I really cannot believe this...but today, we're celebrating 10 years as the Sewphisticate!
July 27, 2024
Celebrating 10 Years as the Sewphisticate!
May 31, 2024
Do This, NOT That: AAPI Civil War Service [Response Post on Best History Practices]
I've had this post mostly written for weeks, and debated whether to make it public or not. On this last day of AAPI month, I figured better now than never, and clicked the bright, orange "publish" button with the paper airplane emoji. So if this post reached you - welcome, and let's dive into some best history practices around sharing AAPI Civil War history.
[Disclaimer: this post will be a departure from my historical sewing content, but I felt important to discuss as we continue to honor and celebrate Asian American, Native Hawaiian, & Pacific Islander voices, communities, and history throughout May, and all year round. The opinions expressed here are solely my own, and do not reflect the views of my employers.]
Going all the way back to the first weekend of May, I had the chance to return to New-York Historical Society as part of their Asian American & Pacific Islander (AAPI) family day, and present a living history program honoring the lives and legacies of Chinese participants in the American Civil War. Right as I was posting pictures from the program, I had a friend bring a problematic post on the subject to my attention. Usually, I would not take the time to respond to a post like this as there is little that would change the minds of those who wrote it.
That said, what really caught my attention was that it had been liked by over 2.6 thousand Civil War enthusiasts, and shared at least 367 times (publicly) and counting, [note: these numbers may have increased from the initial drafting of this post]. I viewed this as an opportunity to educate - both sharing in the responsibility to stop the spread of misinformation around the topic, and promoting better history practices in any small circles I may have influence. Again, I do not expect the original poster(s) to take note or notice of my opinions - and invite anyone reading this response post to keep an open mind and please be civil in the comments section - thank you.
First, a little background - in my living history programs and lectures on the subject, I do discuss Chinese participation on both sides of the Civil War to fully contextual experiences and present accurate, truthful history. My interpretations are supported by extensive historical research, including both primary sources whenever possible and reputable secondary sources.
History is no dichotomy, which the Civil War is too often boiled down to - blue and grey, Union and Confederate, brother against brother. There will always be exceptions to our assumptions and norms, and those who seek to cling to and/or glorify these examples to fit specific, biased narratives. Yes, there were a handful of Chinese and AAPI combatants serving the Confederacy - many were forcibly conscripted or even enslaved servants, and proximate location and language barriers may factor into voluntary enlistment. There were also staunch Chinese Confederates and enslavers of African Americans themselves, with the Bunker family being that one exception here. History is complicated - and it would be a great disservice to Chinese and AAPI veterans to strip them of these nuances - much like their citizenship, civil rights, and memory have been in the American past. Furthermore, to weaponize their stories and struggles to serve a Confederate-sympathizing agenda is in no way honoring Asian American, Native Hawaiian, & Pacific Islander month - and to suggest so, as the original post has done, is equally distasteful and appalling.
For reference, here is the original post in question - please note, I am purposely not revealing the identities of the original poster(s), as the purpose of my response is to educate. The post appears in a popular, neo-Confederate nonprofit chapter with a large following (91K+ likes, 99K+ followers), who claims to be the "pre-eminent authority on Southern Heritage."
Original post from a popular, neo-Confederate nonprofit chapter. Source: Facebook community, posted May 1, 2024 |
Christopher Wren Bunker and Stephen Decatur Bunker were sons of the famous conjoined twins, Cheng and Eng Bunker, and well-known examples of Chinese Confederate veterans. The Bunker families owned 110 acres of land divided between the two households, and enslaved 33 Black men and women. Cheng and Eng were staunch Confederate sympathizers, supplying money, food, and clothing to the troops; and even housed and nursed wounded Confederate soldiers at their North Carolina plantations. Of their 22 children, only two sons enlisted at age 18, and were considered excellent marksmen by all accounts.
Left: Christopher Wren Bunker, 37th Battalion of the Virginia Calvary. Right: Christopher's letter, dated October 12,1864, from Camp Chase to his family. This is one of seven digitized letters, 1863-1864, in the UNC Collections. |
Christopher Wren Bunker enlisted in the 37th Battalion of the Virginia Calvary on April 1, 1863. The first action he saw was the burning of Chambersburg, PA, which was the only town in the North destroyed by Confederate forces in 1864. He was wounded on August 7th, when the Union caught up with General McCausland's forces; and then imprisoned at Camp Chase, which was near Columbus, OH. When word of imprisonment reached home, his father, Chang, sent him packages to supplement the meager rations, as well as money to buy comfort items, until he was exchanged for a Union prisoner of war on March 4, 1865.
