Category Archives: Tutorials

When You Need to Sew Something Vintage–FAST

This past January we hosted a 1933 party at our house.  I’m part of a small group that does .  . . . well not exactly reenactment . . . and not exactly murder-mystery . . . events.  Hard to describe really, except to compare it to a sort of live-action soap opera drama with supernatural overtones.  And NO . . . this is NOT some vintage riff on “Twilight”.

As you can guess, since we were hosting, I was so busy with preparations trying to get everything coordinated (caterer, music, etc.) and organized and ready, that I didn’t have much time for sewing.  I needed at least one day dress (well ideally two) and one evening gown dinner dress.  Weirdly enough I own five evening gowns that look 1930’s (two which are actually vintage), so I was able to slide on that one.   And for one day I was also able to skate with a “faux-vintage” blouse and skirt.

And of course . . . I was down to the wire with only a day to put something together.

Can I see a show of hands of all of you who have been here before?

I did a quick look through my fabric stash and the archives to see what I could find that wouldn’t take too much fiddly work.  The pattern I finally settled on was this one:

Don’t let the “Size 20” alarm you.  It’s a vintage sizing, and is actually equivalent to a 38 Inch Bust and 41 Inch Hip.

I ended up using this size because it was fairly close to my hip and waist measure- ments, but I had to take it in at the bust.  I’m a bit “pear-shaped” these days . . .  sigh.

But this looked like it would go together quick, and that was important, since I only had a couple of hours before I needed to wear it!

Looking through my fabric stash – I needed to find something that was 1930’s looking, and didn’t require a lot of finishing.  So things like French seams, zippers and buttons were out, because I knew I wouldn’t have time to do all of the finishing techniques before I had to put it on.

I found in my stash some light weight cotton fabric that had very art deco looking berries in dark blue and apple green.  And surprisingly I also had some apple green boiled wool that matched the  green in the cotton.

Granted boiled wool probably wouldn’t have been used for this dress – but the wool had the advantage of no raveling edges, so finishing would be minimal.

Here is a picture of the almost finished blouse.

The drop shoulder puff sleeve is pretty cute, I think, with the double row of gathers at the shoulder.

Because I was in a hurry to get it done, I just made two diagonally shaped darts in the front from the shoulder towards the center front.   I sewed them on the right side, so they look like really long tucks.  You can’t see them in the photo, because the pattern blends so well together.  And when the jumper is worn over it, the straps hide them.

Even so, I think this is a blouse that I’ll probably wear with jeans in the summer.  When it’s warm enough not to have to wear three or four layers, like I’m doing now.

I still need to hem it, put buttons or snaps on the front, and bind the seam on the inside neck to finish it up.

 

Here’s the photo of the jumper with the blouse.

The green originally looked to stark against the blouse, so I put an edging of the blouse fabric around the neckline and arm opening.

The sliders on the straps are belt buckles, that I picked more for color – but they are actually a bit too heavy for the dress.  I’m on the look out for something else to replace them with.

And clearly – I didn’t get the belt made – so for the day that I wore it, I just tied off a strip of the blouse material as a sash.

I still need to put some snaps or fastener bars under the straps, and to tack down the slider buckles to the fabric.  I may take it in a bit more at the sides at some point.

I finished the whole thing in about 6 hours of marathon sewing. And got lots of compliments on it at the party!

Classic 1930s Coat Part 1

Classic 1930s Coat Part 1

I was hoping to get the next section about the Traveling Jacket posted, but I got a bit stalled out in the pattern alteration phase. I will be posting up the information about the pattern alterations in the next day or so.

In the meantime, I thought I’d let you know about my current sewing project – a 1930’s coat.

My old winter coat (nearly 20 years old) is finally at the point where further repairs just aren’t going to cut it. And thanks to a very generous Christmas  gift last year from my wonderful mother-in-law, I was able to brush up on my dormant tailoring skills by taking a refresher course at Apparel Arts in San Francisco. (Be sure to check out Suzy Furrer’s book.  Simply one of THE BEST books on pattern drafting, in my humble opinion.)

