Making a Set of Tucked Petticoats

"SKIRTS.  Skirts have generally from two, to two and a half breadths in them, according to the width of the material of which they are made : they are sometimes finished at the bottom with a deep hem, three nails broad, tucks, or worked muslin." - The Workwoman's Guide, 1838 (page 104) 

Back to blogging after an unintended 7-month hiatus!  In this second post for today, I will be documenting how I made a new set of tucked petticoats, and providing a step-by-step tutorial for making your own plain or tucked petticoats, appropriate for 1830s-50s impressions.  

Believe it or not, I have been making do and mending the same set of mid-19th century petticoats since 2015 (see this throw-back post from the blog archive: 1850s Undergarments).  While corsets have come and gone, and my Civil War Era petticoats have already been replaced once, it is past time to refresh the pre-hoop undergarments.  With an upcoming "Getting Dressed in the 1830s" later in May, (and an 1840s version already scheduled for 2025), I definitely needed a new, crisp, and presentable set of tucked petticoats, made from my favorite pimatex cotton (which may last another decade!)

Historical Inspiration

Petticoats (also called "underskirts" or simply "skirts") are often constructed in a similar manner as the outermost or dress' skirt.  Layering multiple petticoats adds fullness and body, supporting the dress and creating a soft bell or dome shape, as was fashionable in the Romantic and Crinoline Eras.  

According to The Workwoman's Guide, published in 1838, petticoats are "made in various ways" and the text continues to offer the following paragraph description on page 104: 

SKIRTS. Skirts have generally from two, to two and a half breadths in them, according to the width of the material of which they are made : they are sometimes finished at the bottom with a deep hem, three nails broad, tucks, or worked muslin. Sometimes they are bought with cotton runners, woven in them at the bottom, six or eight nails deep, which make the dress stand out, and if the gown is of a clinging material, causes it to hang better. Skirts are generally made with the opening behind, but for elderly persons or servants, it is at the sides, the seams being left unsewed for about four nails from the top ; sometimes they are furnished with pockets on one or both sides ; for a description of which, see Pockets. Skirts may be set on to the body, either equally full all round, plain under the arms, and full at the front and back, or with all the fulness behind. Servants frequently wear their petticoats merely set into a tape round the waist, without any body, and with or without tape shoulder-straps, to keep them up. Under or middle petticoats are also made in this manner.

(Aside:  I also found the descriptions of nursing petticoats interesting, on page 105, which is somewhat reminiscent of 18th century petticoat construction.)

This style of petticoat - with a full skirt cut from rectangular panels, set onto a waistband, closing at the center back, and finished at the bottom with a deep hem and/or tucks - continues to be worn throughout the mid-19th century until gored skirts return (~1864).  I rarely see tapes or shoulder-straps by the late 1840s, which could have to do with the return of the natural waist.  Here are two extant examples, one plain and one with tucks, from the Costume Institute's collections at the Metropolitan Museum of Art: 

Left: Petticoat, 1850s. MET Museum, accession number: C.I.60.11.2
Right: Petticoat, ca.1860. MET Museum, accession number: C.I.37.46.103

Construction Details

Now for a tutorial and step-by-step instructions on making your own plain or tucked petticoats for 1830s-1850s impressions, using my own as the examples (see italics): 

Step One: Measurements & Materials 

When it comes to choosing materials, I like to use a tightly woven cotton like pimatex because it's crisp, smooth, and durable for many years of wear.  Otherwise, look for a quality bleached cotton or linen, while others recommend stiffer materials like cotton organdy.  For this project, I ordered 10 yards of 45" wide cotton pimatex from Dharma Trading Co, and then machine washed (to shrink and remove factory sizing), dried on high heat, and pressed the fabric. 

For measurements, there are several considerations:  first, determine the finished length.  Ideally, you'll want your petticoat to fall between lower calf-length to above the ankle, and should be 1"-2" shorter than your dress.  Measure from waist to hem at your center front, sides, and center back over any addition supports/padding that you plan to wear with your petticoats.  You may find that the back length is several inches longer than the front.  Use the longest measurement for the next step 

To your longest length, add the following allowances: 

• Hem allowance: 1/2" turn under + 1"-5" for a deep hem
• Decorative tucks (optional): each tuck will take up twice as much length; for instance, a 1/2" tuck will take 1" of fabric.  So, calculate your number of tucks, and multiply times two. 
• Waistline allowance: if you are enclosing the top of the petticoat, add 1/2" seam allowance.  If you are planning to fold over the edge to gauge (cartridge pleat), add 1"-2" allowance. 

