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.

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"Purled" or Ruched Ribbon Trim

Making decorative trim is like frosting on a cake!  A delight for the eyes, frilly, and fun, ribbon trimming can be the perfect finishing touch for any special project - and it only takes a few, simple and quick stitches to whip up a length. 

In today's blog post, I'll be sharing one of my favorite techniques for ruched, "purled," or "shell" trimming.  Ruching is another term for "gathering," and in this application, large running stitches across the length of a ribbon create a distinct and dimensional swirling pattern:

"Purled" or Ruched Ribbon Trimming

While I was familiar previously with a range of ruched trimmings, I was introduced to this particular style during a college "special topics" class in theatrical millinery.  Referred to as "purled ribbon" trimming, the following is an excerpt from the 1922 edition of Ribbon Trimmings: A Course in Six Parts by the Woman's Institute of Domestic Arts & Sciences, Department of Millinery (see the 1992 reprint by Sloane Publications): 

In a later, 1934 edition of Decorative Stitches and Trimmings, also by the Woman's Institute of Domestic Arts and Sciences, the technique appears as "shell trimming."  (Access the digital copy from Cornell University through HathiTrust.)  Interestingly, notice the use of an almost identical image (Fig. 5 above; Fig. 4 below) in both texts:

Now for directions on how to make "purled" trim for your own projects!

First, gather your supplies.  These include the length of ribbon, a sturdy thread to match (I was using a glazed hand-quilting thread), and a sharp needle.  Consider the scale of your project when selecting the ribbon - a narrow 1"-2" width would make for a delicate edge, while a wider 6"-8" width would make a more dramatic, swooping trim.  The length of ribbon required varies depending on how densely you wish to draw the gathers; I found that 2-3 times the desired finished length was sufficient.  

Cut (or use a continuous) length of thread, and secure it to the edge of the ribbon with a few stitches or a pin.  Using a loose running stitch, work a line of diagonal stitches from the top edge to the bottom edge, and another in the other direction (bottom to top).  Continue stitching across the ribbon in a zig-zag pattern like this:

Running stitches in a zig-zag pattern

If you want to ensure that the gathers are evenly spaced, you can measure and mark the bias (as described in the vintage millinery manuals above), or simply "eyeball" the spacing as the gathers can be adjusted later...speaking of adjusting, I like to begin gathering the trim as I stitch.  

To gather the ribbon, simply pull on the thread gently to form the folds.  Experiment with the tightness of the gathers until pleasing - I preferred the look of denser gathers, which billow into a soft, yet structural scallop; while a looser gather retains more of the curvy zig-zag shape.  

Gently pull on the thread to ruche or gather the ribbon

When you've reached the desired length of trim, secure the threads at both ends of the ribbon to prevent the stitches from coming undone.  Fluff, redistribute, and arrange the gathers as needed.  

Arrange the gathers and secure the threads at both ends

And now your ruched ribbon trim is finished and ready to be added to the project of choice!

Finished sample of "purled" or ruched ribbon trim

Here's what the finished trim looks like added on top of another gathered frill on a cotton cap: doesn't it look like a confection?  The more trimmings, the merrier!

Have you ever made "purled" or another style of ruched ribbon trim?  

If you're looking for more ideas, check out these "10 Easy to Make Ribbon Trims" from Sew Guide, and there's an entire book (which I'm currently eyeing) on Ribbon Trims: An Embellishment Idea Book by Nancy Nehring.  If this tutorial was helpful to your sewing and you make something with ruched ribbon trim - feel free to share in the comments below! 

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!