Wearing History #R101-Cordelia- Circa 1909-1914 Edwardian Skirt Pattern Multi-Size Waist 22"-40" Intermediate-Advanced Sewing Skill Recommended This listing is for an E-Pattern to print yourself at home on your home printer's USA letter and A4 sized paper. Now also includes A0 files to send away to a copy shop for wider format printing. --- DESCRIPTION --- A Resto-Vival pattern from the Edwardian period and is suitable for looks from 1909-1914. The skirt is in the Edwardian "directoire" style, and meant to fall gracefully from the top of the fitted interior waistband, skim the waist and the hips, and fall gracefully to the floor. This pattern has LOTS of options and covers all your basic skirt needs of this period and can be used to make the following in both DAY and EVENING versions: --- Day or Evening Versions with Hem Options of --- -A skirt with a small sweep -A skirt with a rounded, longer train -A skirt with a pointed train -A skirt with a squared train --- This skirt can be--- -seamed up the back with a pain, normal center back seam -pleated at the back OR: -Made as a one-piece skirt, buy cutting on the fold and seaming up center back. -Made as a two-piece skirt, with seams at both center front and center back -Made a a skirt for a dress, by attaching a bodice at the raised waistline and using ANY of the above options. --- More Features About this Skirt --- -This skirt is shaped with a wide, long dart at the hip. -It is not meant to be fitted at the natural waist, but is fitted to the top of the raised waistband. -The hem of this skirt should be weighted, as done with the tucked version or the trains. -This is shown in photographs with the Wearing History 1910s Blouse Pattern. -This skirt is from, essentially, one GIANT piece, and will most likely require piecing to get it to fit -on a fabric width, especially for larger sizes. -The two-piece skirt is seamed up center front and may be cut on the straight of grain and is suitable for stripes, which will fall at a diagonal at center back. -This skirt can fall straight at the front or be pleated at the side front and accented with appliques or trim, or left plain. -This skirt is constructed with an interior waistband made of 2" wide belting, and the waist hits above the natural waist. -This skirt is best made in fabrics with a nice drape such as cottons, linens, satins, or wools. It does not look as well in fabrics with a stiff hand. -This pattern may be worn without corsets if you do not wish to style this in a period way and choose to use it for modern wear but adjustments may be needed and it still looks best when worn with period foundations and at least one petticoat. -Waist and hip size should be determined by taking your waist and hip measure as taken over period foundation garments such as corsets and petticoats. This pattern includes original period instructions which are text only and very minimal. No cutting charts are given, and yardage charts may not be reliable, since they are for fabric widths of 100 years ago, not today. No period yardages are given for sizes 36, 38, & 40 waist, as this pattern was not originally available in these sizes. ---This Pattern Includes--- -Text only instructions, which are minimal, transcribed directly from this century-old pattern. -New pattern markings, to aid in understanding the pattern piece (original was unmarked). -Basic written tips by me to aid in construction -A multi-size pattern, in sizes 22"-40" waist. The original was single size, in a 28" waist. -Instructions and cover on BIG pattern layout sheet you assemble. This is done to conserve paper, as there was blank space after pattern placement. ---This Pattern DOES NOT include--- -NO illustrations to go with instructions -NO detailed sewing instructions- instructions are basic and sparce. -NO cutting charts -NO instruction included for piecing fabric widths. -NO yardages given for sizes 36", 38", & 40" waist. -There are no side seams for pattern adjustment. Adjustments may be made at the waist by taking in or letting out the dart placed at the hip. A muslin mock up is highly suggested to test fit before cutting into your fashion fabric. --- About Wearing History Resto-Vival™ Patterns --- Resto-Vival™ Patterns are original historic patterns that have been restored and revived. Original patterns are usually available only in single sizes, precut from tissue paper and totally unprinted, with details like grainlines and darts indicated only by small perforations. Resto-Vival™ patterns are clearly marked with drawn and labeled markings. These markings aid the modern sewer in understanding the markings of the original pattern and the construction of the garment. Resto-Vival™ patterns follow the period shapes of the original patterns, maintaining the historical accuracy of the completed garment. Original period instructions are included. These instructions are text only (unless otherwise noted) and fairly minimal, especially compared to instructions for