chore: Ported more design docs (#7223)
This ports lucy, jane, and holmes
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sites/orgdocs/docs/designs/holmes/instructions/readme.mdx
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sites/orgdocs/docs/designs/holmes/instructions/readme.mdx
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---
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title: 'Holmes deerstalker hat: Sewing Instructions'
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sidebar_label: Sewing Instructions
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sidebar_position: 20
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---
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## Step 1: Prepping the Pieces
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- If needed, Interface the crown and half the ear flap pieces.
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- If not already done so, it is recommended to mark the seam lines on your
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fabric pieces by either a temporary marker or by thread marking. This is for
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a more precise sew which is key for hat construction.
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:::tip Tips
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- Thread marking allows for the seam line to be seen on both the right and wrong
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sides.
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- Even if you face the crown you may not want to face the ear flaps if you want
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them to be less rigid when tieing down.
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:::
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:::warning
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These instructions assume you have marked your seam lines. They may be harder
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to follower if you skip this step.
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:::
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## Step 2: The Crown
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- With right sides together, matching seam lines and peaks, sew two crown
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pieces together.
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- Press seams open. You made need to use a tailors ham for this, if you do not
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have one you can use flannels or towels instead.
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- (Optional) _Edgestitch_ both sides of the seam, making sure to catch the seam
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allowances.
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- Repeat until you have two halves. If half the number of crown pieces is an
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odd number you will have to sew a single piece to each half. e.g. If you
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have 6 crown pieces, you make two halves of 3 sewing one piece to two sewn
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together pieces.
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- With right sides together, matching seam lines and peaks, sew the two halves
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together. You may find it easier to handstitch the peak together due to bulk
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or for precision. This seam will be referred to as the "centre crown seam"
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going forward.
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- (Optional) _Edgestitch_ both sides of the centre crown seam, making sure to
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catch the seam allowances.
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:::tip
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Depending on your seam allowance you may want to trim seams as you go to reduce
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bulk.
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:::
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## Step 3: The Ear Flaps
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### Ear Flaps with Ties
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- Cut two 12" (30cm) - 16" (40cm) length of ribbon. These will be referred to
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as ties going forward.
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- _Baste_ a tie to the right side of an ear flap (the interfaced one if using).
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Repeat for other tie.
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- With right sides together, matching seam lines, sew a tie ear flap to a
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non-tie ear flap.
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- Clip and trim seam allowance.
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- Turn inside out and press.
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- (Optional) _Topstitch_ or _edgestitch_ the folded edge.
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- _Baste_ the raw edges together.
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- Repeat for the remaining ear flap.
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:::tip
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If you are uncertain about the length you want for your ties take 1 metre (39")
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of ribbon and cut it in half. Use these halves as the ties in the instructions
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above. The ties are finished at the end so you can adjust the lengths then.
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:::
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The lengths above are recommendations so feel free to go as long or as short as
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you like with the ties. If you prefer you can make your custom ties with
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fabric, [see Holmes cutting](/docs/designs/holmes/cutting/) for more info.
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#### Ear Flaps with Buttonholes
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- Face the backs of two of the buttonholes. (This is not needed if two flaps
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have already been interfaced)
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- With right sides together, matching seam lines, sew two ear flap pieces
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together (one interfaced, one not).
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- Clip and trim seam allowance.
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- Turn inside out and press.
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- (Optional) _Topstitch_ or _Edgestitch_ the folded edge.
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- _Baste_ the raw edges together.
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- Sew the buttonhole in your preferred method.
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- Repeat for the remaining ear flap.
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:::warning
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The ear flaps will need to be long enough to go over the top of the peak so
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they can be done up by a button on the peak. Do not use this method if you are
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not using a button on the top.
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:::
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:::tip
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For both Ear Flaps with Ties and Button Holea, it is recommended to at least
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_topstitch_ the ear flaps but this may not be desirable with certain patterns
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so has been marked as optional.