I went burrowing through the Library’s archives, looking for a pattern close to my size, and matching the requirements of the class.  (Notched collar, welt pockets, two piece sleeve – etc.) Eventually out of 5 patterns than met the requirements, I narrowed it down to this pattern from 1933 –

It has that classic “Casablanca” look to it, and I love the long length with the box pleats falling from the waist at the back to the hem. Another interesting design feature is the long dart that comes in from the underarm and angles down towards the pocket.  (You can see a bit of the dart if you peek closely at the right hand side of the white coat.  There’s a little angled shadow that’s center and just above the double welt pocket – that’s the dart.

Now – if I could only find a pair of those brown shoes shown in the left illustration!

My old coat was black, so I decided that for a fabric I wanted something a bit different.  I wasn’t sure what, one of those I’ll know it if I see it things.  I also knew that while Britex Fabrics would be the number one choice for wool – I didn’t want to pay 250.00 a yard for a full length coat.  I knew if I even browsed over there I would fall in love with something much beyond my budget.

Instead, I went to Discount Fabrics in Berkeley, CA.  Which is a great place, if you don’t mind spending a couple of hours in there browsing.  It’s rather like a fabric treasure hunt, and if you find something you like,  snap it up — because there’s no telling if it will be there the next time you come.

It took me a bit to track down the woolens . . . and while the selection wasn’t nearly as huge at Britex . .  all of it was lovely stuff.   I found what I was looking for.  A blue-gray Italian wool, with a very slight pile surface.  It was a bit lighter weight than I was looking for, but  the canvas and other structure inside should give it more body.

(excuse the slight wrinkles from it being folded!)

The fabric is 60 inches wide, 100% camel hair wool,  and ran about $ 55.00 per yard which means it would have run anywhere from $ 100.00 – $ 150.00 a yard anywhere else.  You can’t really see it in this picture, but it has little flecks of pale blue, pale and medium gray in it.

I made a muslin first, using Nancy Zieman’s book Pattern Fitting With Confidence.  (This is a reissue of her earlier book Fitting Finesse.) I’ve used this primer for years to alter vintage patterns to fit me – and highly recommend her method.

I ended up having to adjust through the waist and hips for my extra inches.  and having to widen the upper sleeve to for my more “fluffy” upper arms.  I also decided to raise the neckline lap at the center front a little higher – since one of the things I hate is wearing a coat where the cold air is whistling down my front!  The muslin only needed a few little tweaks in class (hooray for Nancy Zieman!) — one of which was to open up the shoulder seam a little more to allow for shoulder pads.

Unfortunately I can’t show you the finished muslin – because I’ve already taken it apart to use as the pattern for cutting the coat.  But trust me . .  even as a muslin . . . it looked SHARP!

I decided to do everything in classic couture tailoring methods, which translates into lots of hand work.   I went through and chalked all of the markings, and then thread basted everything . . . and I mean everything with silk thread.

(thread basted pocket opening)

(Dart hand basted and ready to be sewn)

All of the thread marking didn’t take nearly as long as I thought it would – and there was a sort of zen quality to plying needle and thread through buttery soft wool.

The refresher course at Apparel Arts helped get my brain in motion – but some of the techniques were a bit modernized for what I wanted to do, such as machine stitching rather than pad stitching being used for the collar.  Don’t get me wrong – for current tailoring these options work great, and are amazing time savers.  But having chosen a vintage pattern, I wanted to do something a lot closer to what would have been done in 1933.

So – my next step was off to research the Library’s vintage tailoring books!

Part two of this series will cover constructing the darts, making the double welt pockets  . . . and what my tailoring research turned up.

My next post will cover sewing the darts and the double welt pockets.

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1895 Traveling Jacket Tutorial Part 1

A slight technical glitch prevented me from getting this up on Tuesday as planned. But it seems to be resolved now . . . so here is the post that should have gone up yesterday!