Stephan Decatur Bunker, following his cousin's example, enlisted in the same 37th Battalion, Virginia Calvary, on July 2, 1864. He was wounded on September 3, 1864 near Winchester, VA, recovered, and was sent back into action. After the Civil War's end, both Christopher and Stephan returned to run the family plantations, which were spared by Union forces; while their fathers, Chang and Eng, returned to touring to raise money. They lost a majority of their income after the collapse of Confederate currency, and, of course, having to pay formally-enslaved laborers.
Today, the Bunker legacy lives on, as descendants from both families continue to gather for the annual Bunker Reunion in Mount Airy, North Carolina.
Rev. Dzau Tsz-Zeh, renamed Charles "Charlie" Marshall. Personal attendant to David C. Kelly, 3rd Regiment of the Tennessee Cavalry. |
Facebook post comment #1 - including author's response to corrected identity. |
Facebook post comment #2 - including information on color perceptions in the Wetplate collodion (tintype) process from a well-known tintype artist & historian. |
Facebook post comment #3 - advice from the author of the original post. |
Maybe next time they might consider their own advice and do some more research before posting...or at least acknowledge Corporal Joseph Pierce and properly credit the source. Better yet, remove the picture entirely, since Pierce might not be too happy to know his image is being used to glorify Confederate legacy.
Corporal Joseph Pierce of Co. F, 14th Connecticut Infantry Regiment by William Hunt, 1862. Liljenquist Family Collection of Civil War Photographs, Library of Congress (LOT 15158-1, no. 257) |
Joseph Pierce was born in Canton, China, and at the age of 10, his father sold him to Captain Amos Peck for $6 to feed the starving family. Captain Peck brought Joseph to Berlin, Connecticut, and left the young boy in the care of his parents. Joseph went on to enlist on July 26, 1862, and served in 14th Connecticut Volunteer Infantry, Company F. He fought in many battles, including: Chancellorsville; Pickett's Charge at Gettysburg; High Bridge and Farmville during the Siege of Petersburg. For his dedication, he was promoted to corporal on November 1, 1863, making him one of three Chinese soldiers to rise through the ranks in all-white units. He continued to serve until the end of the war, when his regiment was given the honor of leading the 2nd Corps on the homeward march. Corporal Joseph Pierce even participated in the Grand Review of the Armies in Washington D.C. on May 23rd, 1865, before returning to Connecticut and becoming a silver engraver.
- The official National Park Service Handbook on Asian and Pacific Islanders in the Civil War
- The Blue, the Gray and the Chinese by Alex Jay, which is an outstanding compilation of biographies and primary sources
- For Confederate AAPI history specifically, see this article: "Native and Foreign-born Chinese Confederates In The War Between The States" published on the Southern Fried Common Sense & Stuff blog, which is run by a self-identifying Christian writer & Civil War history buff from South Carolina. I especially appreciate their opening line and dedication: "The following blog post is dedicated to the memories of those Confederate veterans of Asian descent and their descendants living today -- and to the ongoing campaign to stop anti-Asian hatred in the United States today that this blogger fully supports."
- Watch a digital recording of AAPI Civil War historian and author, Irving Moy's recent presentation for the Connecticut Museum of Culture & History: "The Forgotten Chinese Generations"
- Catch Stephan Phan, military history scholar and Chief of Interpretation, Education, and Visitor Services at Camp Nelson National Monument, and his past lecture for the Pasadena Civil War Round Table: "A World Away: Asian and Pacific Islanders and the Civil War"
- I also have an upcoming virtual lecture with LancasterHistory this Fall 2024!
May 16, 2024
Making an 1860s Wrapper
“MORNING DRESS—The most suitable dress for breakfast, is a wrapper made to fit the figure loosely, and the material, excepting when the winter weather requires woolen goods, should be of chintz, gingham, brilliante, or muslin" - The Ladies' Book of Etiquette, and Manual of Politeness by Florence Hartley, 1860
When I give a "Getting Dressed" presentation, I like to travel in style, comfort, and modesty, donning a wrapper to drive my horseless carriage to and from the locations. (Since we are just meeting, showing up in only a chemise and stockings might be quite scandalous!) I was in desperate need of a new 1860s wrapper, as this is probably my most popular and frequently booked decade, and this blog post will detail the project.