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:::
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## Step 4: The Visors
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There are two methods for constructing the visors. This is due to the different
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types of materials the visor inserts can be made of. Method 1 is for materials
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that will not be damaged by a needle or iron. Method 2 is for materials that
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will be damaged by a needle or iron. Read both methods to determine which is
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best for you to use.
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### The Visors Method 1
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- Place visor insert on one visor piece inside seam lines.
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- Temporarily secure visor insert to visor with temporary _pad Stitches_. This
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will be referred to as "faced visor" going forward.
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- _Baste_ along the seam line of the inner curve of the faced visor, making
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sure not to catch the visor insert.
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- With right sides together, matching seam lines and centre fronts, sew the
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faced visor to another visor piece along the outer curve close to the visor
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insert, making sure not to catch the visor Insert.
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- Notch and trim the outer curve making sure not to clip the stitching. (You
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may wish to turn and check the shape before this step)
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- Turn inside out and press. Making sure that the seam allowances are on top of
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not under the visor insert.
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- Using the previous basting line as a guide, _baste_ the opening closed.
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- Repeat this for remaining visor pieces.
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:::warning
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Be careful with the heat of an iron when using certain insert materials. You do
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not want to melt the Visor Insert and damage both it and the fabric.
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:::
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:::note
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If preferred you can temporarily attach the visor insert another way that does
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not require hand sewing and putting a needle through the material. Just make
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sure it does not damage your hat fabric when removing or applying.
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:::
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### The Visors Method 2
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- With rights sides together, matching seam lines and centre fronts, sew the
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outer curve of two visor pieces together.
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- Notch and trim (if needed) the outer curve making sure not to clip the
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stitching. (You may wish to turn and check the shape before this step)
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- Turn inside out and press.
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- Insert visor insert in to sewn visor tightly so there is no gap on the outer
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curve and the seam allowances are all one on side of the visor insert. This
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will be the upper side of the visor.
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- Pin the inner curve together making sure that the outer edge is pulled
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tightly over the visor insert.
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- _Baste_ as close as you can to the inner curve of the visor insert, making
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sure you pull the fabric tightly over the outer edge as you sew.
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- Repeat for the remaining visor pieces.
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## Step 5: Assembly and Lining
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Once again there are two methods for final assembly and lining. Read both
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methods carefully to determine which is best for you.
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### Assembly and Lining Method 1
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- Matchings centres and seam lines align the ear flap with the right side of
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one of the panels that is not part of the centre crown seam. Making sure the
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faced side is placed against the crown (if faced).
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- Sew ear flap to the crown along seam lines.
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- Repeat for the remaining ear flap on the opposite side of the crown.
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- Align centre front of visor with the right side of the centre crown seam
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making sure the visor insert is on the bottom.
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- Hand-baste the visor to the crown matching the visor basting lines to the
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crown seam lines. It easier to _baste_ the centre down first and then work
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from the centre out.
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- Sew the visor to the crown along seam lines. You may find it easier to
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permanently hand-sew the visor on rather than using a machine.
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- Repeat for the remaining visor on the opposite side of the centre crown seam.
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- Remove all pad and basting stitches.
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- Press the seam allowances inwards, making sure the stitching is not visible
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on the outside.
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- (Optional) Loosely _whipstitch_ the seams to the inside of the crown making
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sure the stitching does not show on the outside.
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- Construct lining the same way as the crown omitting _edgestitching_.
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- Fold and Press under the bottom seam allowance of the lining. You may find
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you need to press under more to prevent the lining from showing. You may also
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find you need to _baste_ the seam allowance down.
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- Matching centre crown seams and panel seams, pin the lining into the hat
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wrong sides together. Placing the folded edge along the stitching lines.
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- _Slipstitch_ or _whipstitch_ the lining to the seam allowance of the hat.
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- Remove lining basting if used.
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- (Optional) _Tack_ the peak of the lining to the peak of the crown. This is to
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help prevent the lining from falling out.
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### Assembly and Lining Method 2
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- Matchings centres and seam lines align the ear flap with the right side of
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one of the panels that is not part of the centre crown seam. Making sure the
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faced side is placed against the crown (if faced).