All sorts of things come into the Library’s Archives, almost on a daily basis. Fashion catalogs, commercial patterns, odd bits of paper brick a brack, so that when a package comes, it’s always a surprise and a treasure hunt when I get to open it.

There’s always swoon-worthy stuff . . . from that amazing chic 1950’s ensemble, to the complicated design of early century evening gowns. But – even amongst so much eye candy, there sometimes comes something exceptional that just grabs me.

This 1895 “Robe de Voyage” or Traveling Dress is from a copy of La Mode Illustree dated May 5, 1895. (I’ll write a longer post on the history of La Mode Illustree at another point.)

When I opened up this newly arrived issue, and saw this jacket, the first thing I did was scan the included pattern sheet to see if it was there . . . and found it! Not all of the garments shown in an issue are included in the pattern sheet, so it was just good luck that this jacket that I was so taken by was included.

EXAMINING THE DETAILS OF THE PATTERN

In all of the 1895 archives that the Library owns I have never seen a design like this one. I went to work to replicate the pattern from the pattern sheet, and get it set up in electronic format. When the formatting was completed, the pattern pieces look like:

Listed from upper left, going clockwise – the pieces are:

Jacket Trim

Collar

Jacket Inset

Jacket Front

Jacket Back

Jacket Side Form

Sleeve (at bottom)

As with most of the patterns from this period from La Mode Illustree, there are no sizes given. Typical of these early patterns, I presumed that the jacket would run very small. Especially through the armscye and the bust area. Measuring the pattern through the approximate areas, I came up with an estimate of an 18″ waist and 30″ bust. (Clearly a lot of adjustment is going to need to happen to make this wearable for me!)

Looking at the illustration of the front and back, the jacket looks to be constructed using princess seams, which appear to be lapped (or welted) seams with top stitching. The shoulder seam is placed directly on the shoulder, and the collar is a standing, mannish style that folds over on itself.

The sleeve is huge – it measures 32-1/2 inches across at it’s widest part. The leg 0′ mutton sleeve has the lower part fitted closely from the wrist to the elbow by a series of pleats. Many of these sleeves had a lining, and used netting or crinoline in between to keep the poofy shape of the sleeve. This pattern does not have a sleeve lining pattern included.

The jacket trim is a separate piece, that gives the illusion of a double breasted closure, when in fact the jacket opens at the center front. It is interesting to note that the lower edge of the center front does not meet, but wings open slightly from about the hip bone. (My best guess based on looking at the picture.)

The original text indicates that it is to be made of a gray-blue serge and trimmed with large metal buttons.

There is also a skirt pattern given with this jacket, and the text indicates that a “chemisette-blouse” was to be worn underneath. In an issue of Harper’s Bazar from about this same period, a similar jacket and skirt is shown, with a sleeveless blouse, that was to be worn underneath the jacket, with the understanding that the jacket would not be taken off in public. I am guessing that the “chemisette-blouse” might have been something very much like that. Especially looking at how tightly the sleeves fit in the lower arm, it would be uncomfortable to say the least to try to get an arm through there with a long-sleeved blouse! (I will include a picture of the full ensemble with the skirt later this week, in the next blog post. )

Given how small the sizing is on this pattern, my usual method of sewing a muslin and then slashing and adding is probably not going to give as good results as starting with a pattern that is closer to my dress form’s size. I have a set of princess pattern blocks from String Codes, which I’ve had for quite a while, and haven’t put to use. I’ve heard mixed reviews about how accurate they are for pattern design – I’d love to hear from anyone who’s used their product. I think in this case, even if they don’t turn out to be very accurate – they will provide a jumping off place to start working with the original pattern pieces.

**Next post which should be up on 09/10 or 09/11 I’ll have information on the skirt, and redrafting the pattern.**

H1440 Hat Tutorial Part 3

In the last tutorial (part # 2) we completed the Brim Foundation and the Crinoline Headband. This week’s tutorial will be shortish – as we will be doing some prep work for the bigger push next week.  While it may seem like we are getting a bit bogged down – we’ll be making lots of progress on finishing the hat soon!

