Demystifying the Curved Tuck Detail

In this tutorial, I'll be sharing one of my favorite mid-19th century dressmaking tricks and demystifying the "curved tuck" detail as seen on many original and reproduction bodices.

Among Civil War reenactors and makers of historic clothing, there's some disagreement between whether the back of a dress' bodice should be cut with three pieces - including a center back with concave sides and two, convex-curved side back pieces - or in one piece.  You might be wondering why the debate, and while it's a matter of personal, sewing preference, it also serves practical and fashionable purposes.

A conventional three-piece back would be stitched together - concave to convex sides - forming a fitted "princess seam" which gave the illusion of a broader back and narrower waist (think hour-glass shaped!).  Even the slightest off-set of a pattern can make a big difference to the eyes, and when achieving the fashionable silhouette, every detail counts!

Here a few extant examples that illustrate this illusion: notice how the curved back seams give shape to this solid-colored taffeta dress, doesn't it help enhance the hour-glass silhouette?

Antebellum Dress of aubergine silk taffeta
(Image source: All The Pretty Dresses)

The effect works equally well with prints and plaids too.  It can be a noticeable design element, or a more subtle, almost undetectable break in the pattern, but nonetheless pleasing to the eye!  In this example, the curve is almost invisible thanks to the beautiful, careful pattern matching:

Day Bodice of an 1860s Ensemble
(Image source: All the Pretty Dresses)

And here, the more noticeable off-set to the pattern adds almost a lively, decorative design element: 

American Civil War Era Bodice of wool gauze with brown silk stripes
(Image source: All the Pretty Dresses)

Having the additional seams of the three-piece back also allows for more shaping ease, especially if the wearer has a bit more curve in their spine.  (However, ask anyone who sews and they'll probably agree that fitting is much easier on straight seams than on curves!  In draping classes, we were always taught to add 5/8" allowance on princess seams since they were less likely to be changed, and 1" on side seams as most costume alterations could be made there.)


On the other hand, as historical dressmakers discovered, by cutting the back bodice in one piece and mimicking the curved seam of a three-piece back through a tiny, top stitched "curved tuck," the same illusion is preserved.  Side seams were traditionally slightly angled, so with the little bit of bias stretch, fitting can easily happen there.

Here are a few extant examples using a tuck to create the curved effect:  In this first example which comes from Katherine's of The Fashionable Past blog, there's a single line of stitching on the lining indicating the false three-piece back, as well as the angled side seams which help with the overall illusion and fit of the bodice. 

Inside view of an 1860s bodice
(Image source: The Fashionable Past)

From the outside, that same bodice's false three-piece back and curved "seams" are indistinguishable from a true three-piece back:

Outside view of an 1860s bodice
(Image source: The Fashionable Past)

And for comparison, here's a true three-piece back:  Notice there's not much difference in the effect from the outside, aside from the actual color of the silk.

Mid-1860s day dress, originally of violet color but mostly faded to brown
(Image source: All the Pretty Dresses)

A view of the interior showing a true three-piece back with generous seam allowance
(Image source: All the Pretty Dresses)

It can be difficult to find images of the backs of dresses, and even more difficult to find pictures of the insides!  But here are two more one-piece backs with the same curved tuck technique: 

Bodice interior, dress of black silk
(Image source: Pinterest)

Bodice interior, dress of wool challis
(Image source: Pinterest)

Another time-saving variation to taking a tuck I've seen is applying narrow bias strips on the flat back piece, though these were on reproduction rather than original garments...So while the curved tuck technique might not work with every fabric, it's certainly a clever, period-correct sewing trick that can be used on cotton, wool, and silk dresses and avoids the hassle of dealing with those fiddly curved seams!


Recreating the Curved Tuck Detail

So we've discussed the three-piece versus one-piece bodice back, and now that you're familiar with the what and why of each style, let's jump into the how-to portion of this post:

Step One: Cut one back piece from both the lining (I used plain muslin, though polished cotton would work too) and fashion fabric, which for me is a striped, reproduction cotton.  For the fashion fabric, I recommend adding a little extra fabric at the side seams so when the tuck is added, the side seams will still line up.  But if they don't, no worries as it will all be hidden in the seam allowance!

Step Two:  Lay fashion fabric and lining together, (optional: baste at the shoulders and neckline to keep the layers from shifting), and using a curved ruler, mark a smooth curve beginning at the armscye (a couple inches off the shoulder) and ending at the waist.  Looking at original examples can help with visualizing the placement. 

Repeat the same curve on the other side.  Notice that each of the curves end about an inch away from the center back at the waist, creating a very narrow space between curves. 

Use a curved ruler to mark a smooth curve from the armscye to the waistline.

Step Three:  Baste the fashion fabric and lining together following the marked lines.  This will hold the pieces together as you create the tuck.

Baste along the curved lines as marked,
notice that I cut the fashion fabric slightly larger than the lining.

Step Four:  To create the tuck, slightly roll the fashion fabric up and over to cover the line of stitching created in step three.  Pin and press the crease in place.

Slightly roll the fabric over the basting line.  Pin and press the crease.

Step Five:  To secure the tuck, run a line of spaced backstitches along the edge of the crease.  These will be visible, so make sure to use a matching thread! 

Stitch along the edge of the crease to secure the tuck.

Repeat steps 3-5 for two curved tucks.  Press so that the back lays flat, and now the rest of the bodice can be assembled in the usual manner. 

If the fashion fabric and lining no longer meet, make sure to follow the lining edge when seaming the sides.  (Do not trim them to be even or your garment may not fit - again, the difference should be minimal and completely hidden in the seam allowance)

The finished back with curved tucks, outside.

Here's the back from the inside, notice there are two lines of stitching.
I like to base the sides seams, following the lining edge when joining the fronts and back together.

