Making a Jane Porter cosplay: the skirt and overskirts

Hello everyone! I’m back on writing about this costume – I really need to start writing up closer to the sewing time, because I end up forgetting a lot about how I made things (my memory is terrible). I have one post about the concept and the foundation garments for this dress here and the post about the bodice here. Once again, just a quick reminder that I did not intend this dress to be a historically accurate Jane! I just wanted it to be more detailed and more ‘me’, while keeping some historical elements like the bustle back. So on to the skirts!

I decided against my original plans of making a circle skirt for this dress. I know, right? So indecisive. Circle skirts just weren’t working for me in this project. I decided that a panelled skirt, like that of my 1871 evening dress would work better. It would still accommodate the bustle back, I could give it a large hem so that it swished, but it would also keep a flat front, which I thought was in line with Jane’s original dress.

The skirt consists of four panels: the front (which is cut on the fold), two sides, and one back. I had all my plans written out for this but I’ve lost them, so eep! I didn’t make a pattern for this, I just drew out the shapes I wanted on a piece of paper and did maths (gross) to figure out lengths and slopes and etc. I used the same method as I did on my 1871 evening dress skirt, and I had sloped panels so I could get a large hem (the hem ended up being three meters). The top of the front and side panels is small, so it ends up being almost triangle shaped, but the back panel is as wide at the bottom as the top, so I had enough room for the bustle.

I drew the shapes directly onto the fabric and then cut out the panels. I used those panels to cut out the lining.

One of the side panels, in the lining.
The front panel being cut out of the lining. It’s cut on the fold so there’s no seam at the centre front.

Once all the panels were cut out, it was smooth sailing. So to speak. I somehow managed to warp the fabric when I cut out the front panel so that it was slightly cut on the bias and it draped weirdly. One side ended up being nearly three inches too long. I was so lazy and decided just to go with it, that I could level it once I hemmed it. I ended up sewing up the whole skirt, lining and everything, and then deciding to rip it out and re-cut the front panel.

But anyway

I pinned the panels to their corresponding lining and then flatlined them (machine basting around all sides). I then went over all the edges with a zig zag stitch. I don’t have an overlocker (though I really really want one) and the lining fabric was fraying so much, that this seemed like an easy fix. I wanted this cosplay to be durable, so finishing the seams was a must and this seemed like the easiest way. I’m glad I did it this way, because if I had used another method, like french seams, it would have been much more of a pain to rip out the front panel.

Because of the bustle back and the fact that this was meant to be a separate bodice and skirt piece, I left a six inch slit in between one of the side panels and the front panel. I turned the edges inwards twice. I pleated the skirt down to my waist measurement, making most of the pleats on the back panel so it went nicely over the bustle. Then I added a waistband and a bar and a hook. I hemmed the skirt with horsehair tape, which is my new favourite thing. This is quite narrow, so I sewed it on the right side of the fabric with 1/4” seam allowance, then turned it to the wrong side, pinned it and sewed it by hand with a herringbone stitch.

Tape sewed to the right side
And turned it to the wrong side!

The skirt was done! Or so I thought.

You can see it was still un-hemmed in these photos. Also fun fact: draping over a bra is dangerous.

The answer is… WRONG! After the whole costume was finished, the overskirts and bustle were weighing down the skirt so much that it didn’t line up with the bodice AT ALL, so I ended up having a whole flash of flesh at the back (not okay). It was a crop top. So I ended up sewing the bodice to the skirt, to make it a dress, which meant relocating the closure to the back. Thankfully the overskirts cover the previous closure so it can’t be seen!

Onto the overskirts then.

I wasn’t sure how to achieve the effect of Jane’s overskirt. But after I looked around, the costume Jane wears at Disney World shows the pleats much better, so I got onto pleating. I took the old front panel of the skirt and pleated the sides just to get an idea of how long the overskirt panel should be. The pleats are just wide, knife pleats going against the flow of the skirt, so it looks like is folds inwards.

Like so.

Once I figured out how long it had to be and how wide, it was just a question of drawing out the schematics and then cutting the fabric. I drew it directly onto the fabric, which was cut on the fold. It looked like a slightly sloped rectangle. It had to be as wide as lowest point where it hit the actual skirt, so that it fit comfortably and didn’t look strained (this is something I learned from my failed overskirt in my 1871 evening dress).

After that was cut out, I made the three pleats, the first is 3” deep, the second 4” and the third 5”. I found I liked the look of this slight difference.

