Follow Along: Caroline

I’ve mentioned Caroline a few times in previous posts. She is an eBay adoption and as per usual, she arrived naked. These poor dolls. I wonder sometimes if the previous owner got the doll completed and then just ran out of gumption to dress her? There are just so many naked or mostly naked dolls on eBay, it’s kind of funny in a way.

So here is Caroline – in a borrowed wrapper and in the altogether.

I guess she didn’t come completely nude – she had the necklace. Anyway, Caroline is an 1870s-80s inspired doll with her hair piled toward the top of her head. She has lovely, rosy cheeks and delicate hands and feet of porcelain. Her head/chest plate are glued to the body as there are no holes to stitch it on. Her body seems to be made of polished cotton and I think is filled with sawdust or sand.

There was a small hole on the back of her leg which I repaired with this tiny patch of muslin. Maybe it is even ground walnut or almond shells that fills her body, as it’s much finer than sand and not pokey like I would expect from sawdust.

As long as I have had her, I have wanted to dress her in finery because she is such a beautiful doll. After the success I had with Hannah, I decided I’d like to make another silk dress, this time for Caroline. I’ll be using a different book this time.

I will be using the patterns from A French Fashion Doll’s Wardrobe by Louise Hedrick. The book is well documented and loaded with wonderful photographs. The instructions seem detailed and so far as I read them, they should be easy to follow. You’ll see here the second image is the inspiration photo for Caroline. I happen to have similar fabrics – a silk jacquard with little cranberry paisley shapes and a turquoise silk satin. They both have a lovely hand and I’m eager to get started.

But before the dress comes to be, I’ll need to make some underclothes! In the next post I’ll share with you all the gory details about that.

Advertisement

All Dolled Up

I can’t believe it’s been almost a year since I made an update here! And the lovely post I wrote a couple days ago has found its way into the digital unknown so I’m starting over grr. So, almost a year ago I posted about the doll photo shoot I did and then went silent. Well, not because I wasn’t continuing my love of these dolls. There are a few photos of some of the work I did but did not talk about.

I finished this lovely dress and coat for Inez. The dress has caps or I believe they may be called sleeve jockeys that fit over the long slim sleeve. The coat is a sueded pleather and the “fur” trim is made from a fuzzy yarn I found. The coat is fully lined and don’t you just love the tiny buttons?

Mernie also got a new dress and a coat, plus a bonnet. The trim on this coat is handmade, 4-strand braid of embroidery floss. The bonnet is actually made from the pattern for the nightcap I made for Inez! It fits the little girl doll heads quite nicely, a bit better than the bonnet pattern that comes with the little girl patterns.

Emalie also has a new dress and a bolero jacket for summer wear as her dress is short sleeved. Her bonnet is from the little girl pattern. AND Emalie has her own doll now! How cute is this little bitty dolly? She’s about 3.5″ tall and of course entirely hand sewn because she is so tiny. I found this pattern in a book that a friend gave me ages ago with how-tos on all sorts of rustic dolls. She is the perfect size for sweet Emalie.

When last we saw Lydia Kidd, she was borrowing Inez’s wrapper and sheer dress, but she now has her own dress and capelette. I drafted the dress pattern based on Inez’s sizes but had to customize it heavily due to Lydia’s “linebacker” shoulders. The dress is cotton but I would have preferred to make it of silk. But hey, if I hadn’t told you would you have known? Nope. :-) Anyway, the bodice is a darted front, pagoda sleeved and has sheer under sleeves. The capelette is just delicious. It is 100% medium weight wool that someone gave me and is the perfect color for this ensemble. I found an embroidery pattern in a doll book and that inspired the pattern here. It took ages to embroider but I just absolutely love it. The capelette is also lined fully.

In addition to these lovely ladies, I have acquired some new Tudor dolls. As I have mentioned previously, there is surprisingly little information about the actual dolls. Tasha Tudor was a well known illustrator and doll lover, but most of the search results bring up her books about dolls or articles about her and her love of dolls. But occasionally….you find a gold mine on eBay.