I started designing and sewing the wrapper at the end of February, and finished by the beginning of March. The first occasion I had to wear it was for a more recent "Getting Dressed in the 1860s" presentation in April for the Presbyterian Village at North Church, which is an independent senior living community. They were a wonderful audience too, asking lots of questions and sharing some of their own fashion memories, especially from the 1950s and '60s. Special connections like these are why I love doing fashion programs, and historical clothing is such an excellent tool to discuss all kinds of social history - like gender, identity, and self-expression - as well as economic, labor, political, and technological advancements. I have a couple more 1860s programs lined up this summer, so the wrapper should get some more wear.
Historical Inspiration
First a definition: what is a wrapper? A wrapper (also called a morning dress/robe) is a semi-fitted or loose dressing gown that women would wear in the morning or evening, with or without their corset. Wrappers tended to follow the lines of a fashionable dress, but were considered informal dress - i.e. best worn in the privacy of one's home for breakfast, chores and domestic duties, or lounging around, but not in front of company. Some wrappers were fastened from the neck to the waist and stitched shut from the waist to the floor, while others were left open through the skirt to reveal a decorative, embroidered petticoat. Due to their relaxed fit, many had drawstrings at the waist, or could be tied with a belt, making them perfect for maternity wear too.
Here's another excerpt from The Ladies' Book of Etiquette, and Manual of Politeness by Florence Hartley, 1860, describing the (un)suitability of wrappers for receiving morning calls:
DRESS FOR MORNING VISITS—A lady should never receive her morning callers in a wrapper, unless they call at an unusually early hour, or some unexpected demand upon her time makes it impossible to change her dress after breakfast…A wrapper made with handsome trimming, open over a pretty white skirt, may be worn with propriety; but the simple dress worn for breakfast, or in the exercise of domestic duties, is not suitable for the parlor when receiving visits of ceremony in the morning.
The "simple dress" worn "in the exercise of domestic duties" could be made from a more serviceable calico, as opposed to finer wools and silks. Printed cotton wrappers often featured bolder colors and busy patterns, which made them both easily launderable and helped to hide dirt and stains from household chores.
When looking at extant examples, I was feeling particularly inspired by those with velvet accents, like collars, cuffs, and patch pockets, and will share a few below. If you're looking for more examples or other styles, feel free to take a look through my 19th Century Wrappers Pinterest Board.
This first example comes from a Pinterest upload, and I would love more information on the garment. The caption provided only that it was displayed at the Antioch Historical Society, and I assume belongs to a private collection. I just love the bold print, and the red silk collar and patch pockets, which appear to be trimmed with black ribbon (maybe silk or velvet?) and fringe.
Display at the Antioch Historical Society Image source: Pinterest, unidentified owner/collection |
The second example was originally an Ebay auction item, which the seller listed as an "1860s Civil War Era Dress," but it is actually an early-1870s wrapper. Again, I was responding to the large striped print, with velvet accents, including collar, wide cuffs, patch pockets, buttons, and belt (which should be placed higher, in the gap between the buttons...)
Anyways, here's the description form the Ebay seller: "This elegant antique dress is sewn of the most exquisite wool fabric with paisley pattern fabric…Ever so soft deep chocolate brown silk velvet collar, pockets, sleeve cuffs, belt with matching silk velvet over wooden buttons. The lower dress skirt offers the typical fullness needed for hoop skirts and bustle."
Early 1870s Wrapper, originally an Ebay Listing |
And finally, a third example from the MET, described as a "quintessential dressing gown of the period with military-style cuffs, cord belt and paisley pattern:"
Dressing Gown, ca.1875, MET Museum (accession number: 2009.300.124) |
For my own design, I wanted to complement the large striped print with equally bold, velvet cuffs and collar, as well as a wide skirt to accommodate a hoop (if desired).
Construction Details
This was a stash-busting project, meaning that all of the materials came from the stash and that I did not have to buy anything for its making. For the fashion fabric, I chose the most gorgeous reproduction cotton - called "Red Charlotte Serpentine" by Michelle Yeo (Pattern C8433) from the Penny Rose Designer Fabric Collection (I believe I had ~6 yards) - deep red cotton velvet for accents, and cotton muslin for lining. I also used vintage gimp trim (passementerie) to mimic the serpentine print.
For the design, I knew I wanted a fitted back with a full, gauged skirt; and a loosely-fitted, long front with a half lining and two double-pointed ("fisheye") darts on each side to provide gentle shaping. For the pattern, I used a modified version of my bodice block and coat sleeves, and the front piece references the general shaping in Laughing Moon Pattern #118: Wrapper, Work Dress, or Morning Gown 1840-1860. The cuffs were drafted off my coat sleeve, and I also patterned a wide collar off the neckline measurements. I decided I'd leave the wrapper open to hem, in case I made a fancy petticoat; and to close/cinch the waist with a self-fabric belt.