I sewed the pleats down by machine, after ironing them.

Then  I turned the bottom and side edges inwards twice by hand, to hide the raw edges. This also hid the machine stitching. Then I made a waistband for the top, not sewing the sides so that it formed a channel through which I threaded a piece of matching ribbon. This is the overskirt closure.

For the pouffy bustle… bit (I’m not sure what to call it, pad maybe?), I pretty much winged it after a rough mock up. I made it quite wide and very sloped. I noticed that the sides of the pad covered the sides of the pleats in the front overskirt, so I measured them (12”) which told me how long the side panels of the pad had to be before they sloped. Then I sloped them into one big curve. Once again, it was cut on the fold. This gave me a rough oval shape (when the top was gathered down). The top had to be quite wide to fit comfortably over the bustle. Originally I tried pleating it, so it would match the front overskirt, but it didn’t give the same look as the one in the film. So then I tried gathering it with two rows of stitching and it worked! I also noticed that Jane had some sort of border around the pad which seemed to be stuffed, because it stood out from the pad.

To achieve this, I cut wide bias strips of fabric. Because there was a slight difference in colour, I used the wrong side of the fabric, like I did for the sleeves. I turned the long edges inwards by 1/2” like when making a waistband. Then I pinned and sewed one side down, all around the pad. Then, while turning the other side and pining it, I added polyester toy filling to it, and sewed it down by hand.

Then I added a waistband, like on the front overskirt, and threaded some ribbon through it. I added a couple of snaps to the side, so that it would attach to the front overskirt (this whole costume is rigged with snaps and hooks to be honest).

And that is it for the skirt and overskirts! Here are some photos of the costume at this stage (roughly), including a sneak peek at the collar and scallop trim. The next post will be about the collar, cravat, umbrella and misc. accessories/details!

(this is not the final belt, it was just here for picturing purposes!)

Making an 1871 Evening Dress: the photos

This dress was made based on an extant 1871 evening dress at the Fashion Museum Bath. There’s a picture of it in my first post. You can find the Making of posts herehere and here.

I really enjoyed the process of making this. It involved making a bustle cage, which was a first. I wore it over my Victorian corset, the bustle cage and two early bustle petticoats. The dress is made up of a bodice, a skirt and an overskirt. Like at the time, the bodice remains separate from the skirt. Since I have some leftover fabric, it might be nice to try an make a day bodice for this project at some point in the future! In the end, I had a lot of fun and I’m happy with a lot of the elements.

Thanks for reading!

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Making a Jane Porter cosplay: the bodice

You can find the previous post about this cosplay here. I explain a lot of the concept behind this project there, but I’ll give a brief summary here. I wanted to make a more detailed version than the film. For my Esmeralda cosplay, I made it with plain, block colour fabrics, and while I love the result, I would also like to push this next Disney cosplay and try to give it more of a different spin. A huge inspiration was a redesign by Designer Daddy (photo in the other post!). And so, while I was calling this ‘Victorian Jane’ in my head, there is nothing historical accurate about it and it’s not meant to be!

Also quick reminder that this is a description of how I did things – they are by no means the best or correct methods!

With that in mind, I went about tackling the bodice. I really liked the idea of a square neckline and then something that looked like a chemise or blouse underneath, with a high collar. I had a look in some pattern books, but I couldn’t find anything that sort of matched what I wanted, so instead I draped it on my dressform. I’m still fairly new at this, but I was happy with what I came up with. I started by using large-ish pieces of fabric and laying them on the dressform, pinning them so that they laid flat. I marked the seams and cut out the extra fabric, and drew on the shape of the bodice. It left me with this:

I marked where all the seams were, where they joined and what each bit was. Then I took it off the dressform, pieced it together, and cut a mock-up. After some adjustments to it, I made a pattern and a second mock-up.

My first mock-up. Some of the adjustments included making the waist longer and taking it in at the bust.
After I settled on all alterations, I went ahead and cut it out of the lining, the outer fabric and a layer of cotton twill as interlining (placed inside, between the fabric and the lining, to stiffen it).

The cotton drill interlining layer.
I wanted to add some boning for structure support. I decided to add boning to all seams, but I also wanted some at the centre front to support the neckline. So I marked out two boning channels in the centre front and sewed half an inch bias tape to the cotton drill. I then flatlined the outer fabric to the cotton drill, matching each piece individually, and basted with a large machine stitch very close to the edge. Then I assembled the bodice by sewing the seams together with a half an inch seam allowance. I then went ahead and assembled the bodice with the same seam allowance.