Mailed in 1971, this package is all original, showing the 30 cent postage and the original sender “Tudor House” in Scarsdale, NY. Inside you see right away, there is the original catalog included for doll stores to order from!

There is the lovely Lady Patricia and Emma who I have talked about on previous posts. I also have the Dora doll and I’ll tell you about her shortly. This particular box was shipped with Trudy, a lovely 1880s styled doll.

Trudy Tudor is unmade as yet, but I’ll be working on her….sometime lol. Some of the Tasha Tudor dolls have this rosy pink cheek look but on others it is less obvious. Also interesting is that this doll head does not say the doll’s name, Trudy, where all the others I have seen include that. The Lady Patricia I have is from 1973 so some time after this catalog was printed the names were added to the doll porcelain. Trudy is described as a 12″ kit, so she won’t be very tall when finished – around the same height as Hannah (aka Meg) who I made. Of course I will tell you all about Trudy as she comes to life, but it will have to be after Caroline, Julia, Lady Patricia, and a special project for Ruby.

So Dora, that is a doll I actually have two of.

This is Dora Tudor #1 (from 1974). I found her completely dressed and competently so, so she will remain in these clothes for the time being. Maybe one day I will redress her, but I love the sort of bodice wrap thing she has going on here. It reminds me of a garment that I’ve lost the name of, but it’s sometimes called a bosom friend – it’s a knitted wrap that ties around the bodice to keep a woman warm. I was thinking about her shoes and possibly just using a bit of black enamel paint to disguise where the tips were broken. You will notice that the rosy cheeks are less prominent on this doll than on Trudy.

This is Dora Tudor #2 (note that her back has her name!).

Dora #2 (from 1972) has lived a dangerous life and it shows. She came naked and her body has discoloration all over it, plus there is the whole broken arm issue. I have an interesting idea to address that. Also note that the shoe style changed between 1972 and 1974. Dora #2 has flats, but Dora #1 has boots. The reason I purchased a damaged doll is to practice remaking a body and making repairs. I have been asked to update a true antique doll named Ruby that belongs to my cousin (and it belonged to her great grandmother). Ruby has a number of issues that need to be addressed, and Dora #2 is going to help me develop those skills.

Finally, while last, not least, is Molly Tudor. I mentioned to my daughter that I had seen her on Ebay, and lo and behold, she arrived at Christmas!

Molly is sweet, even if her legs are a little cockeyed. It’s difficult to get the legs to stay straight sometimes when assembling a doll, so we just say she has a limp. Molly. has the big round rosy cheeks of youth. She’s young, featuring shorter hair than some of the others. The hair styles can cue us in to the implied age of the doll, meaning this is maybe a teen or tween doll, instead of a lady doll such as Trudy.

Now I just have to find these new Tudor dolls: Anna and Abby. Both look beautiful, Anna with a painted neckline and Abby a bonnet-head doll. I have never seen either in my eBay or Etsy hunting, but I’ll persevere!

So there you have a rather long, image heavy update on the doll situation here. If it hadn’t been for a painter who backed out at the last minute, I could have kept up my stride on doll crafting, but alas, I had to keep my office/sewing room packed for 6 months while we sorted through the contractor situation. But now that the place is painted and I’m getting my things back into their places, we can start playing dolls again!

What’s new for Inez?

In my last post about Lydia Kidd, you saw the sheer dress she was wearing – which I actually made for Inez. It just happened to fit Lydia quite well and I hated her being naked. But, I have been busy lately and making all sorts of things!

The Liz Clark pattern Inez is made from includes all the necessary wardrobe items a mid-nineteenth century doll would need, and I’ve been sewing my fingers off. Here’s a small update on Inez’s clothing & accessories.

Pinner Apron

Here we have a nice pinner apron. This style was popular for women working in the home. The apron bib pins onto the dress bodice, hence the name “pinner.” While the pattern is actually for a half apron, it was relatively easy to make it into this style instead.

Next, I made her a nightgown. On this one, I used a fine cotton that is incredibly soft. The embroidery was freehand in a basic pattern I made up.

Fancy nightgown
Embroidery close up

And you can’t have a nightgown without a night cap.

