I had to make a repair to Ruby’s boots the other day. I think the amount of handling & disturbance has been more than they should have experienced. I noticed that the threads literally disintegrated.
You can see how the threads just…disappeared. I literally gasped in shock when I noticed it. And dismay that I didn’t think to protect them better, but I have a solution there. More on that in a moment.
I quickly found some thread that matches the deep red color of the original stitching, and stitched. In most cases I was able to use the original holes.
While I am glad to have stitched the boots back together I’m not going to risk any more damage. I’ve wrapped her feet in soft cotton for the remainder of the project!
This long weekend in the USA was great for making progress on Ruby’s wardrobe. I finished her petticoat and cushion bustle, and also decided to make a corset cover. All turned out quite nicely. First up was the petticoat.
Ok this is what it is supposed to look like. The gathered back is created by adding adjustable tapes on the inside of the garment.
That’s one side of the back. Unfortunately after I stitched that side, I made the other side incorrectly and the tape was on the outside. It was the end of the day and I knew better so I set it aside for the next sewing day.
After fixing that, I realized a minor detail – I had sewn the bias strip all the way to the edge of the piece, but really should have stopped 1/4” from the edge for a seam allowance. Le sigh, I had to pull a couple stitches but that really was a minor error. Yes, I could blame the vague instructions but honestly, I know better.
The front was supposed to have a pleated trim but I chose to do a ruffle because I hate making small scale pleats. That’s just me.
You may notice that on the drawing above, the back gathering from the tapes is well above the ruffled trim, but in reality that’s only about an inch from the lower edge! I suppose the intent was to add the ruffles and pleats to the hem – an extension of the length. With the yoke and waistband the petticoat is long enough and it wouldn’t make sense to add on this length so I applied it on top of the skirt as I have seen on historical garments. I used a gathered lace for the back and I like the outcome.
I made the closure with a mother of pearl button.
How do you think that compares to the drawing? Pretty close I’d say.
After finishing the petticoat I made the cushion bustle. This item is basically a lightly padded rectangle, folded onto itself and secured on a waistband. The pattern is plain so I chose to add the lace on the edges – because really, the Victorian age was a really embellished era. Why not add lace to your bustle?
The bustle helps achieve the large “backside” shape that was so desirable in the 1880s. There were many styles available and this is one example.
After thinking forward to the beginnings of the dress, I realized the next item necessary would be a corset cover. Because the corset is a darker color and the blouse layer would be fine white, there is a chance the corset would show through. The Wish Booklet includes a pattern for what they call a petticoat bodice. I haven’t heard this exact term but I recognize the piece as a corset cover.
The actual pattern was too long so I shortened it. I rather like the embroidery and the pearl buttons.
So there you have it. The undergarments for Ruby are completed and I can begin thinking about her dress finally!
Check out my instagram where you can see a video of everything. @norkio
I’ve started working on Ruby’s next undergarment, which is a petticoat.
After upsizing the pattern a bit to fit her, I carefully read the instructions. The drawing is a smidge deceptive!
The pattern piece just looks like a typical skirt piece. But, the pleated front trim and ruffled back are added on top of the base piece. I thought I was going to be making a separate hem piece to add to the lower edge of the petticoat. Frankly I’m relieved as adding it to the base is a lot easier.
I’m using a lightweight linen for the petticoat, bias tape for the casings and 1/8” twill tape for the inner tapes. Once assembled, the inner tapes can be drawn up and tied to create a nice pouf on the derrière.
The tapes are sewn to the inside of the piece so the outside is nice and tidy. However, it’s the end of the day and I sewed one side correctly and the other incorrectly. Urg. I will pick it up again another day!
I’m coming to realize that the dolls I sew for are FAR better dressed than I have ever been or ever will be. You have seen the chemise and fussy drawers that Ruby is now enjoying. Lovely soft cotton voile with silken trims and lace. Ooh la la.
The next garment I have made for Ruby is really, if I don’t say so myself, amazing. Just because a lady is 130 odd years old does not mean she wants any old clothing, am I right? So, Ruby and I talked – it was a bit one sided if you must know – and she told me how she has always wanted a decadent silk brocade corset.