JOINING THE CRINOLINE HEADBAND AND THE BRIM FOUNDATION

Place the Brim Foundation on a flat surface with the basted edge upwards, and the folded edge on the flat surface.   Matching the center fronts, place the Crinoline Headband over the Brim Foundation and pin on either side of the center front mark.  The bound edge of the Crinoline Headband should be upwards, and the folded edge  should be against the Brim Foundation.  Match the folded edge of Crinoline Headband to blue lap line on the Brim Foundation.

(photo above shows the center front of the Crinoline Headband matched to the Brim Foundation. A piece of paper is inside to provide contrast.)

Repeat the process to match the center back markings.

(photo above shows the Brim Foundation, with Crinoline Headband matched at center back. A piece of paper is inside to provide contrast.)

Ease Brim Foundation as needed to fit into Crinoline Headband.  Depending on the stiffness of your Crinoline you may be able to gather it by hand, or may need to pleat it.  The crinoline that I am using in this tutorial is fairly stiff, so I have pleated it as needed to fit.

Pin securely, using lots of pins to control fullness.

(photo above shows the brim foundation eased into the Crinoline Headband. A piece of paper is inside to provide contrast.)

Steam and press Brim/Headband assembly over rolled towel or pressing ham to set easing, and to nudge back into a circular shape.

(photo above shows the pressed Brim Foundation and Crinoline Headband before stitching. A piece of paper is inside to provide contrast.)

Join the Brim Foundation and Crinoline Headband by machine or hand stitching close to the edge of the binding strip.

(photo above shows the Crinoline Headband joined to the Brim Foundation, stitched across the top, along the muslin Headband. A piece of paper is inside to provide contrast.)

Set the Brim Foundation/Crinoline Headband aside, while we make the Brim Facing.

PREPARING THE BRIM FACING

On the wrong side of the fabric, mark the center front and center back lines at both ends, by chalk, thread basting, or dressmaker’s carbon.  If your fabric is of a light color, thread basting is suggested so that the markings do not show through to the front.

Be careful not to stretch or distort the bias cut Brim Facing while marking.  You do not have to mark the center horizontal turn line unless you wish to.

In the photos below the center front and center back lines are marked by black thread basting.

(photo above shows  the center back line of Brim Facing, marked.)

(photo above shows the center front line of the Brim Facing marked.)

Place the Brim Facing wrong side down on a flat surface, oriented as shown in the picture below.

(photo above shows Brim Facing, wrong side down and oriented correctly for joining.)

Bring the two ends of the Brim Facing towards the center, so that they parallel each other as shown in the photo.  (A piece of paper has been placed underneath to show the alignment clearer.)

(photo above shows the Brim Facing ends turned towards each other in the correct orientation for joining.  The wrong sides of the ends are facing up.)

Place right sides of Brim Facing ends together, matching center back markings, and notches.  Pin in place.

(photo above shows Brim Facing placed right sides together, with center back markings matched, to create diagonal seam.  Right side is inside of the Brim Facing.)

Join seam along the diagonal using a 3/8-inch seam.  Being careful not to stretch the bias.  Press seam open carefully.

(photo above shows completed and pressed seam for Brim Facing – wrong side out. A piece of paper is inside to provide contrast.)

Turn the Brim Facing right side out, so that the seam is on the inside.

Hooray!  This part of the tutorial is complete.  Next week we will attach the Brim Facing and construct the Side Crown for the next phase of the hat.

H1440 Hat Tutorial Part 2

In our first tutorial, I neglected to mention cutting the Lining fabric for the hat. You may go ahead and do it now, or wait until you are ready to set the lining in the hat at the end.

Lining Side and Lining Tip:

Cut the Lining Side on the bias as shown by the grain line arrow.  Cut one piece for the Lining Side and one piece for the Lining Tip.

In this section of the Tutorial – we will be constructing the Crinoline Headband, and preparing the Brim Foundation for covering.

CONSTRUCTING THE CRINOLINE HEADBAND

Lap the right end of the Crinoline Headband over the left end, matching the Center Back markings. The raw edge of the right end should match to the Lap Line. Pin in place.

