Not sure if 1920s thread spools and vintage compacts are the best pattern weights, but they worked.
To show how similar the original pattern piece is to my copy - this requires patience, since the last thing I wanted was distorted pieces which would ruin the entire garment.
The only pieces I had to make for myself were for the slip. I used the basic bodice from Simplicity 8506 Vintage 1930's Sleeves pattern and studied the few images of the slip from the envelope to try my hand at drafting my own pattern pieces.
The missing slip image from the envelope, and my bodice pattern. I guess those strange double underarm darts were not so strange in this time period.
Drafting the slip to the best of my ability - with of course my trusty vintage compacts as pattern weights again.(Unfortunately I didn't get any other photos of this process - I basically drew the shape of the slip from the envelope using the bodice piece as a guide to get the darts, armholes, and neckline correct, and made sure it would be wide enough to not only pull over my head, but fit my hips. Then I made a matching back piece.)
After making copies of all my pieces, it was time to cut out my fabric. I used a permanent press bleached muslin, black calico, and burgundy calico fabric, all 100% cotton for a few reasons: low cost(since I wasn't too sure how it would come out), breath-ability(it's summer after all), and ease of sewing(non-stretch fabric is wonderfully easy to sew).
The fabric.
As if this wasn't already a learning curve using the perforated pattern, I thought I'd try my hand at tailor's tacks, which my 1927 sewing book recommends.
Tailor's tack instructions.
My rainbow of tailor's tacks.
Once my pieces were tacked I cut them out and started the part of construction that took the longest - the pleats.
Pleats basted - they go all the way down the dress starting at the shoulder, on both sides and front and back.
Pleats sewn at the top on front and back.
Since the pleats were only sewn part of the way down(about 8 inches), I finished them as is suggested in the book, thread pulled to the back and hand knotted like finishing a dart. I also cut out some of the bulk near the shoulder seams to make finishing easier - as is also suggested in the book.
After the arduous pleating, I stitched up the side and shoulder seams and tackled the inset sleeves, which for once were not so tedious(only an inch of ease, unlike other modern garments I've tried that have at least an inch and a half of ease - what a difference!)
Sleeves in.
With the sleeves in, it was now time for the cuffs, collar, and belt in the red fabric, all which in themselves are simple, but made more complicated by me because of my want of black detailing(to match my 1920s reproduction black shoes).
Cuffs, collar, and belt all cut out and marked.
Some of the black detailing - self made pattern and cut out pieces.
When the cuffs and collar were on and the belt done, the only thing left was the slip. I used the same white fabric as the outer dress, bound the armholes and three quarters of the neckline with white and used the red and black for the front binding on the neck since it was the only part showing.
Now that most of the slip and the outer dress were complete, I finished the seams, hemmed the slip first to make sure the outer dress hung lower, then hemmed the outer dress.
Seam finishing - I folded each side of the seam allowance inward towards the stitching and overcast stitched them together, and I did this on the entire garment.
All that was left is to take out the basting stitches in the pleats and iron them to death.
I originally bought this Art Deco letter opener to turn out points in garments, but it also works very well to quickly take out basting stitches.
(This is part two of three documenting my journey into making this dress. Check back next time for the reveal!)
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