And that's all there is too it - it's a simple, yet effective and period correct method for creating the look and illusion of a three-piece back in one, without the hassle of stitching and clipping curved seams. 

Have you ever made a mid-19th century dress?  And if so, with a three-piece back or one-piece with curved tucks?  As always, thank you for reading & happy sewing! 

To Mark or Not to Mark Your Fabric?

Ask not whether you should mark your fabric, but rather, what you should mark your fabric with!  Whether it be stitch lines, darts or dots, transferring those important pattern markings easily and accurately is key to efficient clothing construction.

In my costume technology class, the first project we're tackling is a corset.  In this structural garment, there not only 16 boning channels to mark, but grommet placements and other notches to transfer.  In fact, it would be just about impossible to construct this corset without the guiding lines.  The question then becomes, how do I accurately transfer the markings from the paper pattern onto the coutil fabric?  

Corset paper pattern with boning channels and markings to transfer.

Luckily, there many tools, both made for the purpose or unintentionally discovered, that can be used to mark fabrics.  In this blog post, I will be sharing my top sewing tips, tricks and tool picks for marking fabrics.  Let's get started...

Fabric Marking Tools

Sewing Pins

Most people reach for pins to hold fabric together, however, they are also useful for indicating placement lines, notches, dots, and the like.  Need to make an adjustment?  Simply pull the temporary marker and re-pin.  

Pros:  Temporary, very easy to adjust, and does not leave a residue. 

Cons:  Temporary, may fall out, and sometimes has to be removed when stitching.

Thread Tacks or Basting 

These temporary stitches may be done by hand or machine.  

Pros:  Much like pinning, thread tacks and basting stitches are temporary and safe for all fabrics.  They leave minimal, if any markings once the stitches are removed, especially when done by hand, and can be seen from both sides of the fabric.  Thread also comes in every color. 

Cons:  Takes time, and will show in seams if not entirely removed.  For instance, if basting with red thread on a white garment, time and care must be taken to remove each piece of visible thread.  

Tailor's Chalk 

Tailor's chalk comes in both squares and triangles, as well as sticks, wheels or even in retractable pencil form.  

Pros:  Time honored tool.  Marks most fabric surfaces, brushes away easily, rarely discolors fabric.  I like to use chalk on wool and silk.  

Cons:  Temporary, and may brush away too easily.  Unless sharped constantly, the lines may be thick and not as accurate.  Chalk breaks easily, and is only available in certain colors.  

Dressmaker's Carbon Paper

(Image source: Sewing Supplies: Dritz Sew 101)

According to the Dritz company article, "Sewing Supplies: Dritz Sew 101" - 

"These tools are used for transferring pattern markings to fabric. To get started, sandwich the tracing paper between your fabric and pattern. Trace along pattern markings using the tracing wheel and the markings will be transferred to your fabric."

Dressmaker's carbon paper must be used with a tracing wheel.  These pigmented sheets, most often available in white, black, red, yellow or blue, have a waxy surface that leaves a faint, colored line with pressure, as explained in the excerpt above.  

Pros:  Great for transferring markings from paper patterns to fabric.  These are the only tool (besides using a powerful light box) that I can think of that allows the user to simply and accurately trace from on top of a paper pattern.  

Cons:  Tracing wheels may be difficult to use, especially on curves, and may lack the control of pencils or pens.  Enough pressure has to be applied, or the colored, dotted lines will not show.  The waxy residue may not always rub out or wash away.  

Pencils, Ink Pens and Markers 

Pencils, ink pens and markers intended for paper may also be used to mark fabric.  However, these markings, especially from ink pens or markers, are usually permanent, and best for mock ups or for use in places that will not be seen.  

Pros:  Convenience (I am guilty of often reaching for mechanical pencils, which allow for very fine markings, rather than other instruments perhaps more suited for fabric...) and familiarity with handling. 

Cons:  Markings are usually permanent, and markers like sharpies tend to bleed into the fabric.  

Fabric Marking Pencils 

There are pencils and pens made specifically for marking fabric.  These include popular water soluble or disappearing ink options like Mark-B-Gone.  I, personally, like the blue (or white) water soluble pencils. 

Pros:  These handle much like their paper counterparts offering precise lines and dots.  The water soluble pencil markings are removable with a damp cloth.

Cons:  They may leave permanent markings or stain fabrics.  Disappearing ink pens tend to dry out and have to be replaced, while water soluble pencils need to be sharped constantly.  Limited color selection. 

 FriXion Erasable Pens 

Though intended for use on paper, these erasable pens are basically magic!  Okay, maybe not magic, but a product of some pretty cool thermo-technology which allows the ink to disappear with friction (heat).  Use an iron to erase the markings, and your freezer to make the lines reappear.  I love my FriXion pens! 

Pros:  These pens are made in a variety of colors, and write on both paper and fabric.  The ink disappears when ironed over, which makes it perfect for marking complicated designs or corset boning channels! 

Cons:  The ink may not completely disappear, and markings may be visible, even after applying heat.  

Crayola's Ultra-Clean Washable Markers 

Much like the FriXion pen hack, these are another one of my favorite sewing secrets.  Intended for children who often color surfaces other than paper, these washable markers are often more "washable" than the water soluble fabric pens or pencils.  They're also way less expensive.  I believe I paid around two dollars for the pack of ten colors, and the fine tips provide very thin and accurate stitch lines.  

Pros:  Low cost, water soluble option that is often visible from both sides of the fabric.  Can also double as paper makers.  

Cons:  Markings may not always wash away, and could bleed or discolor the fabric. 

And that concludes this list of fabric marking tool options!  Whenever using a marking instrument, it is always recommended important to test it on a scrap, before applying it to the final fabric.  

Do you have a favorite fabric marking tool or tip?  Share it below!