(photo above showing lapped and pinned Crinoline Headband.  A piece of paper is inside to provide contrast.)

Join the Crinoline Headband by stitching along the Center Back line, and then 1/4 to 1/2 inch away on either side.

(photo above showing the three lines of completed stitching on the Crinoline Headband.  A piece of paper is inside to provide contrast.)

Fold the Crinoline Headband in half, matching the edges, and pin along the bottom.

(photo above showing Crinoline Headband folded in half, and raw edges pinned together.  A piece of paper is inside to provide contrast.)

Using light steam, press the folded edge of the Crinoline Headband over a rolled towel or pressing ham to set the fold and create a crisp edge.(photo above showing folded edge of Crinoline Headband after pressing.  A piece of paper is inside to provide contrast.)

Hand or machine baste the lower edges of the Crinoline Headband together, removing pins. (photo above showing lower raw edge of Crinoline Headband stitched together.  A piece of paper is inside to provide contrast.)

Fold the Headband Binding in half lengthwise, and press to set the crease, being careful to handle gently and not stretch the bias strip.

(photo above showing the bias Headband Binding, folded in half and pressed.)

Turn the Crinoline Headband upside down, so that the folded edge sits on a flat surface, and the raw edge is upwards.  Open up the Headband Binding and starting at the center back, place it over the raw edge of the Crinoline Headband, pinning in place.

(photo above showing the start of pinning the Headband Binding to the Crinoline Headband. A piece of paper is inside to provide contrast.)

Cover the raw edge of the Crinoline Headband all the way around, lapping the binding end over the beginning by about 1/2 inch.  Trim off any extra of the binding strip.

(photo above showing the pinning of the Headband Binding on to the Crinoline Headband completed.  Note lapping of the Headband Binding near the center back seam.  A piece of paper is inside to provide contrast.)

Stitch the binding to the Crinoline Headband close to the top edge, and then again close to the raw bottom edge to secure.

(photo above showing the Headband Binding sewn to the Crinoline Headband.  A piece of paper is inside to provide contrast.)

The Crinoline Headband is now complete.  Set it aside while we work on the Brim Foundation.

PREPARING THE BRIM FOUNDATION

On the Crinoline, mark the horizontal lines, the center back lines, and the lap line.   On this Brim Foundation, I have thread basted the lines in the same colors as on the pattern for clarity’s sake.(photo above showing the Brim Foundation marked in colors by thread basting.)

Lap the right end of the Brim Foundation over the left end, matching the Center Back markings. The raw edge of the right end should match to the black Lap Line. Pin in place.(photo above shows the pinned brim foundation. A piece of paper is inside to provide contrast.)

Join the Brim Foundation by stitching along the center of the join, and then 1/4 to 1/2 inch away on either side.(photo above shows the stitched brim foundation. A piece of paper is inside to provide contrast.)

Fold the Brim Foundation in half along the red turning line, matching the edges, and pin along the bottom.(photo above shows brim foundation folded in half and lower edges pinned. A piece of paper is inside to provide contrast.)

Using light steam, press the folded edge of the Brim Foundation over a rolled towel or pressing ham to set the fold.(photo above shows the pressed brim foundation. A piece of paper is inside to provide contrast.)

Hand or machine baste the lower edges of the brim Foundation together, removing pins.(photo above shows the basted brim foundation, with basted edge at top of picture. A piece of paper is inside to provide contrast.)

We’ve just completed the foundation structure for the hat!  Next week we will join the Headband to the Brim Foundation and prepare the Brim Facing!

H1440 Hat Tutorial

Hello Everyone!

The tutorial for this pattern is completed now, and will be posting up every Thursday morning until it’s completed.

The first section of this tutorial was published last November, and it took a while to navigate the learning curve of a new camera – and to get the instructions all written up.