Together, these will be the cut length.  For my 5-tuck petticoat, I wanted the finished lengths to be 35" at the center front, and 36" at the center back.  Subtracting 1.5" for the waistband from 36", my skirt length would be 34.5".  To that, I added 1" for the top, 3.5" for the hem, and 5" (for 5 tucks @ 1/2"deep), making my cut length 44" total. 

Next, you'll want to calculate the width of your petticoat.  For the 1830s-50s, the fullness should be between 120"-140".  (Check out Kenna's fabulous hem study here: Hem Circumference Resource).  I like to work selvedge to selvedge whenever possible, so I used 3 lengths of the 45" pimatex cotton, for a total ~135" hem. 

Step Two: Cut & Seam Panels

I chose to seam my panels by machine for speed, though straight seams are great for practicing hand-stitching.  Finish the seams as you please, which could include flat-felling, overcasting by hand, or serging to prevent raveling.  Since I am using the selvages, I just pressed my seams open. 

Leave at least 12"-15" free at the center back seam for an opening (to help get the petticoat on).  If your center back is on a seam, finish the sides with a 1/4" double-folded hem, and reinforce the end of the stitching with a bar tack. 

Otherwise, you will need to cut the 12"-15" slit, and finish the raw edges with binding, placket, or turning a double-folded hem and reinforcing the end.  I used the later method, and finished the bottom with a button hole stitch and thread bar, so the slit would not continue to rip.  The Lady's Guide to Plain Sewing (page 27) has excellent directions for this "binding slits" technique: 

The Lady's Guide to Plain Sewing (page 27)
[Click on image to enlarge]

Step Three: Hemming 

Fold-over and press 1/2", then measure, pin, and stitch your hem.  My hem was 3" deep, and stitched by machine.  I save the hand-hemming for skirt hems, or anything that would show from the outside.  

Step Four: Stitch Tucks 

Tucks are essentially just folds stitched in fabric, which can be as tiny or deep, and spaced as close or far apart as you please.  When added to the hem of a petticoat, they serve both a decorative and functional purpose - adding visual interest and helping hold skirts out (so they don’t tangle around the wearer’s legs). 

Measuring from the hem, I pinned and pressed a fold for the first tuck.  I was using 1/2” tucks, placed 4” above the hem - which means measuring 5” up from the hem. 

Measuring the first tuck.

Next, stitch a 1/2” away from the folded edge for a 1/2” tuck.  Once stitched, press the fold down towards the hem, completing the first tuck.

For second tuck, I used the stitch line from the first tuck as my guide (rather than measuring from the hem again).  I wanted a second 1/2" tuck spaced 1" from the first, so, my next fold line was 2” above the stitch line.  Using a ruler, press and pin the next tuck; then stitch another 1/2” from the folded edge.

Adding a second tuck.

Repeat the process until all of your tucks are stitched.  I put three, 1/2" tucks on one petticoat, and five, 1/2" tucks on the other. 

Adding more tucks.

Finished 3" hem with five (1/2") tucks.

Step Five: Balance the Waistline 

To balance the top edge of the skirt, measure from the hem to waistline, and mark your center front length, sides, and back lengths.  For me, this was 35" at the center front, 35.5" at the sides, and 36" at the center back for the longer, 5-tuck petticoat; and 34" CF, 34.5" SS, and 35" CB for the 3-tuck petticoat.  Using a fabric marking tool, connect these measurements with a smooth line, and either cut (if you are planning to enclose the raw edges), or fold along this line (if you are gauging/cartridge pleating). 

While the skirt is still flat, I like to finish the top edges with either hand overcasting or serging to prevent raveling.  It can also be helpful to divide and mark the skirt into quarters or eights. 

Step Six: Gather or Gauge (Cartridge Pleat)

To gauge (cartridge pleat), use a strong thread like button twist (I use 6-strand embroidery floss), and stitch two, parallel lines of gathers.  You will be sewing through two layers of fabric, and want to start the first row of gathers about 1/4" from the folded, top edge.  The second line of gathers should be 1/4" - 3/8" below the first line of stitches. 