Simple nightcap

Night caps were used to keep people warm in their unheated bedrooms. Try sleeping outside sometime – the addition of a nice cap will help you sleep comfortably all night long. I made it simple but there’s options to make it much more fancy if you like.

While on the subject of sleeping, I made a simple blanket for her.

Cozy Blanket

The blanket is cotton flannel on both sides. If Inez were to sleep in an unheated room, she would probably be pretty warm with this.

I have made a few more things for her, but I’ll save those for another post. Next time, I should have an embroidered cape and maybe even a soutache embellished paletot completed. This weekend we will be at our event and I’ll be making doll clothes as well as displaying Inez, Mernie and Emalie. If you find yourself at the Huntington Beach Central Park, come find us!

Lydia Kidd

In my haunting eBay and learning about vintage dolls, I found many references to kid-bodied dolls. These doll bodies were made with kid leather instead of cloth. Then one day, I saw this artist’s reproduction made with a kid body, for the right price, and I had to have her.

Poor naked Lydia

She came with nothing, completely naked, poor love, and has been standing there in her altogether for quite some time now. You can see how her arms and legs were jointed which is fascinating. I can’t imagine the care and skill that went into making her. She is a bit stout around the thighs and her feet are rather chunky, but we can work with that.

As I was working on Inez, just for kicks I decided to try some of the undergarments on Lydia, fully intending to stop there. As it turns out, the Inez garments were a smidge tight…I made notes in my book and went back to Inez. But Lydia was right there, watching me with a look that said “I am naked as a jaybird, lady!”

I resized the chemise pattern and whipped one together. This one has gathers and white work trim, btw. Back to Inez…!

I made the chemisette and sheer low body dress for Inez, honest. I have a sheer dress made of this same fabric and plan to have Inez wear it the same day I do at our upcoming event. But in the meantime, Lydia is going to wear it. It fits her body better than it does Inez for some reason, but it’s too long for Lydia. You will note that Lydia’s petticoat is a fancy embroidered one. I used the edge of an old dust ruffle for it. It just barely shows through the sheer.

Sheer dress with chemisette

The sleeves are a two piece Bishop sleeve, similar to the sleeve on my sheer dress. Lydia is a bit more endowed in the bust than Inez, which fills out the dress differently. Perhaps I need to make some little “bust pads” for Inez. This was actually a thing back in the day!

This is a temporary dress for Lydia – I always pictured her in light pink with roses. I have the fabric but I haven’t decided on the pattern yet. Come back again soon to find out if I’ve made it yet!

Welcome, Inez

It’s as though by saying I wasn’t sure in my last post, I issued myself a challenge. As soon as I clicked the save button, I started thinking about how I would like Inez to look & what fabrics I would use.

Challenge accepted, I guess. 😀

I’m using the Cloth Lady pattern from Elizabeth Stewart Clark. I can’t say enough about the quality of her patterns. The quality of instruction and the breadth of options truly makes each person’s creation a one-of-a-kind customized for them.

An excellent pattern!

While the instructions advise to paint the face and hair, inspired by Dottie, I decided to embroider her face and hair. The more I embroider, the better I get – even though my skill is still limited to chain stitching and simple things. I also recently purchased a McCall’s pattern for a cloth doll inspired by patterns in vintage ladies magazines, and they advise making the back of the hair in long straight stitches. I decided to put in a bun – since that’s a very common hair treatments for ladies – and also the long straight stitches. It was a ton of work but it looks lovely. I also could have made a bun from floss wrapped into a coil and tacked onto her head but I didn’t think about that until she was completed.

Embroider first, then assemble

Putting her together is fairly quick once the face and hair is completed. I used natural cotton that came by the pound this time instead of the roughed up cotton balls and it’s much nicer to work with. To reach the top of her head I used a long chopstick. I stitched in her fingers, elbows and knees as well.

Once she was completed, Inez needed clothing! First came undergarments of course. I just love the chemise pattern in this book. It’s made on a double fold, so there’s no shoulder seam and is incredibly easy to complete. I pleated the centers on this one but you also have the option to gather the centers. I had two bits of trim that were exactly the right length for the sleeves. Perfect!

