Right-over-left, that is. In the Western world, women's garments traditionally close right-over-left, while men's close left-over-right. As an example, the Moss Brothers jacket I showed you on Monday is a women's jacket because of the right-over-left closure (as well as the princess seams giving room for the bosom, and the flared hips with slanting pockets for style). That's why I was surprised to find no womenswear on their company website!
Several years ago, when I was newly arrived in Portland, OR, and I had a basic, borrowed sewing machine and no experience with either pattern drafting or quilting, I found Sharon Ann Burnston's website and was taken with the idea of making my own version of 18th Century quilted jumps. Mainly, I wanted them because I was cold. I'm always cold in the winter, and I simply hate being cold. The jumps appealed to me as a garment to keep my core warm and leave my arms free, which would be an improvement over wrapping myself in blankets, and more interesting and unique than the "puffy" vests which were then fashionable.
Way back in 2015 I took it into my head to make Teens Era dresses for myself and my sister, so we could have a "Titanic Tea" together in costume. The process started with a shared Pinterest board where we batted around ideas and identified our favorite elements of various dresses. Then I collected fabrics in the color schemes I liked: green and gold for myself and purple and burgundy for her.
For each dress I started with muslin and made a self-draped bra-bustier contraption (to approximate the bosom support that the Edwardians would have achieved with a long line corset). Then I draped the dress on top. However, as this was a few years ago, and I had neither blog nor camera at that time, you only get the finished pics.
I have not been very on top of the Dreamstress' Historical Sew Monthly challenges, not for lack of sewing, but because nothing I've done the past year is very historical! Modern clothing and mending and commissions have been the order of the day. But April's challenge called to me from the start:
Meanwhile, she is loved by an English soldier. Things get tragic. Honestly, I didn't find it all that interesting, despite it having such dramatic elements. Despite all the politics, love triangles, and bloodshed, the part I remember best was the rather odd garment worn by the young lady to a ball... a flat-chested boxy bodice with large skirt poofing out from the hips. I thought it was very unflattering.
Passing the Scottish Country Shop one day, I went in to see if I could examine a Glengarry cap in person. Alas, I didn't have much time before they closed, but based on what I saw there, I have made some alterations to my pattern. For instance, it's clear from the tartan caps like this that the base of the pattern is not a straight line, but a curve. If you turned the cap so that grain and cross-grain are a plus sign (look at the plaid), the back of the hat is hanging down. Another thing which is clear when I contrast my finished hat with the picture at the top of the post is that I should not have sewn around the curve at the bottom of the hat... the authentic hat is not sewn around the curve, so the curved edges flair open around the head when worn, and fold neatly when not worn. Here's a little sketch of the revised shapes:
However, the one-hour dress, a popular DIY pattern from the 1920's, has several points in its favor:
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