After patterning and cutting out all of the fashion and lining pieces, as well as the velvet pieces with their facings, I started with assembling the back pieces. The back was flatlined with cotton muslin, and then I piped the waistline in preparation for the skirt. The skirt is just two rectangular panels seamed together, gauged, and whipstitched to the back bodice.
The skirt is made from two panels of fabric, seamed and gauged (cartridge pleated). The fullness will accommodate a hoop, if desired. |
I also added a 1" twill tape casing for a drawstring, following extant examples I have seen, which will come in handy for keeping the wrapper sitting at the waist when worn over a hoop.
The finished back, flatlined with muslin - notice the 1" twill tape casing for a drawstring. |
Finished back from the outside - notice the piping at the waist. I also squared the side seams so everything would be on the straight of grain. |
Detail showing both the side piecing and the bottom edge of half-lining. |
For some gentle shaping, I marked two double-pointed darts (also called "fisheye" darts) to help contour the fronts. Double-pointed darts are often used on dresses and jackets that are nipped-in and fitted at the waist, while providing shaping for the bust and hips.
View of the half-lining and marking the double-pointed or "fisheye" darts. |
To ensure smoothly-stitched (no puckers) darts, these must be stitched from the middle to the top point; then, returning to the middle and overlapping the stitching, and sewing to the bottom point. Avoid backstitching at the points, and instead, much like a standard or single dart, decrease the stitch-length about an inch from the top, and tie off the thread tails. (Here's an simple, illustrated tutorial on Sewing Darts.) I also smoothed the curve of my darts and clipped to the centers, so they would lay nicely when pressed over a tailor's ham to the side seams.
I curved my double-darts to avoid a harsh line; and stitched them from the middle to each point. Instead of backstitching, I decreased the stitch length at the tops and tied the thread tails. |
Here are the double-darts clipped and pressed - always press darts over a tailor's ham to support the curves and avoid puckers. |
View of the darts from the outside - notice contouring for the bust and hips. |
Next, I joined the sides, stitching the fronts to the back, and pressing the long seams open:
Attaching the fronts to the back at the side seams. |
Unfortunately, I seemed to stop taking in-progress pictures at this point - so I will just describe the next steps. To finish the fronts, I folded under the facings and whipstitched them in place, since I intended to leave the front open (in case I want to display a petticoat). I also tried the wrapper on, measuring and pinning up the hem, which was also finished by hand.
Coat sleeves with deep velvet cuffs, trimmed with vintage gimp braid. |
To finish the neckline, I made a matching velvet collar, also lined with the fashion fabric, and trimmed with the vintage gimp braid. I used self-fabric bias tape to enclose the seam and raw edges, and act as a narrow neckline facing. Two metal hooks and thread eyes were added to fasten the wrapper at the collar, and a self-fabric belt was made to accent (and close) the waist. The belt closes with two metal hooks and thread eyes as well.
After adding a matching velvet collar and self-fabric belt, the wrapper was done! |
Completed Project Pictures
I am still waiting for an occasion to take some nicer pictures in a historical location...but for now, pictures on a dressform will have to do. I promise the wrapper fits better on me, and was worn over a chemise, drawers, and petticoat for my presentation. It also fits over a hoop, if desired.
Finished 1860s wrapper, front detail. There are two metal hooks and thread eyes to close at the collar, and a self-fabric belt to cinch the waist. |
1860s wrapper, full-length front views. |
1860s wrapper, side views - notice the gores and piecing of the skirt. |
1860s wrapper, back views - the skirt is very full at the back to accommodate a hoop. |
1860s wrapper, back detail shot. |
Thank you for reading & special thanks to our generous patrons!
Like what you see here and want to support the creation of future content, historical costumes, and fashion history programming? Consider joining us over on Patreon with pledges starting at $2/month, and you'll also unlock exclusive content like bonus blog posts and more! Follow @youngsewphisticate on Facebook & Instagram for regular project updates.
April 29, 2024
Making a Set of Tucked Petticoats
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.
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!
Like what you see here and want to support the creation of future content, historical costumes, and fashion history programming? Consider joining us over on Patreon with pledges starting at $2/month, and you'll also unlock exclusive content like bonus blog posts and more! Follow @youngsewphisticate on Facebook & Instagram for regular project updates.