I have seen some fancy corsets with flossing on the front which is why I put these two red V-shapes on the front of the stays. I’m not sure if they serve any practical function IRL but here they designate which edge is the lower one.

Fully dressed

And then I made this adorable wrapper. I have a wrapper made from this same fabric and yes, I do plan to take a picture with her when we are dressed the same. I forgot to take a picture of her petticoat – it’s crisp white cotton with two pleats and I starched it for fullness.

The pattern book includes multiple bodice and sleeve options, undergarments, outer wear, and more. I also made a low bodice dress in a sheer fabric with a chemisette, but I will show you that in the next post. I need to keep making things to fill up her trunk before the event in September! Come back again soon to see what I’ve completed next.

Meg March

I admit it has been decades since I last watched a Little Women film so I had to refer to the crib notes for a bit of background on Meg. She is the oldest of the 4 sisters and what I read described her as fun loving with a penchant for luxury.

I purchased this Yield House Meg doll completed with the intention of remaking her clothing. As a young woman she would have wanted to wear the latest fashions and not the frumpy frock she arrived in. Since I have been wanting to explore this category for a while it seemed the perfect opportunity.

Red and black with obvious box pleats

Looking at Victorian fashion plates and photos from the mid 1860s I was consistently drawn to the Garibaldi shirtwaist and skirt combination. This was a high fashion look and was sometimes paired with a bolero jacket. On a small scale I decided just the shirtwaist and blouse would be sufficient.

Inspiration drawing

In a previous post I detailed how I made Meg a cage crinoline. She arrived with a decent set of drawers and one petticoat I reused. Additionally I made her a chemise and petticoat of fine lawn.

New chemise & petticoat
Cage crinoline and underpetticoat

I found a lovely red silk charmuse at a local yardage store and originally thought to make her skirt in black velvet. It might have been made that way originally but I realized working the waist would be complicated and it would likely turn out bulky. Taking to eBay I found a remnant on Japanese kimono silk.

I’m getting better at drafting patterns for dolls but I feel I could have done better on this shirtwaist. It’s not my best output. I like the skirt – it’s made with double box pleats and I loved the hand of the silk. So nice to work with! But honestly I like her undergarments better.

C’est la vie I suppose!

Making a cage crinoline for your doll

For historical costumers, a cage crinoline is a necessity, but you may ask yourself what exactly that is. Modern lingo for this garment is “hoop skirt” which describes a skirt with hoops in it, typically made with plastic bands and sometimes flounced. But for the original cast, a cage crinoline was a modernization of the crinoline petticoat. A crinoline petticoat was a starched cotton underskirt, often times many layers were worn to achieve the desired bell shape to a skirt. In 1856, however, the cage crinoline was patented and allowed women to achieve the shape without all the heavy skirts! They were made with steel bands – not heavy ones – that were strong enough to carry the weight of one or two petticoats on top, plus the skirt of the dress being worn.

And of course, where fashion for people goes, so goes fashion for dolls. There are remaining doll-sized cage crinolines in private collections, and they are of course on a smaller scale and not as robust as human sized garments. They can be used to fill out a skirt for a doll, or simply for the fun of putting a hoop skirt on your dolly.

Looking at how the originals were constructed, I realized this is a simple project I could make and share the instructions here. My doll is an 18″ Yield House Meg doll, but you can adjust these measurements to fit your dolls.

Supplies

I found this trim that is 5/8″ wide, 95% cotton and reminds me of Petersham. It’s a nice woven, flat trim that will do nicely. I’m also using some aluminum jewelry wire here but you can use what is available to you. You want something that is malleable enough to bend into your shape but strong enough to hold the round hoop shape once completed. All told, I spent less than $10 on the supplies.

First you need to do some thinking and measuring. For a Yield House doll, the skirt is made from a 36” length of fabric. This results in a nicely full skirt similar to those worn in the 1860s. Consider how tall your doll is and how full her skirt is. You want the bottom hoop to be less than the full circumference of the outer skirt. I chose to make the bottom hoop 30” around. The top hoop should be wide enough to fit over the hips of your doll. Meg here needed 15” for decent clearance. For the middle bone I split the difference and made it 23”

Once you have your hoop circumferences, measure your wire to that length plus 2-3” overlap. Cut the wires and then twist the ends together.