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- _Baste_ the ear flap to the crown along seam lines
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- Repeat for the remaining ear flap on the opposite side of the crown.
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- Align centre front of visor with the right side of the centre crown seam
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making sure the visor insert is on the bottom.
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- Hand-baste the visor to the crown matching the visor basting lines to the
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crown seam lines. It easier to _baste_ the centre down first and then work
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from the centre out.
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- (Optional) Machine-baste the visor to the crown along seam lines.
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- Repeat for the remaining visor on the opposite side of the centre crown seam.
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- Construct lining the same way as the crown omitting _edgestitching_ and
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leaving a gap in the centre lining seam large enough to turn the hat.
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- With right sides together, matching centre crown seams, panel seams and seam
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lines. Sew the lining to the crown along seam lines. If bulky you may want to
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trim either the lining seams or both seams.
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- Turn hat inside out, pressing lining to inside.
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- (Optional/Alternate) _Understitch_ lining.
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- Slipstitch lining opening closed.
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- (Optional/Alternate) _Topstitch_ or _Edgestitch_ along the outside of the
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hat, catching the lining on the inside making sure it is not peaking whilst
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you sew.
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- (Optional) _Tack_ the peak of the lining to the peak of the crown. This is to
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help prevent the lining from falling out.
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:::tip Attention
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For both Assembly and Lining Methods, you can attach the visors on first, just
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make sure the visors are under the ear flaps if there is any overlap. It is
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simply whether you prefer the visors to be underneath or prefer the ear flaps
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to be underneath like in the instructions.
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For both Assembly and Lining Methods, if you are having trouble dealing with
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the curves of the visors, sew a stitching line an 1/8" (3mm) from the basting
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line in the seam allowance of the visor and clip to it. This should make it
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easier to bend the visor to shape. Just make sure to hide this stitching and
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the clips when attaching the lining.
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For both Assembly and Lining Methods, Assembly and Lining instructions are
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written with a 6 panelled Holmes in mind. You may find the placement of visors
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and ear flap pieces are different for other numbered panelled Holmes. As a rule
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of thumb generally the centre front of the visor is always on the centre crown
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seam so go from there if struggling.
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:::
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## Step 6: Finishing Ties
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If you did not cut your ties down when constructing the ear flaps, now is the
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time to do so. If you made custom ties with fabric then you do not need to do
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these steps. Again read through both methods carefully and pick which is the
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best for you.
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### Finishing Ties Method 1
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- Fold the ends of a tie in half and cut a triangle out from the corner to the
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fold.
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- Unfold.
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- If you are worried about the ties fraying you can use fray check or
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equivalent.
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- Repeat for the remaining tie.
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### Finishing Ties Method 2
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- Fold under 1/8" (3mm) and another 1/8" (3mm) on one of the ties. Pin if
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needed.
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- _Whipstitch_ the folded edge down to the tie
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- Repeat for the remaining tie.
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:::tip
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To determine which way you want to fold the ties, you may find it easier to tie
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the ear flaps up first. Generally you want the fold to be on the underside of
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the ties but as always it is personal preference.
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:::
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## Step 7: Button
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Unless you are doing the Buttonhole Ear Flaps you do not have to sew a button
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on but it may be useful if you want to hide any misaligned seams at the crown
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peak.
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- Construct a covered button.
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- Attach the button via the shank to the peak of the crown doing your best to
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keep it in the middle of the seams.
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- Alternatively if you are not using the button with the ear flaps you can bend
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the shank down and _whipstitch_ the edge of the button to the crown instead
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so it does not move.
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Whilst certainly optional, you may find that a button is what is missing from
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the hat to finish the look. So if you are uncertain of the look at this point,
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make up a quick button and place it on temporarily to see if this is what is
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missing. If it is, attach it permanently. Whilst a covered button is
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recommended you can use whatever button you desire, feel free to experiment!
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## Step 8: Enjoy your new hat!
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That's it! You're all done. Now enjoy the world in your wonderful new hat
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whilst maybe solving a crime or two!