And how could I say no to that?? For my own reenacting adventures, I have a lovely coutil corset with fancy lace trim. I know how it makes ME feel, so yes, Ruby would like to feel fancy too. No doubt!
I looked into my silks and found “just the thing” for this project. It’s a gorgeous silk brocade in autumn colors. I particularly like the rust-colored flowers and green botanicals.
Caroline was kind enough to lend her corset to Ruby to try on, and it is a good fit. I pulled out the pattern I drafted for Caroline which was drawn from the book —- A French Fashion Doll’s Wardrobe by Louise Hedrick. When I made the corset for Caroline I followed the instructions but I had been a bit surprised the garment was only a single layer of fabric.
This time I decided to make it with a cotton lining, more similar to how IRL corsets are constructed. To complete this, I cut each piece in the silk brocade and also in white cotton. The two layers are stitched separately, then placed right sides together to stitch the center back seam. The piece was then turned right side out for the top stitching that creates some of the structure and also the boning channels.
I realized as I was creating this garment for Ruby that I made a slight error on Caroline’s. It doesn’t impact the actual item so I won’t change it.
The top stitching is done in a golden wheat colored silk thread, doubled. The back stitch adds an attractive detail and has the duel purpose of binding the two layers securely. It’s like the pieces are quilted together.
There are five bones in the corset – center front, one on each side of center back, and one each angled on the side front. If you decide to undertake this project I recommend angling the ends of the side front bones so they fit neatly into the channel.
The last couple steps are adding the grommets and binding the edges. I happened to have this silk ribbon that perfectly matches the thread I’ve been using. And I love that the brass grommets work perfectly with the fabric.
Et voila! Ruby looks lovely in her new, fancy corset!
I’ve finally dedicated some time to work on Ruby’s drawers and they were so fussy and fiddly! I decided to use the Susan Sirkis Wish Booklet WB 23 Fashions 1880-1885.
The Wish Booklets are wonderful with lots of patterns that are relatively easy to follow…if you understand garment construction and have some knowledge of period techniques. The original chemise I made was based on a different pattern because I wanted something closer to what is shown in the Bloomingdale’s Illustrated 1886.
The drawers however are a sweet design and just fine for Ruby.
Many of the reproduction doll patterns I have seen and used include some errors, omissions and sometimes just confusing instructions. I remind myself they are written by humans (fallible as we may be) and rely on my sewing experience to fill in any gaps. In these drawers for example, there is no instruction to hem them or to add the lace trim.
Should you wish to make these drawers, I suggest you make a rolled hem before starting, and then make your pin tucks, or adjust the placement of your pin tucks up a quarter inch so you have space to hem and add the lace at the end.
Also, there’s no mention of added the bows shown in the drawing but that could be put down to it just being a suggestion. I liked the look and added silk ribbon bows.
I also chose to use French seams since voile can fray just as badly as silk! Being such a fine fabric it is very delicate, but gives such a lovely result. Another step not really mentioned is the waistband. While the instructions do indicate the yoke should be set to a narrow waistband, there is no mention to add ease stitching since the yoke has bias edges. Again, not too difficult to figure out.
They fit Ruby nicely and I closed them with a hook and thread bar. I think a button would add unnecessary bulk.
I’m tickled that I can share with you the new body created for Ruby. I was very happy to save her original stockings and shoes!
Ta-da!
I’m tempted to open her up and add some more stuffing to make her body more firm. The more I work with her the softer the cotton stuffing becomes. She has been filled with 100% organic cotton.
Her head was glued with Aileen’s tacky glue. I hope it holds for as long as the original glue did. For that matter I would be thrilled if her new body lasts as long as her original did!
My name is…
I also created her first piece of clothing. It’s a sweet chemise of the softest 100% cotton voile. The lace is also 100% cotton from my favorite heirloom sewing site Farmhouse Fabrics. The button is a vintage mother of pearl with the 2-hole “eye” look.
Ah, new clothes
I looked at the Bloomingdale’s Illustrated catalog for design inspiration. The placket front was very popular in 1886.