Gauging (cartridge pleating) requires two lines of parallel gathering stiches.

Step Seven: Prepare Waistband

To make the waistband, you will want to measure your waist over your stays or corset, and then add 1" for overlapping closures, and 1" for seam allowances - this is the total length.  For a 1" wide band, cut 3" (including 1/2" seam allowance; for a 1.5" wide band, cut 4" (including 1/2" SA).  Fold the waistband in half, right sides together, and stitch around the edges.  Turn right sides out, press flat, and stitch the waistband closed. 

Step Eight: Attach the Skirt

Begin by pinning your skirt to the waistband.  I like to mark quarters (and eights) on the waistband to line up with the skirt markings.  Evenly distribute the gathers across the waistband. 

Gathers evenly distributed and pinned to the waistband.

Pinning gathers, detail.

Stitch through each pleat's fold, securing the skirt to the waistband.  Every inch or so, I like to do a double stitch through a pleat for extra security.  Tie off the gathering threads when finished. 

To attach the skirt, stitch through the fold of each pleat, whipping it to the waistband.

Helpful illustration from The Lady's Guide to Plain Sewing Book II (page 22)

Gauged skirt, outside.

Gauged skirt, inside.  

Finished petticoat!

Step Nine: Button & Button Hole Closure 

Add a button and button hole closure (or ties) to finish your petticoat. 

Pro tip: if you machine stitch your button holes, I like to apply a little fray check around the button hole to prevent fraying, in case I cut threads!  I also find this binds the stitching (like glue), and is less prone to stretching over time. 

Button & button hole closures

Enjoy your new tucked petticoat - or in my case, set of tucked petticoats! 

Completed Project Pictures

Here's the 3-tuck petticoat: 

Here's the 5-tuck petticoat overtop:

Tucks at the hem, detail.

Have you ever made a tucked petticoat?  Share your petticoat project, or if you have any questions on the process, in the comments below!

Button closure, detail.

Thank you for reading & special thanks to our generous patrons!

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Inside & Out: 1830s Striped Dress

Before dust starts collecting on this dress hung in the back of the costume closet, I thought I'd feature it one last time on the blog.  This inside & out post completes the series on the red striped dress, detailing its construction and all of the fun, self-fabric trimmings.  The completed project appears in two previous posts, including the official photoshoot: Wake the Heart & Stir the Soul - 1830s Photoshoot, and was worn for the Historical Fashion Program: 1830s Get Ready With Me + 4 Antique Pelerines.  

Inside & Out: 1830s Striped Dress Construction
Here are the completed bodice and skirt ready to be attached!

Historical Inspiration

When designing my historical costumes, I first look to period sources, including fashion plates, paintings (and photographs when they become available), and extant examples from museum collections.  The main inspiration for my 1830s striped dress was this favorite from the Snowshill Wade Costume Collection, via the National Trust.  I've always admired the use of the roller print and playing with the direction of the stripes, as some are on the bias and others on the straight of grain.  

Dress, c.1825-30
Snowshill Wade Costume Collection
Source: National Trust Collections (NT 1349130)

Here's another example of bias cut trim on the skirt from a November 1827 issue of Ackermann's Repository (Series no. 3, volume 10):

Morning Dress from Ackermann's Repository, November 1827.
(Source: "Regency Era Fashions," EKDuncan and My Fanciful Muse)

Rather than gathering the front of the bodice, I wanted to make use of the bias again and create this period chevron effect.  Here's an example from the Susan Greene Collection that I liked, notice how strategically changing the direction of the stripes on the belt creates a lovely, decorative effect.