Twist the ends together

Make all three hoops, then you can measure the tape to cover them exactly. Allow at least 1/2” on either end to turn the raw edges under. Beginning at the joint, fold the tape around the wire to encase it and then whipstitch it closed.

I used quilting thread but any type will do

Once you get to the end, tuck the end under and whip all the way around the joint.

Bring the folds together and stitch

Repeat on the second and third hoop until all three are covered. The next step will be to find the quarters on each hoop and place a small mark. This will ensure the vertical tapes will hang straight. these marks will be covered, don’t worry.

Mark the quarters

Determine the drop of your hoop skirt next. This is the length from the waist to where you want the lowest bone. I chose a 9 1/2” drop so the lowest bone would be near the tops of the doll’s boots. This is about where my life size hoops hang as well. Consider you need 1/2” on either end to tuck under – so add this onto the drop measurement. This gave me a 10 1/2” vertical tapes. Cut 4 of these. Don’t forget to measure the waist of your doll and cut a waistband to that length plus 1”.

The hoops should be equally spaced on your vertical tapes. Don’t forget that you will attach them at the top and the bottom. I measured and pinned the placement for the first and second hoop. The hoops attach at 3”, 6 1/2”, and 10” (the bottom).

Beginning with the lowest hoop, wrap the tape around so the raw edge will be enclosed. Stitch that in place. Repeat at all four quarters.

Enclose the raw edge

Moving to the middle bone, fold the tape over the hoop so you can stitch through the vertical tape, through the hoop covering under that, then out the vertical tape. You aren’t stitching behind the hoop wire, just catching the tape wrapping it. Repeat on all quarters and then move on to the top hoop.

Pin it into place until you stitch it

Once all the hoops are attached to the vertical tapes you are ready to attach the waistband. Turn the ends of the waistband under and stitch so the raw edges are inside. Remember, the waistband is the measure of your doll’s waist plus 1”.

Finished edges

Find the quarters of the waistband, place a small mark, then pin the tapes in place.

Stitch these in a square that will secure the tape and keep the raw edge inside. Once that has been done you can add a hook and eye or thread bar. You are done!

My doll happens to have a modesty petticoat under her new cage crinoline and then a fine starched cotton petticoat over it. I’m making a silk skirt for her next and this should do nicely to help it hold it’s shape.

All told I used less than the full amount of wire I purchased and less than a full spool of the white tape. Had I made the vertical tapes in white I might have used close to the full spool. I hope you found this little article helpful in demystifying the cage crinoline and will feel confident in trying one for yourself!

Supply List

5/8” Petersham or similar woven cotton flat trim (don’t use twill tape as it will ravel)

2 1/2 yards white

1/2 yard red (to make in all white add this to the length above)

Aluminum jewelry wire – 16 gauge – 72”

1 size 1 hook

Needle and thread to match

Ruler or tape measure

Pretty Paula

Today’s doll is one I don’t have to redress. She is quite beautiful and I don’t plan to change a thing about her.

Paula in soft dimity

The dress she wears was described as dimity. I had to look up what that is, because while I have heard of it I don’t think I have ever seen it. According to JoAnnMorgan.com, dimity’s trademark feature is a line in the weave, and a windowpane dimity looks like it has boxes. This pretty dress appears to be of windowpane dimity as you can see the boxes in the weave.

Sheer windowpane and ruffles

The dress is just exquisite. It is sheer and airy, so incredibly fine. The pattern likely is from the 20th century. When Paula emerged from her shipping box, I was thrilled to discover she has a hoop skirt. It’s is a single bone bridal-style hoop, but nonetheless it helps with the shape of her dress. The hoop was completely crunched up, but with some gentle adjustment it went back to a round shape. Her drawers feature some of the tiniest tucks I have ever seen.

Paula’s dress has a bit of a train, or is in an elliptical shape. This shape came into fashion in the second half of the 1860’s, moving more fabric to the back of the skirt. You can also see in this photo the 3/4 sleeves with the repeated three rows of lace trim. The ribbon trim is an 1/8” velvet. It may have originally been a brighter teal color.