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:::tip
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Remember these instructions are just guidelines so don't worry if you want to
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construct the hat differently. The Diagrams are yet to be made for this
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pattern so in the mean time if you need a visual aid, watch the YouTube video
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that inspired this pattern:
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:::
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<YouTube id="H24VBFMZJF4" />
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@ -0,0 +1,6 @@
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---
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title: 'Buttonhole guide'
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---
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Adds a buttonhole to the ear flap to help you draft the buttonhole ear flap
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variant
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@ -0,0 +1,5 @@
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---
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title: 'Ear flap length'
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---
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Controls the length of the ear flaps independently from the crown pieces
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@ -0,0 +1,5 @@
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---
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title: 'Ear flap width'
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---
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Controls the width of the ear flaps
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142
sites/orgdocs/docs/designs/holmes/options/gores/gores.svg
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sites/orgdocs/docs/designs/holmes/options/gores/gores.svg
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||||||
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
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<svg
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After Width: | Height: | Size: 7.3 KiB |
|
|
@ -0,0 +1,5 @@
|
||||||
|
---
|
||||||
|
title: 'Visor width'
|
||||||
|
---
|
||||||
|
|
||||||
|
Controls the width of the visor
|
||||||
155
sites/orgdocs/docs/designs/holmes/readme.mdx
Normal file
155
sites/orgdocs/docs/designs/holmes/readme.mdx
Normal file
|
|
@ -0,0 +1,155 @@
|
||||||
|
---
|
||||||
|
title: "Holmes: FreeSewing's Holmes Deerstalker Hat"
|
||||||
|
sidebar_label: Holmes Deerstalker Hat
|
||||||
|
---
|
||||||
|
|
||||||
|
<DesignInfo design="holmes" />
|
||||||
|
|
||||||
|
## Designer Notes {#notes}
|
||||||
|
|
||||||
|
The idea of Holmes hat came from [a YouTube
|
||||||
|
video](https://www.youtube.com/watch?v=H24VBFMZJF4) I was watching once, in
|
||||||
|
which Bernadette Banner is making a Sherlock Holmes deerstalker hat, and
|
||||||
|
struggles to find the right shape of the gores to form the dome shape, which
|
||||||
|
ends up doing by trial and error.
|
||||||
|
|
||||||
|
As a physicist, I cannot justify solving a problem with an iterative process
|
||||||
|
when there's an analytical solution, so I just calculated the shape needed, and
|
||||||
|
implemented it in a Freesewing pattern, creating a plugin to calculate gore
|
||||||
|
shapes.
|
||||||
|
|
||||||
|
The name was an easy choice, I just needed a name starting with H for a
|
||||||
|
Sherlock Holmes hat :smiley:
|
||||||
|
|
||||||
|
Erica
|
||||||
|
|
||||||
|
## What You Need {#needs}
|
||||||
|
|
||||||
|
To make Holmes, you will need the following:
|
||||||
|
|
||||||
|
- Basic sewing supplies
|
||||||
|
- About 0.5 metres (0.6 yards) of a suitable fabric (see [Fabric
|
||||||
|
Otions](#fabric))
|
||||||
|
- About 0.5 metres (0.6 yards) of lining fabric (see [Fabric Options](#fabric))
|
||||||
|
- A rigid material for the visor insert (see [Fabric Options](#fabric))
|
||||||
|
- (Optional) About 1 metre of 1" (2.5cm) crossgrain ribbon or petersham.
|
||||||
|
- (Optional) 1 covered button about 3/4" (2cm) - 7/8" (2.2cm)
|
||||||
|
|
||||||
|
:::note
|
||||||
|
Depending on style the ties and buttons are optional.
|
||||||
|
|
||||||
|
- If you are making Buttonhole Ear Flaps you can omit the ties.
|
||||||
|
- If you are making Tie Ear Flaps you can omit the button.