Dress with gigot sleeves, c.1825-1830.
Susan Greene Costume Collection.
(Source: image via pinterest)

Construction Details

The journey from design and sourcing the fabric to making and finally finishing the dress was a long, complicated one.  In fact, it languished incomplete in the stash for so long, that the initial bodice no longer fit, and required the assistance of my very talented, seamstress friend, Kaela, to refit the shoulders and back.  (My guess is that my original pattern did not account for the weight and pull of the sleeves, so the next time I make an 1830s dress, I definitely won't skip the mockup with a sleeve over the proper supports.)  Anyways, fitting issues aside, the dress was eventually completed, and I'm really happy with some of the construction techniques and design details that I'll highlight below:

First, a look at the front of the bodice from the outside.  The front features the period bateau or boat neckline often seen in daywear, and is finished with a narrow, piped facing.  The "chevron" effect is created by cutting each side on the bias and joining them at the center with piping at the seam (piping serves both a decorative and functional purpose by ensuring the sides won't stretch and stabilizing the seam).  Two darts on each side provide fitting, and the waistline is finished with a band cut on the straight of grain.  

Front view of the bodice from the outside.

Here's a close up of the center front, notice how the darts distort the print further creating an illusion of a smaller waist.  I love the play between the directions on the bodice, waistband, and skirt! 

The chevron effect is created by cutting two, front sides on the bias and joining them at the center front.
Even the piping in the seam is pattern matched - it's the little details that make me happy!

And the same view, from the inside showing the center seam, darts, and finishing with both a piped facing at the neckline and folded waistband.  Neat and tidy interiors also make me happy! 

Detail of the front bodice from the inside.

The dress closes in the back with each side constructed in the same way - two pieces with a curved seam and turned under facing.  It's attached to the front at the shoulder, with piping at both seams and armscyes for added stability.  Seven metal hooks - five down the back and two on the waistband - with corresponding thread eyes were used for closures. 

Back view of the bodice from the outside.

Back view of the bodice from the inside.
Seven metal hooks and thread eyes serve as closures.

Detail of the piping in the shoulder seam, armscye, center front seam, and neckline facing. 

If I haven't already mentioned it, I like neatly finished interiors.  Modern garments tend to use a technique called "bag lining," where the fashion fabric and lining are assembled individually and then stitched together afterwards.  Period garments, however, tend to be flat lined - that is treating the fashion fabric and lining as one.  (Here my fashion fabric is the red stripe, and the lining is cotton muslin).  I prefer flat lining (because it's faster!), and if the raw edges start to ravel, they can be overcast by hand, pinked, or even overlocked using a modern serger.  

Another detail worth mentioning is how the sleeve supports are attached.  As seen in period examples, mine are simply tied in place at the armsyces using cotton tapes.  This makes them somewhat adjustable as they can be raised or lowered to sit correctly off the shoulder.  It's also a convenient solution for storage and reuse with other dresses! 

Interior view of the bodice.
Cotton tape ties hold the sleeve supports in place.

Once the bodice was assembled, it was time to shift the focus onto the sleeves!  The side seams were finished with piping, and the wrists with a narrow piped facing.  Basically, in the 1830s, if there was seam, they piped it!  I also echoed the trim of the skirt, applying both a bias cut and horizontal band at the wrists.  Unfortunately, I think these details tend to get lost in the business of the print when worn...but here's a picture to prove they're there:

Detail of the sleeve hems - notice the piping along the side seams, piped wrist facings,
and both bias cut and horizontal bands of trim.

Moving along to the skirt, after some debate, I ended up pleating the front panels into large, double-stacked box pleats (which were not fun to stitch through), and gauging the back panels.  I really liked the effect this had, both in playing with the print at the front, and they way it distributed all of the fullness.  The skirt is balanced so that the back is longer than the front (for an even hem over the skirt supports and petticoats), and is finished with a contrasting hem facing.  

Skirt detail featuring double-stacked box pleats in the front and gauging in the back.
Tiny whip stitches secure the skirt to the bodice waistband.

Making skirt trim!  To save time, I did use a machine to construct the trim, stacking bands of bias-cut strips to those following the horizontal stripe, which were cut on the grain.  Once these were assembled and pressed, I used a machine to stitch the upper edge to the skirt hem following my 1/2" allowance as marked in pencil.  The trim was then pressed down and top stitched by hand using tiny running stitches.  Of course, in the period, every stitch would have been done by hand; however, in my historical garments, I use a combination of machine and hand stitching.  Any and all stitching that might be visible from the outside (as well as techniques that are just not possible by machine like gauging and attaching a skirt) are done by hand.  Though, I will use a machine for convenience and time saving on interior seams or, again, details that won't be visible from the outside. 

Assembling the skirt trim.

