how brief the sewing instructions are, and that none of the stages are illustrated. At the time, it was expected that you would use a separate sewing manual if you needed clarification on any of the steps. Patterns were blueprints for a garment – they weren’t intended to teach someone how to sew.


This pattern showed up in a newspaper advertisement in The Scranton Republican on April 12, 1924. Big thanks to Erin Lufkin to finding this image and confirming the pattern date for me!

Vogue Cape V9288

I made a cape! I’m not sure if I’ve ever had a cape before, so this is a little out of my comfort zone for modern daywear, but it’s a lot like wearing a big blanket and I appreciate that part. And I love the 1960’s vibe of it. Best of all, everything came from my stash except for the buttons and thread! (and I got a good deal on the buttons!)

I used a modern Vogue pattern, V9288, and made it up as-is without any fit adjustments. I did change some of the construction, though, which probably takes this garment out of the “Very Easy” category. đŸ˜‚ (I pretty much always manage to make every project more difficult than necessary.) I made the view A length version, but included a belt like in B/C.

Vogue V9288

My fabric is a lightweight wool check, which was just dreamy to work with. Living in SoCal I don’t get the opportunity to sew with wool nearly as often as I’d like! The fabric drapes beautifully, but is very thin, so I added a rayon satin lining to help keep the wind out. I wanted the pockets (of course!) but I wanted them to blend in as much as possible, so I hand slipstitched them in place instead of topstitching. Oh! And I added lining to the pockets too, to help avoid them stretching out over time.

Initially I made machine-stitched buttonholes, but I didn’t like how they turned out, so I did hand-stitched buttonholes on over the machine work (which actually provided a nice base for the handwork). Pro-tip – always start at the bottom of the garment for work like this, so that your messier first attempts aren’t at eye-level!

Handstitched Buttonholes
Vintage Bakelite Toggle Buttons

As mentioned above, I added a rayon satin lining. I also decided to add an interior belt loop to the CB of the cape, because it’s not attached any other way and I don’t want to risk losing it.

Lining and Beltloop

The rayon lining is a tight weave and is stable, but the wool can easily stretch, so I added a stabilizer to the shoulder/sideseam of the wool to help support it.

Seam Stabilizer

And finally, a close up shot of the vintage carved belt buckle. It’s been sitting in my stash for years, just waiting for it’s chance to shine!

Vintage Belt Buckle

Do you wear capes? Do you have any tips on how to wear them without feeling terribly awkward? đŸ˜‚

Little White Regency Dress

When I was writing up my post about my green Regency spencer, I wanted to link to a post about my Little White Regency Dress, but realized I had started it but never published it! oops. đŸ™‚

I have wanted a white Regency dress for years and years, and last year finally got around to making one. I love having basic pieces that can be styled different ways, and I think I’ve maximized this one to the utmost!

I used Past Patterns #031, and it definitely lived up to the hype. This is such a good style, and I see why the pattern is so popular. It goes together well, is comfortable, and flattering on just about everyone.

My version is made with rayon, which is a little drapey but is nice and lightweight. Not HA, but I’ve never yet had anyone comment that the fiber isn’t accurate to the period. It’s hard to tell in these photos, but it’s a white on white stripe, which gives it a little character without being distracting.

You can see now why I wanted a little white dress! Just by changing up my accessories, I can have a dramatically different look. It’s a perfect blank canvas for all kinds of styles, for daytime or evening.

Green Regency Spencer

I have projects to share! I’ve been working on so many other things lately (like the new Bon Voyage Sewing Podcast!) that I’ve gotten a little behind on updating this blog. So now I have a little catch up to do!

In my last post I showed how to fit a bodice, and today I want to share the “finished” jacket! “Finished” gets quotes because it is wearable, but I plan to endlessly add trim to it. And maybe closures, so I don’t have to use safety pins every time I wear it. đŸ˜‰

Green Regency-era spencer first worn to the Jane Austen Spring Assembly with the Historical Tea and Dance Society.

I made this green spencer using Fig Leaf Pattern #216 for the body and Laughing Moon #130 for the sleeves. I decided to simplify the sleeves because I had a limited amount of fabric and time, and really wanted to focus on the trim. It’s green silk taffeta, lined with brown silk taffeta, and interlined with linen to give it a nice body/weight. The collar is machine tailored, and I did the trim on it before sewing it together because it was easier.

I made self rouleaux trim by hand, which is absolutely nuts, but also looks great. I only managed to get the collar trim done for its first outing, but I plan to add more over time to the front, back, and sleeves. It will probably take me YEARS to finish! If I ever do!