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!

Emma’s got a new dress

I promised you I would show you how I upgraded Emma’s dress from the *lovely* lavender polyester she came with, and I’m keeping my promise. I admit it, I stopped working on her in the middle of the project and did something else. Shock! Teaser: it was another doll, and yes I will tell you all about it in another post, soon, I promise. For now, let’s focus on Emma.

I previously showed you her polyester dress, and that was just not to be allowed. Since Emma is styled as a child or youth, I felt a traditional long dress was not right for her. After consideration, I decided on the 1876 La Mode Illustree dress for a youth doll. This is again a pattern that I had to first translate from French, then trace & size to her. Since we can’t do things the easy way, of course I made her some undergarments.

These undergarments are from an 1875 edition of the same magazine, and at first I was thinking I’d make all the underclothes. Then I realized that the dress I wanted to make wasn’t compatible with the longer petticoat, so I set that aside for the time being. Of note however, like how I made the underbodice look like it opens in the front? But really it opens in the back. I admit, I don’t love the underbodice. I feel like I could have spent more time fitting it to her, but I really just wanted to move on to the dress, so I accepted the less than perfect result I have here.

This petticoat should give you a better idea of where I planned to go with her dress!

Here’s the original drawing of the dress I planned for Emma:

Described as olive faye with pink silk ribbon trim

And, here’s what I created for Emma:

This is a fine cotton in green plaid with pink silk ribbon trims. I found this project to be super fiddly! Making the yards of trim was extremely time consuming, and while beautiful in the finished state, I really hated it about 3/4 of the way through, lol. I also know where my mistakes are, and that is always a killer. We are our own worst critics, after all. But, I am very proud of my ability to draft the patterns, put them together with literally no instructions, and create a lovely dress for my precious doll. I have not yet found a hat quite right for her, and I will likely make a necklace at some point. Perhaps a hoop for play would be cute, but I’m not going searching for one.

Thanks for visiting and reading about Emma. Next time, I will show you something truly exquisite!

Emma and the purple polyester

Hi, I’m Emma

Emma is another Tasha Tudor doll I acquired off eBay. Someone is selling a kit to make an Emma for something like $50 but I found this complete doll for only $20. Such a deal – I don’t have to build her!

Emma is dated 1974. I imagine she was made around that time based on this dress. It is polyester. Not today’s polyester- this IS your grandma’s polyester.

The outfit consists of the dress, a net underskirt, polyester drawers and a hat. None of the doll kits included much dress fashion – just basic patterns and sketchy instructions. I always wonder about the person who made the doll, her clothes and their knowledge. Did they have a book? And old doll to copy?

While it was sewn competently, it’s POLYESTER! 😆 there’s no way Emma can continue to wear this. But don’t worry, I have something in mind. Since Emma is styled as a youth doll (instead of a lady doll) I am working on a cute 1876 outfit styled from La Mode Illustree. Come back soon and I’ll tell you all about her new clothes from the muslin out.

Dressing Florence

A few weeks ago I told you about building the lovely Florence Nightengale doll from Yield House. Thankfully, Florence hasn’t been sitting in her underclothes since I completed her. I was very focused on the project and spent about a week making her dress.

I decided that since Florence was a known person I would do my best to recreate a dress she wore. A photo search resulted in this image, dated to 1857.

Florence, age 37

Although we don’t really know what color her dress was, I felt that an homage to the somber nurses dress might work well. I found some gorgeous lightweight charcoal wool from MiniMagic.com. They have tons of doll appropriate fabrics, trims and more.

Studying the dress, I figured the original velvet bands were probably 2 inch wide pieces. Of course in doll scale that would not work, so I purchased 3/8” velvet trim.

Secondly, I knew I would not be able to reproduce the turned back sleeves on such small scale. I would have to compromise on that.

And granted, the dress would be made to open in the back as a doll dress, so the sharp point on the waist would also not materialize.

But, I think I did a pretty good job.

Florence, dressed

Since 1/8” velvet trim doesn’t exist that I could find, I embroidered the bars in between the velvet bands on the skirt and on the bodice.

I made her undersleeves from a fine white batiste that I had and used some delicate lace. I am not thrilled with the black ribbon in the casings, but I’m not going to remake them. As was done in her day, the undersleeves tie on just above her elbow.

The lace for her collar I had left from another project. I used a tiny medallion for the center embellishment.

I’m quite pleased with Florence Nightengale! Come back again and I’ll tell you all about Emma and her purple polyester dress.

Nell’s 1866 Promenade Dress

When I was researching what to make for Nell, I came across a source for La Mode Illustree, a French fashion magazine popular through the 19th century. They frequently published doll costumes as a means for girls to learn dress making. While it took me some time to commit to one of the patterns, I have finally completed one.