modern patterns. At least an intermediate knowledge of dressmaking and a good familiarity with pattern construction is suggested. You may choose to have a modern or period sewing book handy to help with basic construction methods that the pattern instructions do not cover in detail. Also, fitting a muslin mockup is strongly recommended, as all garments were meant to be worn over period foundation garments or corsetry. - HOW TO USE THIS E-PATTERN - YOU WILL NEED ADOBE READER, A FREE PDF READER PROGRAM, IN ORDER TO OPEN AND PRINT THIS PATTERN. This pattern is formatted for USA Letter Size and A4 sized paper. You will need to print this pattern to 100% scale. Open the "READ-ME-FIRST" File for instructions on printing and piecing your pattern. This pattern is tiled into letter sized paper. You will print these documents on your home printer, cut, and tape them together, to form a larger pattern layout. Then you cut and use your pattern just as you would a normal home sewing pattern. This pattern comes in 2 files, and uses a LOT of paper. -56 sheets of paper for the pattern and sewing instructions in 1 file -1 for the e-pattern "how to" sheet. 57 total sheets of 8.5" x 11" sized paper or A4 sized paper are needed. This pattern file is formatted to fit on both sizes of paper, and there will be varying thicknesses of white border, which will be cut off, according to pattern instructions. --- USE POLICY --- By purchasing this pattern you agree to the following terms: This e-pattern is licensed exclusively to the person who purchases this pattern from Wearing History for the sole purpose of home sewing use by the individual who purchases the pattern. Commercial or production use or making items to sell from this pattern is prohibited. Do not share this pattern by email or any other form. Remember, I make my living by using my talents to make these patterns available. Help support indie small business by telling your friends to purchase their own copy of this pattern from http://wearinghistory.etsy.com Please view my other items by visiting my store, and read my shop policies prior to ordering. Thanks!
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Warm weather is here and for Civil War reenactors, it's time to bring out those sheer dresses! Wait, sheer dresses, you ask? The modest Victorians actually wore outfits that you could see through? Yes indeed! After all, what was there to see? Lots of undergarments, that's what! :) At the 150th Kennesaw reenactment fashion show, I kept cool in my light weight sheer! Reenactors are often asked in the summer time whether they are hot in their 1860s outfits. The answer is, if you are wearing the appropriate undergarments and light weight summer clothes, you actually don't get much hotter than a person wearing modern shorts and a tank top. I can prove this from personal experience: When I attended the 150th Gettysburg reenactment, it was HOT and MUGGY. I was very warm and "glistening" by the middle of the afternoon. However, on the final day when I changed my 1860s sheer dress for shorts in order to take down the tent, I found that I was hotter in my shorts than I had been in my dress! Undergarments made from natural fibers like cotton soak up your perspiration and the damp clothing next to your skin cools you down. Add that to the fact that your skin is protected from direct sun, and it makes sense that an 1860s outfit can be comfortable even in the heat. So let's take a look at those lovely sheer confections that our foremothers were wearing in the summer. In some ways they follow the regular fashions of the times, but in others, they are quite different! A gorgeous green windowpane sheer silk fabric K. Krewer Collection. Fabric Let's start with the fabric itself. Sheer or semi-sheer fabrics of the 1860s came in cottons, silks and wools (linen wasn't typically used for dresses). In some cases, it is pretty tough to tell if an original garment is cotton or wool because the feel of both types of those sheers is almost the same. Sheer dresses could be made from either solid-colored or patterned fabric, just as regular dresses were. Solids were fairly rare and almost always silk since dyes weren't dependably colorfast in cottons and wools. Solid white sheers could be worn in any of the three fibers. But even solid colors usually had some sort of design in the fabric weave itself. Design While many sheer dresses are designed much like regular dresses - round collar, bishop sleeves, and so on - sheer dresses could also be designed for maximum coolness. It's quite common to see sheer dresses with v-necklines and open sleeve designs. On a sheer, undersleeves are not generally required (though some ladies still wore them). And it's also "allowed" to have a v-neck or crossover bodice that has no closure, such as buttons or hooks. The bodice is simply held shut with a small pin. Tucks on the bodice, sleeves and skirt create interest. Sheer wool. Heather Hook Collection Trim Trimming