 

Pining the lining layers together.

The assembled bodice. I’m actually in love with this lining. It was super cheap but it doesn’t look it – it’s this beautiful shimmering gold and I want to make everything out of it.
I turned all the edges inwards by half an inch on the main bodice. I didn’t bother turning them twice to hide raw edges as I would be putting the lining over top and so they wouldn’t be visible anyway (and this made the edges less bulky). I did turn the back edge twice under to create a boning channel at the back to support the eyelets.

This bodice had a lot of sharp edges that were a PAIN TO TURN. I was always afraid of clipping too much, but then if I didn’t, it wouldn’t lay properly.
I handsewed all these edges down because I didn’t want top-stitching. I went into this cosplay thinking it would be a lot less time consuming than my other historical projects, but turns out I don’t like visible stitching on these either! Silly me.

After all the edges were turned inwards (including the armholes), I moved on to drafting the chemise/blouse looking bit. Originally my plan was to have it simply as an extension of the bodice, stitched onto the bodice itself. This meant that I had to attach before I could sew on the lining, to hide the stitching.

Draping the blouse looking bit. I used off cuts and small bits of the proper fabric.
This was made up of the flat section of the shirt and the collar. I then cut these out of plain cotton as a mock up.

My biggest issue was that, while it was pinned, there was not enough tension for it to lay flat and I couldn’t tell if it would work properly out of the lace. So instead I started looking at alternatives. I decided upon making it into a chemisette. They were worn mainly in the 19th century to fill in the neckline and they gave the impression of a blouse. Sounds perfect, right? I just wish I’d thought of it immediately.

So I added two extending panels to the mock-up so that it was longer, ending just about the natural waist. I turned the bottom edge inward twice so it made a channel and then passed some ribbon through to tie in place. And it looked much better!

Now that I was happy with this, I came to the next conundrum. This project has really highlighted a terrible flaw in me. I am awfully indecisive. I don’t want to commit to a decision and I’m always afraid that something else would’ve looked better. It’s something I’ll have to get better at, if only for efficiency’s sake (since I end up putting off deciding and delay projects). I think if I ever get more confident in my sewing, this will get better naturally. Anyway, I had to decided whether I wanted to line the chemisette. The lace was somewhat see-through and originally I thought that would look good – but then I didn’t quite like the contrast that seeing my skin through the lace would give the costume. Instead, I thought lining it would be a nice throwback to Jane’s solid looking bodice.

So I decided to line it.

Cutting the bits out of cotton to line the lace.
I cut all the bits from the plain cotton and then the lace. Then I pinned the respective sections of cotton and their lace equivalent, right sides together, and sewed them with a half an inch seam allowance. I pressed the seams open and then trimmed them, as the lace is see-through and you could spot some of the wider ones. I then turned it the right side out and pressed everything again.

Then I sewed the shoulder seams and attached the collar (very fiddly).

(sneak peek at the skirt, which I actually completed first!)
I turned the bottom edge inwards twice, creating a channel for ribbon, and added snaps and hooks to the closure at the back. I was very happy with the result!

With the chemisette finished, it was time for the sleeves! I couldn’t sew in the lining without sewing the sleeves in first (the lining was meant to hide all my shame). I got on to drafting. In my quest to never have to draft sleeve patterns from scratch, I decided to just use patterns I had already made. The sleeves are made of three components: the puff sleeve, the straight bottom portion and the cuff.

For the puff sleeve, I dug out the pattern from my Red Velvet dress and slashed it further.

The original Red Velvet dress sleeve pattern
I ended up slashing it a total of five times, adding about 5 extra cms every time. I wanted the pouf! But the first time I only slashed it an extra three times.

After the first set of slashes.
Then bottom portion is just a rectangle, of how wide I wanted the sleeve to be and my arm measurement. I then made a cute little mock-up:

The mock-up, minus the cuff
I was happy with it, except for a few minor alterations. I wanted more pouf and the bottom portion was a little tight and short. I slashed the pattern again and then cut out my actual fashion fabric and lining portions. Then I flatlined the lining to the outer fabric.

The sections. A bit blurry, sorry!
The cuffs were made from a rectangle, interfaced and folded in half.

Exactly like a waistband, but for the arms. Armbands.
I have a few things I would’ve done differently. I wouldn’t have interfaced it, as it makes them a bit stiff and uncomfortable. I would’ve sewn them on before sewing up the side seam on the bottom portion of the sleeves (this was just stupid of me). I also sewed them on by hand, which made them not completely flat (would fix by sewing with my machine).