Paula in profile

The bodice of the dress features a starched wrap, probably made of batiste. I hesitate to remove the wrap to see the bodice underneath. I am not certain if this wrap piece is considered a bertha or not. A bertha was often part of a ball gown. Take a look at the tiny buttons. They are a teal color. Maybe the are really beads, I’m unsure.

One of the unique features of Paula’s styling is her hair. I don’t know if you will be able to see in these small photos, but she has a braid that goes all round her head and then a cluster of curls on the crown of her head. This is hair styled for a ball.

Another thing that attracted me was the inclusion of a letter from a previous owner of this doll. It was written in 1972 by an unnamed person, and explains the doll was a kit designed by Julia Hoople, and Paula was created by Merry Lane in Florence, Oregon. I think Merry Lane might be a person, but it could also have been a doll boutique. She originally had a yellow bead necklace and a white picture hat decorated with flowers. Those items have been lost to time.

Paula has joined the rest of the gang in my cabinet and I am pleased to include her in my collection. I hope you have enjoyed hearing all about her. See you again soon!

Sunbonnet Sue

She’s had a hard life

This little gal is a doll I am calling Sunbonnet Sue. I adopted her from (where else) eBay and I think she has had it rough. But I couldn’t resist her interesting features – most importantly her bonnet. The bonnet is part of the china head, and I have a lot to learn abut these fascinating dolls called Bonnet Heads.

So forlorn

But first a tiny bit about Sue. She is about 11″ tall from tip to toe. Her china pieces are not glossy, leading me to think this is the type of material called bisque. She has been painted and assembled quite poorly. Everything about her is a little sad, honestly.

Weird discoloration

There is this strange discoloration on the fabric used to make her, which feels to me like skirt lining of all things. It’s slippery. I suppose whoever made her used whatever scraps they had laying around the sewing room. You can also see that her head was attached rather inexpertly. The center seam of her body is pulled off center toward her shoulder. Even worse, her body shape is really off. Her left leg is somewhat toward the center of her body and her right leg is offset to be under her outside of her shoulder. Poor Sue. You can also see that her feet and hands were attached badly and the dear girl is pigeon toed.

I’m ready to get dressed now, please

She came to me naked (as they almost always do) and I just feel for this girl. She is another perfectly imperfect doll, who has a ton of character, and who I will give a good home & decent clothing. :-)

My modesty has been preserved!

She perfectly fits the chemise I had made for Nell ages ago and it is a better fit here, plus the drawstring neckline works well with her large head. As I was working with Sue, one of her arms came off! The arms and legs were attached with wire, which I had not seen before – but that isn’t saying much, I am really new to doll acquisition. I was able to reattach her arm and also secured her other arm as a precaution.

Pretty and simple

But now she is ready to relax and rest, well clothed! I love this fabric – it’s a bit brighter in person than in the photo. I have learned these bonnet-head dolls were styled to the 1830s, and the fabrics at that time were bright and cheery, which is why I chose this. The great thing about a tiny doll like this is you can make a complete dress from a fat quarter and have fabric left over for something else. In the dress, you can’t really see the problems with Sue’s construction, although it looks a bit like she has her hip cocked out to the side. Maybe she’s throwing a 180 year attitude.

I asked in a doll collectors group about bonnet-head dolls and learned that the originals were created around 1900. There are a tremendous variety of bonnet-head styles, but Sue seems to be styled off this particular type:

Bonnet-head doll

As you can see, however, she was not painted with such care. During the 1980s, there were numerous kits (and they are still available on occasion on eBay) mass produced for consumers to create. My suspicion is that Sue was born during that era. It is unfortunate that her painting was not done with great detail, but I think I will enjoy her all the same. She is now safely nestled in my cabinet with some other dolls in my growing collection.

Here is an article about bonnet head dolls – much better written by people much more knowledgeable than me.

Hats Off to Bonnet-Heads via RubyLane.com

Meet Hannah

Buy this book immediately!