on a sheer dress was treated rather differently than trim on a regular dress. Because the fabric was so delicate, and because the point of a sheer was to have a light-weight, airy dress, sheer dresses did not have heavy trim. In fact, most sheers and semi-sheers were "self-trimmed" - that is, they were trimmed with pieces of their own fabric made into ruffles or ruching. At first, this might sound rather boring. I mean, a dress that is "trimmed" with just more of the same? But when you start considering the possibilities of such adornment, there are really some fun options! Ruffles and Ruching - Large ruffles on the skirt create a "swishy" floating look that is so fun! Tiny ruffles on the bodice, sleeves or skirt could be gathered and sewn on in lovely designs. Small ruffles were often cut on the bias (diagonally on the grain of the fabric) so they didn't even need to be hemmed. In addition to a gathered ruffle, strips of fabric trim could be pleated or ruched into lovely designs. The green dress I show further up has box-pleated trim on the neckline and sleeves. Light fabric binding on a ruffle edge K. Krewer Collection. Tucks - There's nothing more gorgeous than a full flowing skirt with zillions of little tucks in it! The tucks were not only ornamental, they also helped give body to the fabric. Tucks could be used not only on the skirt, but also on the bodice and sleeves. Since a tucks doubles the fabric on itself, it creates a dashing, darker stripe effect on the sheer fabric. Gathers - Gathers at the waist, gathers on the sleeves - even gathers on the bodice! One of my favorite effects on a bodice is when the fabric is gathered onto lengths of piping. This keeps the gathers even down the bodice and creates a wonderful geometric design. Ribbon - An exception to the "no non-fabric trim" guideline is light-weight ribbon or soutache, or a fine, bias-cut strip of fabric. This was occasionally used either to highlight the self-fabric trim or to bind the edges of ruffles and ruching. The fabric of the bodice is gathered onto small piping or cording K. Krewer Collection. Delicate lavender trim is centered on tiny ruffles on the bodice From The Graceful Lady Construction Sheer dresses are not only designed and trimmed differently from regular dresses, they are constructed differently. Obviously, the goal of a sheer was coolness and airiness. Thus, wherever possible, lining is dispensed with. Lining on any 1860s dress was partly for the purpose of protecting the fashion fabric from body oils. Thus, you will find lining on sheers was generally only where the danger from body oils was greatest - on the lower part of the bodice and under the arms. Sometimes there is no lining at all and the lady relied on her undergarments to protect the dress. This lady's lining fabric is clearly visible and her shoulders are left bare under the fashion fabric If you think about it, lining fabric on a regular dress is attached to the fashion fabric at the armholes, shoulders, side-seams and waistband, and probably in some darts. But in sheers, the "connections" are often only at the waistband and side-seams. The lining neckline could be dropped as low as the chemise neckline. In fact, bodice lining is often almost a stand-alone garment in sheers. In some cases, it even fastens separately from the fashion fabric. In many original photographs and paintings of ladies in sheer dresses, you can see the lining edge through the dress fabric. The lady's shoulders are often left bare except for the fashion fabric itself. Accessories Once again, the goal of a sheer was usually to have an airy, cool outfit. So you won't see tons of jewelry, watches, chatelaines, and such worn with sheer dresses. Heavy accessories could tear or snag the delicate fabric, not to mention look incongruous with the overall "floating" appearance. Earrings, a small brooch and possibly bracelets seem to be the extent of most ladies' jewelry with sheer ensembles. However, it is common to see a lovely belt and/or a floral corsage with a sheer dress. Belts could be self fabric (stiffened with some heavier fabric underneath), or they could be a contrast color. Belts ranged from a simple solid colored ribbon to elaborate bows or buckles and rosettes. The fun thing about a belt (as I know from experience) is that it is an easy way to change or update the look of the dress! Don't these two dresses just "pop" with their belts? "The Yellow Butterfly" Jean-François Portaels White with black dots sheer cotton K. Krewer Collection. If you want to see a lot more original sheer dresses from the 1860s, check out my Pinterest board here. For a final fun picture, here is me with my mom and sis in our semi-sheer outfits - feeling cool - in more ways than one! :) And since I make rosette belts for my shop, I had a great time making us matching belts to go with our matching dresses! Ain't we cute? (And if you want to buy one of my belts, click on the link below.) CREATIVE COCKADES