|
||||||
|
- Ties can also be made from fabric if you prefer ([see Holmes
|
||||||
|
Cutting](/docs/designs/holmes/cutting/))
|
||||||
|
- You can also use different width and type ribbons for the ties if you prefer.
|
||||||
|
:::
|
||||||
|
|
||||||
|
## Fabric Options {#fabric}
|
||||||
|
|
||||||
|
### Main Fabric
|
||||||
|
|
||||||
|
For the main fabric of your hat, a thick fabric will work best to hold the
|
||||||
|
shape but if you wanna go for a lighter fabric you can interface it to give it
|
||||||
|
more body. Generally you want to use **wools** of coating weight but you can
|
||||||
|
experiment with different weights and fabrics with the relevant interfacing.
|
||||||
|
|
||||||
|
:::tip
|
||||||
|
A fun thing to try is printed cotton. Just double up the main fabric so each
|
||||||
|
piece is double thickness. Then interface it with a **medium firm
|
||||||
|
interfacing**.
|
||||||
|
:::
|
||||||
|
|
||||||
|
### Lining Fabric
|
||||||
|
|
||||||
|
Generally you want a lightweight fabric such as **Silks** or **Cotton Lawn**
|
||||||
|
but really you can make it from any fabric you deem appropriate for lining.
|
||||||
|
Just remember it needs to protect the facing and the main fabric from your
|
||||||
|
head.
|
||||||
|
|
||||||
|
### Interfacing
|
||||||
|
|
||||||
|
Depending on your main fabric's thickness and how well it keeps its shape you
|
||||||
|
may need to interface your fabric. If you are uncertain of whether your fabric
|
||||||
|
requires interfacing, quickly _baste_ your crown pieces together and see if the
|
||||||
|
crown stays up right when placed on a surface. If it doesn't it needs
|
||||||
|
interfacing.
|
||||||
|
|
||||||
|
As a rule of thumb you will generally need a **Medium Firm
|
||||||
|
Interfacing** but if your fabric is quite thin you may need a firmer
|
||||||
|
interfacing. If you are still uncertain you can face your crown pieces and once
|
||||||
|
again _baste_ the crown pieces together and check how it looks on your head.
|
||||||
|
|
||||||
|
You can either use fusible or non-fusible interfacing. If using non-fusible
|
||||||
|
interfacing you will want to flat line the interfacing to your pieces wih
|
||||||
|
temporary _pad stitches_.
|
||||||
|
|
||||||
|
:::tip
|
||||||
|
If you are trying to make a more Historical Holmes you can use **Tarlatan**
|
||||||
|
which is a lightweight stiffened muslin. Just make sure you use natural fibres.
|
||||||
|
:::
|
||||||
|
|
||||||
|
### Visor Insert
|
||||||
|
|
||||||
|
For the visor insert you want a firm but thin material. You may want to try
|
||||||
|
either, **Millinery Buckram**, **Plastic Canvas**, **Plastic Sheets** or **EVA
|
||||||
|
Foam**. You can use **Leather** just know that depending on depth this may
|
||||||
|
create a thicker visor and may make the visor harder to close.
|
||||||
|
|
||||||
|
:::note
|
||||||
|
Just remember. All of these are recommendations. If you want to use something
|
||||||
|
different go for it!
|
||||||
|
:::
|
||||||
|
|
||||||
|
## Cutting Instructions {#cutting}
|
||||||
|
|
||||||
|
:::warning
|
||||||
|
The **crown** pattern piece needs to be cut on the fold to create a whole
|
||||||
|
piece.
|
||||||
|
:::
|
||||||
|
|
||||||
|
### Materials
|
||||||
|
|
||||||
|
- **Main fabric**
|
||||||
|
- Cut the amount of **crowns** you selected in the pattern options
|
||||||
|
- Cut **4 ear** parts or Cut **2 ear** from main and lining.
|
||||||
|
- Cut **4 visor** parts
|
||||||
|
- **Lining fabric**
|
||||||
|
- Cut the amount of **crowns** you selected in the pattern options
|
||||||
|
- **Visor Insert Material**
|
||||||
|
- Cut **2 visor inserts**. Use your visor pattern piece with no seam
|
||||||
|
allowance.