Then I sewed the gathering stitches on the pouf sleeves. Since I suspected the sleeves still weren’t good enough, I decided to add a layer of gathered tulle. I could’ve made sleeve supports (they were a thing) but I didn’t want to further hinder the costume (comfort and practicality were my point with this cosplay!). So instead I sewed two rows of gathering stitches on the lining layer and on the outer fabric layer, on the top portion of the sleeve (the two pieces weren’t basted together in the upper section). Then I gathered them down to the required size and I gathered down a layer of tulle about 7” wide to the same length. Then I sandwiched it between the lining and the outer fabric and sewed the three layers together. I did up the side seam and I had a pouf sleeve!

The side seams were done with french seams for finished insides.
Then I attached the cuffs to the bottom portion of the sleeves. The cuffs were cut purposefully of the wrong side of the fabric, because in the original film they look like they’re a lighter colour than the rest of the dress. I assumed this was because it was made to look like the the bodice had full length sleeves that were rolled up (some people have made the cuffs a totally different colour, like white, which also looks good, but I was satisfied with the wrong side of the fabric). I sewed them on by hand, sandwiching the bottom edge between the cuff. Then I pinned the upper section of the bottom sleeve (sorry, I can’t thin of a better way to explain it!) to the pouf sleeve, and sewed them together by machined with a a half an inch seam allowance. Then I did a flat fell seam by hand.

The flat fell seam.
Then I sewed the sleeves with a half an inch seam allowance to the armhole bodice, with a backstitch, by hand.

And since this was all done, I could attach the lining! I turned all the edges under by about half an inch, so that it was blush but not over the edge of the bodice, covering all seams.

That was sewn on with a whip stitch by hand.

Then I put in the eyelets at the back. For now, I’ve gone with brass eyelets. I’m not sure I’ll stitch over them with embroidery thread, I kind of like the antique brass look.

And it was finished! It only needs some snaps here and there, but otherwise it is done. There are a couple of details that are in the bodice area (the extra collar and the cravat) that I will include in another post (probably about accessories).

I did a quick fitting and I was happy with it! The next post will be about the skirt and the overskirt. Thanks for reading!

Making a Jane Porter cosplay: plans and undergarments

With MCM London coming up in May, I’d been weighing up my options for cosplays for a few weeks now. I didn’t have anything particular in mind. Cosplaying Merida showed me that, at least for now, I could only really do brunette cosplays as I still haven’t figured out how wigs work. I only used a wig that one time, and yes it was cheap and not great and it squished my brains into oblivion so I’m not sure I’m ready to revisit wigs! So I made my little list of option and eventually decided on making a Jane Porter cosplay.

Jane is from Disney’s film Tarzan and she looks like this:

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However, though there are amazing cosplays of this costume, I was more interested in making a more detailed version. In my head and notes, I’ve been calling it ‘Victorian Jane’ – but this makes no sense, really, as there is little Victorian going on in my version. Dating Jane’s costume is hard; it makes little since. There is a bustle going on, but little else that falls within the stereotypical bustle era gowns. So I thought I’d make it clear to state that this was not, in any way, intended as a historically accurate version of Jane. This costume is for cosplay and I just wanted to have fun with it.

With that said, my main inspiration for this costume is this version by the amazing Designer Daddy (he is such a great inspiration in everything):

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Designer Daddy’s version, isn’t it gorgeous?

This was made for Jessica LG and you can see photos of it being worn there! So my ideas rotated around brocade fabric, lace everywhere and as many details as I could cram in. I made a sketch for this and went into planning and fabric shopping.

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My sketch! I’m terrible at drawing so please forgive.

Fabric shopping was a pain. I couldn’t find anything that I really liked. I didn’t want it to be too gold or it might not be recognisable, and I didn’t want it to be too yellow in case it looked tacky. And I also didn’t want it to be expensive. Eventually I settled on this home decor yellow brocade fabric I found, it was £6.99 p/meter and I bought six meters.

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My fabrics!

But before getting to work with that, I had to work on foundations! I definitely wanted to keep the bustle look from the film and add the cupcake-look from the version above. I didn’t want a bustle cage because I thought it might  be uncomfortable for a busy convention, so instead I made a bustle pad. I used this tutorial by the wonderful Izabella. I did pretty much just follow her instructions so not much to add!