Being as the magazine was written in French, I first had to translate the text. I’m not fluent but I have a very basic understanding of the language, and Google translate did the heavy lifting.

I decided to create a walking dress, or costume du promenade. It was described as being made from gray lindsay- a type of fine wool – with navy blue velvet trim. The original patterns were intended for a doll a bit larger than Nell, so I had to be careful to size it to her. I did not use wool because I don’t want to afford it for a doll, plus the majority of modern wool available at a big box retailer is a blend with a synthetic fiber to keep costs down and/or is heavier than I would need for a 12” doll. I substituted a nice cotton with a firm hand but fine weight.

Doll Sitting in Armchair

The source material includes the pattern page which has every pattern piece in the magazine all on two pages. The lines of each pattern were unique so you would find the dotted, dashed or starred lines, trace them and then make your garment. I followed this process, next having to print them and size them. I then proceeded to make a couple mock-ups of scrap to make sure it would fit Nell. It was quite an intensive process as I’m not completely knowledgeable in dressmaking. However, I persevered and eventually came up with a fit I liked.

As it turns out, these doll clothes were literally miniature dresses, made exactly how full sized garments were made. They were intended to teach little girls how to sew their own clothing, which makes a lot of sense. Just, the construction methods of the nineteenth century don’t always make sense to our modern thinking. Usually doll clothes fasten in the back and the front just simulates the intended look. Fortunately I have experience at making 1860s dresses so I knew what to do with the pieces. Also, there aren’t actually any construction notes, just the pattern pieces. So, the description of this was:

The doll is 48 centimeters tall, head not included. Her dress consists of a dress and a coat in gray lindsay. The overcoat, sleeveless, is retained by a belt. The skirt is 32 centimentres in length, 1 meter 50 centimentres wide; it is bordered with two bands in blue cotton velvet. Same trim for the sleeves and the collar of the bodice, whose figures 46 to 50 represent half. The belt clasps under a rosette. The overcoat is made from Figures 51 to 53; we put small pockets in it. The blue taffeta hat is made of stiff gauze, according to Figs. 54 and 55, furnished with archal thread, covered with taffeta, adorned with hives underneath, black lace on top.

La Mode Illustree, January 1, 1866

So here she is in her completed 1866 Promenade Costume. The dress includes a dogleg opening in the front, which requires careful attention to detail to ensure it stays centered. The bodice is darted as was appropriate in the era. While it shows 20 (count them all!) tiny, 5 mm buttons, they are nonfunctional and only for looks. This wasn’t unheard of in the 19th century either. I sewed on the buttons, which were squirrely to say the least, didn’t like how they looked, took them off and sewed them on again. I wound up sewing under the magnifying glass because they are tiiiiny. For reference, Nell is around 12″ – the height of a Barbie doll.

I haven’t attempted to make the hat because I have never made a hat and don’t know what to expect. But, at some point I will try it with scrap fabric. I do have some blue silk here that I have been dying to use for years.

The pattern pieces include letters in the various corners, which the person making them was expected to know meant that the two pieces with letters L and M, for instance, were to be sewn together between those two points. As I was making the third mock-up of the bodice, I started writing down the instructions. Not that I expect to share these with anyone, but it’s kind of fun to make a pattern with the sense that someone might sit down to sew your creation one day.

Since the dress is constructed exactly as an adult sized dress would have been, the knowledge of vintage clothing construction came in very handy! Perhaps one day I will convert this Promenade Dress to a dolly version that closes in the back, which would make it soooo much easier to reproduce. In its current form, it is an advanced intermediate skill level, but a dolly version would be just as pretty and much easier for less skilled hobbyists.

In the next post, I’ll dive into the construction of a cloth bodied China doll.

Meet Nell

For someone who is a documented doll disliker, I have become fascinated by them. Not playing with dolls, or displaying them. And not all dolls; I like very specific styles of dolls designed in the mid-nineteenth century. Of course I can’t afford the real dolls – or, more accurately, I won’t afford them.

This doll, Nell, is a reproduction late 1860s-1870s cloth bodied doll. She has China head, hands and feet. I did not make her, but adopted her off eBay. She was designed by Tasha Tudor in 1977. I don’t know much about Tasha Tudor except to say she was an artist who loved dolls. In the 1970s there was a revival of these China head dolls sold as kits for home doll makers. Many brands offered the kits, and I don’t know how accurate they were.

Nell was poorly constructed – her legs are twisted and her arms are attached incorrectly as well as being rather fat. I could have remade her body, but I decided I love her as she is.