Attaching the top edge of the trim by machine to save time.
The lower edge was pressed under a 1/2" and top stitched by hand using tiny running stitches.
When constructing my personal historical costumes, I do use a combination of machine and hand stitching -
it's just faster for me to machine interior seams, though any and all stitching
that could be visible on the outside is done exclusively by hand.

The finished skirt trim.

Contrasting hem facing.

And I think that's it as far as construction notes - if I missed anything or if you have questions, feel free to write them in the comments below!

Since this is an inside & out post, I'll include a picture of the new chemise & drawers set I made specifically for the second wearing, which was for that historical get-ready-with-me program.  I won't go into the details of all of the layers (as there's a whole video on getting dressed in the 1830s in the last post), but for my own sewing documentation purposes, these were the new pieces:

In the true spirit of inside & out...
New chemise & drawers + my favorite boots!

Completed Project Pictures

Here's a look at the finished striped dress worn over the proper undergarments.  I think it's pretty even without all of the extra accessories.  The self-fabric trim and directional print seems to provide enough contrast to keep visual interest.  Though, if you're interested in seeing the entire outfit with all of the finishing touches, do check out the official photoshoot: Wake the Heart & Stir the Soul - 1830s Photoshoot, and the Historical Fashion Program: 1830s Get Ready With Me posts. 

Fully accessorized & seated in the front parlor at the Foster-Tufts House: 

Did you like what you saw here, and want to see more costume construction posts like this in the future?  Consider supporting us over on Patreon, and you'll also unlock exclusive contents like bonus blog posts, live chats, and more!  Follow @youngsewphisticate on Facebook & Instagram.

As always, thank you for reading & special thanks to our generous patrons!

Historical Fashion Program: 1830s Get Ready With Me + 4 Antique Pelerines

In today's post, I'll be revisiting a past fashion program that I collaborated on with Brandon Brooks, curator at the John L. Wehle Gallery, as well as sharing pictures of four antique pelerines from the early-mid 19th century.  The first pelerine was featured in the "Get Ready With Me" program and is from the Susan Greene Costume Collection.  The other three are from Point Park University's Costume Collection.  All together, I thought the costume program and extant garments would make for a great pairing and interesting blog post - hope you enjoy! 

It's no secret that I love historical fashion - the researching, recreating, and wearing of past clothing - and I jump at any chance to share this passion with the public.  In the last five years, I've come to develop an array of historical fashion programs for all ages - from a "fashion fun" summer camp, to themed public talks, a walking tour, and even a fashion show.  (If you're interested in reading more about some of those, check out these previous posts: Presenting on Fashion: "The Underwear Under There" and Fashion Show at the Bement-Billings Farmstead Museum).  

I'm building quite the library of notes from these, and I have so many ideas for other presentations!  It's my dream to continue in this style of education and outreach, and expand upon these offerings.  I see historical fashion and similar "dressing a lady" programs appealing to public schools, historic houses and societies, living history museums, libraries, and other community centers looking for an educational, yet entertaining and interactive presentation.  I have the passion, and now the wardrobe, so I just need to find an audience and outlet...(So if you're looking, or know of a group that would be interested, feel free to email me at anneliesemeck@gmail.com ;)  I also plan on getting my professional website up and running soon, so be on the look out for that too.)

Anyways, back to our current presentation topic:

Part I - Historical Fashion Program: Getting Dressed in the 1830s 

The historical "Get Ready With Me" was just a whole lot of fun!  I was invited by Brandon, now curator at the John L. Wehle Gallery, to collaborate again on one of his 2019 Summer Gatherings.  After hearing the idea, it was, of course, an immediate and enthusiastic "yes!" from me.  

Table display for the "Getting Dressed in the 1830s" Program,
featuring extant garments from the Susan Greene Costume Collection.

Since I had some time, I was able to put together a few things, including making a new chemise and set of hair ringlets for the presentation.  Brandon pulled together an amazing display table of extant examples from the Susan Greene Costume Collection (pictured above), including all of the undergarments, dresses, outerwear, and accessories that a fashionable lady of the 1830s would have worn.  These items were presented alongside the "get ready with me," which was literally me getting dressed in my reproduction clothing.  

Detail of some of the items on the display table -
including (left to right) an 1830s sleeve plumper, slippers, reticules, false ringlets and cap.