To decide how big I wanted it to be, I simply took a tape measure and held it up to my mannequin’s butt and did a bit of guess work.

My nonsensical schematics
Gathered down the bigger panel
Pinned the two layers together along the sewing lines

After sewing along the gathered lines, you’re also meant to sew one of the shorter sides closed (the other is left open so you can stuff the thing). My suggestion would be to bind the already closed edges at this point if you’ve got a little uncooperative sewing machine like mine. I ended up having to sew the last edge shut and do the whole binding by hand because my machine would not sew the stuffed pad, couldn’t get a right angle between the foot and the machine arm. Or maybe use the bag method if you’re more comfortable with that.

And then I filled with polyester toy filling until I couldn’t cram any more in

Then I sewed together the open edge through which I had stuffed the pad, and then bound all the seams with bias binding. Then I gathered down a lace ruffle and sewed than on (by hand as well as my machine wouldn’t do anything to the stuffed pad). Then I added two ribbon ties and it was done.

The finished pad

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On to the petticoats. And here is where I messed up. While the original skirt could be achieved with a plain gored skirt, like the one in my 1871 Evening Dress but shorter, Designer Daddy’s looked a lot more voluminous and ‘cupcake-like’. I liked this idea. As I am a huge fangirl, I’ve watched some of his live streams on Facebook and realised some of his amazing skirts are achieved with circle skirts – so in my head I instantly assumed this was a circle skirt too. And of course, what would give more volume to a circle skirt? Circle skirt petticoats!

groan.

This was also around the time I had determined to try out organdie for petticoats, at the recommendation of Jennifer at Historical Sewing. While organdie is great and I am a huge fan now, IT IS A STUPID CHOICE FOR A CIRCLE SKIRT. I am an idiot. It doesn’t drape! And circle skirts do! This is entirely my mistake and I wish I hadn’t insisted on it and ended up cutting two circle skirts before giving up. But I did – so I was determined not to let it go to waste.

I used Angela Clayton’s circle skirt tutorial to draft my pattern.

Then I cut it out of organdie, it was positioned so it was a double layer.

The side seams were sewn up, leaving one with a six inch gap. These side seams used the fabric selvage, so I didn’t even have to finish them. Then I used a bit of ribbon as waistband, not sewing the two edges together like recommended. Instead, I simply turned the raw edge inward and sewed the edge down. Then I folded it, so that it created a channel for some more ribbon and it closes in a drawstring manner.

I decided to add a layer of tulle inbetween the circle petticoats in hopes it would help. I added a long two inch wide ruffle at the bottom edge and initially gathered down the top side to fit the waist, but I found this added too much volume on the front. It was about this moment I decided to get a full bustle look, keeping volume away from the front if I could. So instead, I added two darts to the front and pleated the excess at the back, over the bustle.

The silhouette looked like this at the moment:

I used an old circle skirt over it so I could see what the final skirt would look like

While it was getting there, it wasn’t quite what I wanted it to be. The organdie doesn’t fold well into the circle skirt shape, so it jolts out at awkward angles. Right about this time, I found this old instagram photo of Designer Daddy, which shows his petticoat:

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I was so mad! I over-complicated everything. I just needed to make ruffles! In an effort to salvage my petticoat trials, I decided to add flounces and ruffles to the tulle layer, in hopes that it would life the upper organdie petticoat into submission. And it worked! I added two plain cotton ruffles all the way around the bottom of the tulle petticoat, each 5” wide. Then I added one final 5” organdie ruffle on top of that. The silhouette
was much better and I was satisfied!

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With the bustle pad and the two petticoats, the undergarments were completed. As I said in the beginning, there’s nothing really historical about them! I learned a lot from this. I really enjoy building a silhouette and I feel like I learn a lot every time! The skirt is sufficiently poofy for me, while still keeping the flat front and the bustle-y back.

The next post will be about the bodice!

Making a Cream Dress: the Photos

This dress was a project on a whim. I was on holiday in Spain and I’d seen an awesome fabric shop but had no immediate projects. So I set out to the internet and found a photo of a costume in Reign that I used as inspiration. I wanted it to have that romanticised medieval look, so though it is historically inspired, it is in no way accurate. I am quite happy with it! It was very good practice on building bodices, drafting sleeves and general dressmaking skills. I also got to embellish it with beads and pearls, which I loved! You can find the posts about making it below. These photos are, like all of the others, taken by amazing friend and photographer, Raquel Gaspar. Also, this dress does have a sash to go with it, which I mentioned in the blog posts, and it annoys me so much that I forgot to take it to the shoot! It really completes the look (and hides some mathematical imperfections in seam making). But alas!