Sweet Nell came to me in a truly unattractive outfit. Remember she was made in the 70s. The dress was made from orange sprigged searsucker. Yikes.

Since I want to eventually use my dolls for teaching and display at history events, I could not leave her in this crazy outfit. From the muslin out, I redressed her. First came a new chemise and drawers from white cotton. I figured for a nicer doll I could have some fun with her corset and made her a corded corset with this beautiful brocade I had. Add a nice tucked petticoat and we are ready to keep going.

At some point after the first photos I remade her chemise. I never did like the first run at it. The new one is tucked to the neckband and lays much more smoothly. Unfortunately for Nell, it took me another several months to make her dress. I took a break to decide exactly what to make for her. Since she is later 1860s, I wasn’t limited to typical hoop skirt styles. While the basic bodice didn’t change too much after 1864, skirts and embellishments did.

I spent some time researching exactly what to make, delving into French fashion magazines and dreaming of the garments I would make her. And then I made a basic, almost boring, dress.

The fabric is cotton meant to mimic a patterned wool, which would commonly have been used. I modeled the dress off the amazingly versatile patterns from Liz Clark, modifying them to fit Nell. The skirt has box pleats at the waist, which were a more stylish method of attaching a skirt. It was a bit boring on its own so I added the pink ribbon bow and belt.

Next episode, look for the gift I created for my sister.

Well hi there!

Yes, it’s been over a year since I wrote on this site. Finally I have something fun to write about – microblogging on Facebook just barely scratches the itch, but time has been a constraint too. So, here we go.

I never finished that “girls midcentury” dress project, because well, my girl has grown out of the chemise and drawers I made her, and is not really interested in history events any more (boo). She will go if I make her, but would prefer not to.

To fill the void, I have made another “child” to dress. Everyone, meet Emalie!

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Emalie is based on a mid nineteenth century doll style and the pattern is a digital download from the amazing Sewing Academy by Elizabeth Stewart Clark. You can get the pattern at her website and it is easy to follow. There is also a lady sized doll that I’ll probably get next. Emalie is about 13″ tall, made from all cotton and sewn 100% by hand.

Before I was able to make her dress, I had to start at the beginning and make her! She is made from cotton muslin and stuffed with cotton. I chose to paint her face and hair as well as her little Mary Jane style shoes. Her hair is a red brown and her eyes are green. I could have done a better job at stuffing her, but since she is my first, I will have to accept the flaws. I also think I might have put her arms on upside down. The pattern was a bit unclear exactly how to position them and she just holds her arms out wide for a hug. Otherwise, making the doll body was super easy! I used cotton balls to stuff her, and just mangled them up a little bit to make them more flexible.

Next, I made her undergarments. I used a very lightweight cotton for her chemise and a stiffer cotton for her drawers. I’m not thrilled about the tucks on her left leg of the drawers as they got a little messed up. The scale is so small that even a minor mistake can take the whole seam off kilter pretty quickly. I used the same stiffer cotton for her stays.

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Like how I painted a bun on the back of her head? :-)

The chemise, drawers and petticoat are edged with some vintage lace whitework that a friend of my mother’s gave to me. For the stays, I stitched in the appearance of boning channels but there aren’t actually any bones or cord in them. I didn’t want to get “too” carried away, and I knew I would be hand sewing the eyelets for the lacing. I think I spent more time on the stays than on the rest of the clothing! The stays are laced with a narrow cord. Luckily for me, I had made the actual child sized stays for my kiddo a while back so I understood the process. The pattern has mistakenly forgotten to include the construction notes on the stays. I will forgive Ms Clark because she is awesome in so many other areas!

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Here is her pretty petticoat with a wide 1/2″ tuck. If you ever want to fine tune or refine your hand sewing skill, a doll is a good way to do it. The pieces are small and there is almost instant gratification. I have found I can take very tiny stitches that look almost like machine stitching. It does cause some eye strain however.

Finally, I made her a pretty green dress. I selected this fabric to make a dress for Melody when she was a baby. She grew so fast, she outgrew the pattern I had! IMG_1259.jpeg

Here you can see the tiny piping at the neckline and waist. This is how dresses were made in the mid century, so I chose to do that here. The piping is made on the bias and I used the same cord that I used on the stays. It was the perfect size.

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Here’s the back of the dress and you can just see the green stitching where I made the tucks in the skirt. Fortunately the thread sort of disappears in the floral pattern of the fabric. The dress, drawers and petticoat all close with a tiny hook and thread bar.

So there you have it! Miss Emalie will be visiting with us at events from now on and I’ll probably make her a pinafore at some point. She just looks so pretty, I couldn’t wait to share!

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