If you would like to participate in the Sew Along – you’ll need to pick up a copy of the pattern for the hat.  The participants will receive the pattern sheet only.  As the updated graphics and detailed instructions will be posted here on the blog, as we work through them. The pattern cost is $ 4.00 (a nice discount!) which includes shipping to get it to you.  (Additional postage is required for our International friends.)

Interested?  Want to Sew Along?  Drop an email to us at:

vpll.librarian@gmail.com

And a Paypal invoice will be forwarded to you for the pattern sheet.

If you can’t wait, and want to dive right in – you can purchase the retail pattern, and the direct download of the complete tutorial at the links below:

#H1440 – Hat Pattern Package

#H1440 –  Complete Tutorial in pdf form

H1440 – Hat Sew-Along Tutorial # 1 – Prepping And Set Up

1920’s Hat – # H1440

This beautiful cloche hat is dated to the mid-1920’s and included an iron-on transfer pattern for the embroidery work.

The original instructions are a series of photographs, printed in blue ink on tissue paper. While the fabric layout guides are line diagrams and reproduced well for the pattern package – the photos did not. Many of the photos in the instruction set that comes with the pattern reproduced very poorly, because of the blue ink that they were originally printed in.  This tutorial has been written to clarify and help in construction of this hat.

MATERIALS REQUIRED

Fabric: 1 yard (44 – 54″ wide), velvet, satin, silk, taffeta, light weight woolens

Lining: 1 yard (44″ – 54″ wide) , silk, rayon, bemberg

Interlining 1 yard (44″ – 54″ wide), muslin, silk organdy, light weight fleece – depending on weight of fabric used for hat.

Crinoline: 1 – 1/2 yard (27 – 36″ inches wide) light to medium weight depending on weight of fabric used for hat.

Optional Materials:

Embroidery Cotton or Silk – various colors as desired.

Ribbon for Trim – 1 inch wide (2-1/2 yards)

Choosing Fabric

The relative weights of the fabrics should be taken into consideration. A light weight silk will require more structure to support the hat, than a wool or felt fabric will need. The amount of stiffness the finished hat will have is also a matter of personal preference. A general rule of thumb is the lighter the weight of fashion fabric, the heavier the weight the crinoline and interlining should be.

Once you have chosen your fashion fabric – you may wish to layer it over different weights of interlining and crinoline together to judge how stiff the finished hat will be. Remember that the hat is also pleated – which will add bulk to the finished item. For this tutorial, I am using a medium weight textured rayon, muslin as interlining, and light weight crinoline for the structure.

Crinoline is a canvas-like fabric that is used in millinery to provide structure and stiffness for hats.  If you can not find it locally (and many fabric shops do not carry it) – you can order it on-line from several sources.  My favorite is Lacis and below is a link to where it can be found.

Lacis – Crinoline For Hats
To find the listing choose “Crafts” under “Specialty Fabrics”.  Scroll down a bit, and you will find it underneath the listing for Buckram.  If you are using a pastel or light colored fabric, you will want to order JT03, which is the white.  (And a bit less expensive than the black.)

PREPARING THE PATTERN

Unfold the pattern sheet, and cut out the piece, leaving a 1/2 inch to 1/4 inch margin of white paper around each of the shapes.  You should have the following pieces when finished:

Lining Tip            Crinoline Headband          Lining Side          Brim Facing          Tip        Side Crown

Foundation Brim

Press out the pieces to remove the folds and wrinkles.  I have never had a problem with the ink coming off from the printing.  If you are concerned about that possibility, place a towel on your ironing board, and press the pieces with the printing against the towel.

SIZING ADJUSTMENTS

The pattern is sized for a 23 inch head, but may be adjusted slightly smaller or larger. As shown in the illustration above this hat sits very low on the head, covering the eyebrows almost to the eyelids.

If you have a size 22 inch head, you may want to leave the pattern the size it is, in order to replicate the look of the original.  If you prefer to have the hat sit more traditionally at the forehead, then you will want to adjust the sizing on the pattern.