Next I will move on to some drawers and a petticoat. See you again soon!
I am finally starting the restoration of a doll that belongs to my cousin M. This doll belonged to her great, great grandmother and is named for her.
POV when you need a spa day
When I received Ruby she was not in good shape. Or I should say, her body was not in good shape. Her porcelain parts are in excellent condition for being around 130 years old. Over the years though, her original body developed some tears and the sawdust stuffing was beginning to leak. One of the prior owners encased her entire body in a second layer of fabric. The mending job made her look a bit like Coraline. In a further insult, someone patched that with packing tape.
As I deconstructed her I realized that the original issue must have arisen because her head was pulling away from the body. Her chest plate does not have the holes for stitching the head on so it was glued. The glue held all these years but the body muslin tore away from the chest plate, allowing fine sawdust to escape.
Careful snipping of stitches revealed that the “shirt” on her torso was probably her original chemise! In the photo above, it is stitched to her body at the waist but that waist is really closer to the original shoulder of her body! It added almost 2” to her height.
Documentation
I had carefully measured and documented her body before beginning the deconstruction. These measurements will be very helpful as I start to build a body for her.
I discovered her original body was a dusty rose brown color! It may have darkened over time due to the sawdust but typically we see white or off white bodies so that was interesting.
Also a treasure to keep are the stockings and boots. A prior owner made these items. The boots were made from the fingers of a glove. I was able to very carefully clip the stitches binding the stockings to the “cover body” and used tweezers to pick those stitches.
Planning
I’m about ready to start building her – the easy part! I do have fabrics selected for her dress and I will share as that comes, but I will need to finalize the dress design first. I’m planning for an 1886-ish dress as the original Ruby would have been 8 that year. She might have received this doll as a gift and made her clothing. Bustles were the main style shown in the Bloomingdale’s catalog for 1886 so if that’s what we decide it will be another fun challenge for me.
I hope you will join me on the journey as we restore Ruby.
I threatened you with a tutorial on how to make these cute $2 craft boxes into hat boxes for your dolls, and here it is!
Naked boxes
To make these specific hat boxes (also called band boxes) you will need 1 larger sized piece of fancy wrapping paper – 18×24 is plenty. The reason for this is the outside measurement is greater than 12” which is the standard large size you will find at your local big box store. Original Victorian hat boxes came in many different shapes and sizes, but the ones we are most familiar with today are the round variety. I found reference to an enterprising young woman who created beautiful boxes covered with wallpaper so I tried to find papers that looked a bit like doll-sized wallpaper. Unfortunately I lost track of the website where I read this and can’t give you more detail.
If you are looking for a source of large format paper, you might be interested in the site Mulberry Paper and More. It’s a bit overwhelming at first, but they have an amazing selection of papers that would be perfect for this use case. This tutorial is being shown with Japanese Chiyogami Yuzen paper. I’m visual so there will be a lot of pictures to illustrate this project.
Supplies
You will need:
Tape measure
Pencil
Scissors or exacto knife
15” ruler
Sewing ruler for small, precision measurements
Craft glue
Paper towels
Craft paper
Measure your box carefully. Allow for overlaps and edges! These boxes from Dollar Tree are 3 5/8” diameter on the lower box portion and 3 7/8” diameter on the lid. The circumference is equally important. Use your tape measure to find the circumference (outside and inside) plus a 1/2” overlap. I wound up cutting the following pieces:
(1) 12 1/2” X 3 5/8” rectangle (box outside sidewall)
(1) 11 3/4” X 2 1/2” rectangle (box inside sidewall)
(1) 13” X 1 1/4” rectangle (lid outside sidewall)
(1) 12 1/2” X 5/8” rectangle (lid inside sidewall)
(2) 3 5/8” diameter circles (box inside bottom and underside)
(1) 4 1/2” diameter circle (lid outside)
(1) 3 3/4” diameter circle (lid inside)
Each piece was labeled so I would know where they went.
Pieces
Once you have everything cut the assembly goes quite quickly.