I thought this was a great format, showing both layer by layer what would have been worn (and is still by the historical interpreters in the village) along with original examples from the period.  Visitors often ask what's under the costumes, or simply see items mounted in display cases - and this provided an opportunity to go beyond the glass barriers, and get up close and personal with fashion history.  And I think both our morning and afternoon audiences appreciated what they saw.  

Making the costume collection more accessible, relatable, and enjoyable for the public are really central to Brandon's programs and vision.  He's an incredibly knowledgeable and passionate curator, and it's always a great privilege and pleasure to get to work with him.  (He also has an Instagram account @l_aspect_ancien, where he posts daily images from the costume collection, as well as exhibit related and other, personal sewing projects - so go follow him there!)

The afternoon session was live streamed on the Genesee Country Village & Museum Facebook Page, and is still accessible there, if you're interested in viewing the presentation.  I'll also embed the video below, so you can also watch it here:

Towards the end of the video, Brandon briefly and very carefully draped a gorgeous, antique pelerine with whitework embroidery over my shoulders.  The result was perfectly period - though the original wearer and I had different measurements, the pelerine visually broadened my shoulders and back, really emphasizing the fashionable silhouette.  (And making me want a pretty pelerine of my own!)

The following pictures were taken by Brandon and shared via Instagram @l_aspect_ancien.  The illusion is most noticeable in the back view:

Part II - Extant Garments: Antique Pelerines

Since I was already going to feature the one pelerine (above), I thought it would appropriate to include a few more, similar accessories.  Note: the following images of extant pelerines may be shared and saved for educational and person reference, only, and must include the appropriate credit to either the "Susan Greene Costume Collection" or the "Point Park University Costume Collection" as noted.  [Click on the images to enlarge]

Pelerine 1:  Fine cotton pelerine with whitework embroidery, c.1820s-30s, from the Susan Greene Costume Collection.

Between the morning and afternoon presentations, I was given permission to the study this pelerine.  While I was photographing, I also took detailed measurements and traced a paper pattern for the upper and lower collars and lappets (which is currently in a different state right now, otherwise I'd include that in this post).  I hope to someday reproduce it, though I'm not sure about all of that hand embroidery! 

Cotton pelerine with whitework embroidery, c.1820s-30s.
Susan Greene Costume Collection.

Detail of the embroidery on the upper collar.

Detail of the embroidery on the lower cape.
(Image by Brandon, via Instagram @l_aspect_ancien)

The next three extant examples are from the Point Park University Collection.  When I was a student there, I was given permission to study and photograph pieces from the university's collection, (more details here: project background). 

Pelerine 2:  Square collar of cotton with whitework embroidery, c.1820s-30s.  Like the first example, this features wide upper and lower collars with a small, floral motif and scalloped edges. 

Cotton collar with whitework embroidery, c.1820s-30s.
Point Park University Costume Collection.

Detail of the whitework embroidery.

Pelerine 3:  Embroidered net pelerine, c.1820s-40s.  Notice again the double collars and lappets, leaf-shaped motifs around the boarders, and scalloped edges.  

Embroidered net pelerine, c.1820s-40s.
Point Park University Costume Collection.

Detail of the embroidery.

Pelerine 4:  Pelerine or fichu, dotted swiss cotton with lace frill, early-mid 19th century.  

This accessory would have served a similar, decorative and functional purpose, though it is cut in a slightly later style than those above.  The center front and back both measure 21.5" from the neck to end point, and the edges are finished with a 1" hem.  There is quite a bit of piecing of the dotted swiss cotton, and the lace measures 2" wide.  

Pelerine or fichu of dotted swiss cotton with lace trim, early-mid 19th century.
Point Park University Costume Collection.

Detail of the piecing at the shoulder.

Detail of the lace trim.

And that's it for today's post!  I also have a page for Extant Garments if you're interested in more posts featuring items from the Point Park University Costume Collection.  

Like what you see here and want to support the creation of future content and fashion history programming?  Consider joining us over on Patreon, and you'll also unlock exclusive contents like bonus blog posts, live chats, and more!  Follow @youngsewphisticate on Facebook & Instagram.

As always, thank you for reading & special thanks to our generous patrons!