Making a Cream Dress: The Bodice

Making the Cream dress: sleeves, skirts and details

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Twirling to try and show off the skirt! Instead, it got covered in mud.

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Bloopers: very unladylike boots.

Making a Robe à l’Anglaise: the Photos

This was my first historical project and I learned a lot from it. I finally got the opportunity to take some proper photos of this dress a few weeks back and I’ve got the photos back from my amazing friend Raquel Gaspar. I’m so happy to share them! The dress has some flaws still and things I would like to fix, but since the fabric basically disintegrated every time I rip out a stitch, I think it’ll have to keep its flaws. I do wish I could have attempted a more complete look, but hair frightens me and 18th century hair is terrifying. Maybe one day! It also annoys me that the freshly ironed petticoat got very crumpled in the walk between my house and the park, but oh well!

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Making an 1871 Evening Dress: the sleeves and details

Once the skirts were done, I moved on to the sleeves. The sleeves were rather simple. As the bodice fell just off the shoulder, they didn’t need to fit in the same manner as normal sleeves. So to draft these, I simply drew an almost oval shape, longer than the armhole size so I could gather it down to make nice puffy sleeves.

I cut out two of them and then two long rectangles to make little cuffs. I made the cuffs in the same manner as usual, by interfacing it and then ironing the edges inwards like with a waistband. But this time, I added a piece of plastic boning to make them nice and round. I gathered the lower and bottom edges of the upper sleeve and then attached the bottom edge to the cuff, by slotting it into the middle of the cuff.
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I sewed this by hand, so that there was no visible top stitching. They looked pretty adorable at this stage.

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Then I attached them to the bodice with a double threaded back stitch, for sturdiness. Then I covered this seam with bias tape (as I’d ran out of lace tape by this point, oops!).

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Sleeves were attached and I moved on to decorating the collar, as I wanted some hand-stitching. I wish I’d decided to do this before attaching it, as it would have been much easier, but alas. I ordered some sequins online and decided to attach them around the collar, to cover the awkward bias that was bothering me.

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The last element for the bodice were the two little bows that are perched just over the shoulder on the original dress. I’d never made fabric bows before and two tiny ones took me a shameful amount of time. Like, I am literally ashamed. I turned all the edges inwards by hand, because I didn’t want top stitching, so this was what set me back. I cut some rectangles, two different sets, one set larger than the other. One rectangle for the main body, one for the tails. All the edges were turned inwards by hand and then the middles were gathered down.

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The gathering stitches

After they were gathered, I tacked the two together and cut one long strip from the same fabric, about one inch wide, which I used to tie over the middle. Then I added sequins over the edges of this strip. Yes, they took forever, but they looked adorable so I forgave them.

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I attached them to the bodice with some strong stitches. And with this done, the bodice was complete! The insides were a bit rough still, but I’m waiting for more lace tape to arrive so I can clean them up properly.

The last step was the trim made of the same fabric for the skirt. It would decorate the overskirt and also hide the side closure. For this, I cut some long strips of the fabric, and pleated them.

This was quite easy to do, because the stripes were good guidelines. Then I tacked them down very carefully on both edges, trying to keep my stitches as discreet as possible.

After that, I pinned them to the overskirt and sewed them down in the same way with the tacking stitches.

I was pretty happy with everything at this point, but too lazy to lace up the bodice on the dressform so instead here’s a 19th century crop top:

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Last thing to do was to hem the skirt. I decided to use crinoline tape (also called horsehair tape) for this. It was quite hard to find in the shops at a reasonable price and wide enough, so I bought it online. It ended up being 13 cms wide. I lined it up with the edge of the right side of the skirt and sewed it down with a half an inch seam allowance, on the right side.

Then I turned it over to the wrong side and smoothed it over, making sure it was pulled tight, and pinned it in place. Then I used a herringbone stitch to secure it.

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I also made a little placket from the fabric to cover the cut edges of the tape where they met, as they were quite rough.

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And it was done! I learned a lot from this project. I liked all the decorating, but I also learned I have to take more time to sort out the fit, instead of getting excited and moving ahead. I still have some fabric left over so I think maybe a day bodice to pair with this might be fun to make sometime in the future. I don’t have edited pictures of this dress yet, so here’s a little sneak peek:

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Flawless photography by Raquel Gaspar