If you don’t know your hat size – here are some links that will show you how to measure correctly

Measuring For Hat Size # 1

This link includes a video:

Measuring For Hat Size With Video

BASIC ADJUSTMENTS

If you decide that you want to adjust the pattern to a smaller or larger size it’s a fairly easy process.

First determine how much change you want to make.  For example going from 23 inches to 22 inches is a 1 inch difference.

The hat has only two places that will need adjustment.  Along the seam where the pieces are joined, and at the circumference of the Tip and the Lining Tip.

You will want to make your adjustments evenly over the pattern – so for the Crinoline Headband, Lining Side, Brim Facing, Side Crown and Foundation Brim you will want to shorten each end by 1/2 inch.   The Tip and Lining Tip are a bit trickier, as you have to reduce the over all area by 1/2 inch.  The best way is to draw a new cutting line following the shape of the pieces as best you can.

If you make adjustments to the size – I would strongly, strongly suggest sewing a test version out of muslin, to make sure that your adjustments accurately reflect the size you want.  Remember if you make the test muslin without the crinoline and interfacing – it will be a bit loose on you – but that’s what you want – as the crinoline and interfacing (and lining!) all add layers of bulk that will fill out the hat size a bit.

CUTTING OUT

When all the pieces are ready you should have the following:

FOR THE HAT:

Brim Facing

Side Crown

TipFOR THE FOUNDATION:

Crinoline Headband

Foundation BrimFOR THE LINING:

Lining Side

Lining TipSet aside the lining pieces for now – those will be used last.

For the Tip and the Side Crown, the fashion fabric and the interlining will be cut together. Open up the interlining and the fashion fabric flat. Lay the interlining onto the cutting table. (If it has a pattern or color place the right side against the table.  This will help prevent any color or design from shadowing through your fashion fabric.)

On top of the interlining, lay the fashion fabric wrong side against  the interlining.The right side of the fashion fabric will be up.Lay the pieces for the Tip and the Side Crown — printed side up – on the fashion fabric/interlining layer and pin in place. Make sure the grain lines on the pattern pieces match up to the fabric correctly.

The Tip is cut on the straight of the fabric, the Side Crown is cut on the bias.

Cut the Brim Facing out of the fashion fabric alone – being sure to place on the bias.

Cut from the interlining material a bias strip that measures 1 inch wide by 25 inches long.

Cut the Crinoline Headband and Brim Foundation from the crinoline, both pieces being placed on the bias.

MARKING UP

Remove the pattern from the Tip and the Side Crown, and repin the interlining and fashion fabric together.Turn the Tip and the Side Crown over so that the interlining side faces up. (The fashion fabric side will be underneath). Thread a needle with a length of thread in a pale but contrasting shade of color. Knot the end of a single thread, no need to use a double thread here. Hand baste close to the edge, the interlining and the fashion fabric of the Tip, so that the two pieces of fabric can be handled as a single unit.

(Above photo the basted Tip with interlining fabric on top.)

Do the same for the Side Crown, being very careful to handle the pieces gently so that the bias edges do not stretch.

(photo above shows the basted end of the Side Crown with the interlining on top.)

Mark the center line of the Tip onto the interlining (muslin) fabric, using chalk, dressmaker’s carbon or basting stitches. If you are using white or a light colored fabric for the hat, make sure that what ever method you chose – the markings do not show through to the right side. For light colored fabrics, basting is the recommended method of marking.

(photo above shows Tip marked on interlining side.)

Mark the Side Crown in the same manner as the Tip, on the interlining (muslin) side. Mark along the Center Front line, and the two Center Back lines – on at each end of the pattern piece.

(photos above show the Side Crown marked one of the Center Back lines, and along the Center Front line.)

Mark the Crinoline Headband in the same manner as previously. Mark along the Center Front line, and the two lines on the left. (Lap Line and Center Back) Mark also the Center Back line on the right end of the pattern piece.

(photos above show the Crinoline Headband marked at two lines on left end of pattern, Center Front and Center Back on right end of pattern.)

Congratulations!  You are all cut out, marked up and basted – and now ready to sew.  In our next tutorial we will begin to construct the hat.

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