I don’t think you need a picture of Hannah in her underclothes – at this point, dolls in chemises, underbodices, or drawers is just redundant, don’t you think? Suffice to say I used the underbodice & drawers patterns from the 1875 La Mode Illustree that I mentioned in my last post about Emma, and the underbodice fits Hannah much better than Emma’s does. A while back, I picked up a copy of Sewing Victorian Doll Clothes by Michelle Hamilton. This lovely book covers 1840 through 1910, and includes not only a study of the various doll styles available during that timespan, but also some well designed and detailed patterns. The tricky thing is that to make the patterns fit in the book, they have to be printed quite small, and then the user was intended to enlarge the pattern on a copy machine. Since I don’t have a copy machine handy, but I do have a scanner, I went with that method, heh. You can see in the picture all the tabs I have added to this resource – I have a lot of plans for my dolls!

It was really tricky to decide what to make for my latest doll, Hannah. I created her from another Tasha Tudor doll kit, and technically she is named Meg. But she doesn’t look like a “Meg” to me, hence the name change. She is quite short, only about 11 1/2″ tall, which creates some issues based on her diminutive size. The patterns in the book were intended for dolls closer to 20″. But, I’m clever and capable, so off we went.

The photo on the left is an original doll made during the 1870s and featured in the book. She is truly lovely and I loved her bustle dress. The photo on the right is an extant dress from the same time period and was another inspiration for me. I had this French blue silk that I had bought years ago. Literally, I have been toting it around for three houses now, so it’s about time I used it. I also recently acquired some gorgeous gold silk taffeta from FarmhouseFabrics.com. They have a great selection of heirloom quality goods, plus they have doll “kits” of fabric and trims in coordinated colors. The gold silk taffeta came from one of those kits.

Hannah is so beautiful!

I think I really need to step up my photo game because I don’t think these are going to do her any justice.

The dress is made in three parts: bodice, skirt and apron. Oh, and there is a bustled petticoat underneath. Each piece is made exactly as clothing in the 1870s was made, so the bodice is lined, darted, and opens in front. If Hannah were bigger, I could have made functional buttons and buttonholes. As it was, she is just too small to even use 1/4″ buttons for decoration, so I used some hematite beads here. The original dress had tiny pleated trims, but Hannah is so small I had difficulty with my patience on the pleated skirt trim, so I decided to forego that. Besides, I loved the cuffs on the extant gown above and wanted to replicate that look. The thing about this era is that you could trim and trim and trim some more, and it would all be ok!

Close up of bodice & watch

I even made her little hat – something I had never done before! It was tricky, but I’m pleased with the result for the most part. I had wanted a feather, but not having one and not wanting to go shopping for one feather, I decided to fray out some silk instead. Her little watch came from Dollspart.com. I don’t know if you can tell, but the original doll had a little watch which is where I got this idea. I was literally obsessed with finding a doll sized watch for about 24 hours, searching jewelry supply websites for something I could make into a pendant for her, so it was a massive relief to find this website.

I quite like the results of this dress project. There are a few things I could have done better or differently, but all in all, I’m pleased. Again, I know where the mistakes are and I have to try to forget them. My sister would tell me they create the character and personality of the doll, so that’s my story and I’m sticking to it!

This project was the inspiration for a planning book. If you make doll clothes (or really any type of big project with a lot of parts or steps) I highly recommend doing this. I jot down different ideas for the various dolls I have on my project list. The list is getting long and really, I had forgotten about one doll, so I thought this would organize me better. I keep the book handy – since I work from home I can keep it right on my desk to grab when inspiration hits me. As I browse various photo galleries, I screen shot or save inspiration pictures and then paste them into the book with the doll I have in mind.

The book I am using is a Moleskin with the elastic band that keeps it closed – necessary since it is getting fat with all the added pictures – but any kind of blank book or journal would work.

This dress along with several others was also part of the impetus for me to redesign my office/sewing room and add a glass fronted cabinet. Now my dolls don’t have to stay in a drawer and I can look at them for inspiration or just satisfaction of my work.

Next time you visit, I will tell you all about Sunbonnet Sue, another interesting doll adopted off eBay with lots of issues that make her special. See you then!