1. Glue in the box inside bottom circle (for fun you could make this piece from a newspaper print which was done in the past)
Inside bottom
2. Glue in the box inside sidewall. Be careful to overlap and press out any excess glue. I forgot to take a picture of this step, sorry!
3. Glue the outside box sidewall. This piece should extend past the box edges on both top and bottom. These extended sections will be folded down.
Lower edge extension
4. Run a bead of glue where you will fold down the extended section on the bottom of the box. Then press down the paper into the glue, making overlapping wedges so the paper confirms neatly to the round shape of the box.
Lower edge gluing & folding
When it is folded down, press the paper flat firmly so the glue squishes into all the places it needs to be, and then use a paper towel to wipe off any that oozes out from under the paper.
Upper edge extension
On the upper edge, run your glue onto the paper extension. This piece is going to be folded to the inside of the box. You may want to prefold it before putting the glue. Once you have run the glue, fold the paper inside the box and press, making sure it conforms to the shape and working the glue into place with your fingers. Wipe away any that oozes out.
5. Turn the box upside down and glue on the circle to the underside. All the folded edges should be covered by this circle. Set the box piece aside to dry.
Bottom of the box
The lid will follow a similar method, except in a slightly different order.
6. Glue in the inner circle to the lid.
7. Glue in the inner lid sidewall.
Lid inside
8. Glue the outside lid circle. It may be helpful to trace the lid onto the plain side of this circle so you place the lid right in the center.
Lid centered in the circle
Next, place the glue onto the box side and fold down the paper around the circle of the lid, again working the glue evenly and wiping off any excess.
Lid edges
9. Glue the outside lid sidewall. To do this, put glue on only half of the paper – the other half will be folded inside the lid.
Lid sidewall
Place the paper edge just a smidge under the top edge of the lid.
Lid side placement
As you did with the box sidewall, carefully fold the paper edge to the inside. Press firmly and wipe away any glue that oozes out.
Set the pieces aside to dry thoroughly. The lid will be tight at first but as you use the box it will ease. Use the box for hats or any other storage.
Your finished fancy box!Filled with doll treasures
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.
This doll named Dottie was made for my sister as a Christmas gift. It’s my third making of the Little Cloth Girl pattern from Elizabeth Stewart Clark. Needless to say, I love this pattern.
You will notice an immediate difference in Dottie’s appearance from Emalie and Mernie, and that is her face & hair are embroidered. I’m not the best at embroidery (that’s my sister’s specialty), so I had to be very careful. I actually remade her face since I didn’t like the first attempt. All the embroidery is silk and I think it came out nicely. I also stitched in her fingers – not an easy task, plus she has jointed elbows and knees.
She again has the undergarments appropriate for a girl in the mid 1860s. I decided on this go-round that I would make a full wardrobe since she was a gift.
My daughter picked out this red fabric – which I just love. The dress is a darted bodice with sleeve caps.
The second dress is made from fabric my sister has picked out to make herself a dress – probably a wrapper. I thought it would be fun to surprise her, so I just asked for a 1/4 yard of any fabric. Now, once she makes up her dress, she will have a friend in a matching dress. How sweet! This dress is a gathered front yoked bodice. I really like how it turned out.
I made a quilted petticoat from flannel. While you can’t really see it, it has the same diamond pattern quilted in as Mernie’s.
The next piece I made was the basque coat. I used a sueded fabric to make it seem like wool or a heavier fabric. The trim is brown velvet and I love the nonfunctional buttons.
My favorite piece is the blue lightweight coat. Like I said earlier, I’m not much for embroidery, but I wanted this to look like it has braid, which was a common embellishment. The little button just finishes it off.
And just because I’m a glutton, I made a little handbag, a bonnet, a quilt that features all the fabrics used in the clothing, and a pillow. Oh, and inside that handbag are mini books I made. As an aside, I made another of these little bonnets for a Holiday Gift Exchange in the Historical Costuming For Dolls Facebook group. I’m not the only one obsessed with them!
I hope that you have enjoyed this tour of Dottie and her wardrobe. In the next post, I will showcase a costume made from a vintage fashion magazine.
Notes from the Melody Maker 