|
||||||
|
|
||||||
|
### Optional Fabric Ties
|
||||||
|
|
||||||
|
If you don't wish to use ribbon for your ties you can make them out of fabric.
|
||||||
|
|
||||||
|
Simply cut 4 crossgrain strips of an 1" (2.5cm) or width of your chosen seam
|
||||||
|
allowances wide and sew two tubes leaving one of the short sides open for
|
||||||
|
turning. Clip the corners and trim seams. Turn out an press. If desired you can
|
||||||
|
_Edgestitch_ or _Topstitch_ the tubes to stop the fabric from shifting. The raw
|
||||||
|
edge of the tubes can then be concealed in the ear flap seam when constructing
|
||||||
|
the ear flaps.
|
||||||
|
|
||||||
|
:::note
|
||||||
|
It is recommended to draft the pattern nett and use the pattern to trace the
|
||||||
|
seam lines onto fabric and add the seam allowance on the fabric rather than the
|
||||||
|
pattern. This to allow for a more precise sew which is needed for a hat.
|
||||||
|
|
||||||
|
Recommended seam allowance 1/4" (6mm) on the sides of the crowns, ear flaps and
|
||||||
|
outer curve of the visors. 1/2" (1.3cm) for the bottom of the crowns, ear flaps
|
||||||
|
and inner curve of the visors. With these seam allowances you will not have to
|
||||||
|
trim the allowances if you do not want to.
|
||||||
|
:::
|
||||||
|
|
||||||
|
:::warning
|
||||||
|
It is recommended to make a mock-up with your crown pattern first before
|
||||||
|
cutting your fabrics. This is to test the length and ease of the crown piece.
|
||||||
|
Make sure to cut off the bottom seam allowance before trying it on. If it is
|
||||||
|
too tight who will need to re-draft the pattern with more head ease just
|
||||||
|
remember the ease is split across each crown.
|
||||||
|
|
||||||
|
If the peak is too high you may want to re-draft the pattern with the crown
|
||||||
|
length reduced. Once re-drafted make another mock-up to check whether you are
|
||||||
|
satisfied with the changes or not. Repeat again if you are not satisfied.
|
||||||
|
:::
|
||||||
101
sites/orgdocs/docs/designs/jane/instructions/readme.mdx
Normal file
101
sites/orgdocs/docs/designs/jane/instructions/readme.mdx
Normal file
|
|
@ -0,0 +1,101 @@
|
||||||
|
---
|
||||||
|
title: "Jane 1790's Shift: Sewing Instructions"
|
||||||
|
sidebar_label: Sewing Instructions
|
||||||
|
sidebar_position: 20
|
||||||
|
---
|
||||||
|
|
||||||
|
You can sew your Jane entirely by machine, or by hand. But it is also possible
|
||||||
|
to mix and match techniques to your liking. It is common practice for modern
|
||||||
|
makers of historical clothing to sew the seams by machine but finish them by
|
||||||
|
hand.
|
||||||
|
|
||||||
|
Extant examples are stitched very finely to allow them to stand up to harsh
|
||||||
|
laundering practices. You can stitch your seams with a backstitch and then
|
||||||
|
finish them with a felling stitch.
|
||||||
|
|
||||||
|
The shift Jane was based on is sewn with a technique called _double felling_ or
|
||||||
|
_german hemming_. This was a common technique for constructing shifts circa
|
||||||
|
1750s - 1850s so it is a good choice when making a historical Jane. The benefit
|
||||||
|
of this technique is that it allows you to stitch and finish the seam at the
|
||||||
|
same time.
|
||||||
|
|
||||||
|
:::tip How to double fell
|
||||||
|
|
||||||
|
- Baste the seam allowance to outside on one piece. (_good side_)
|
||||||
|
- Baste the seam allowance to the inside the other piece. (_wrong side_)
|
||||||
|
- With _good sides facing up_, pin the piece with the edge folded to the inside
|
||||||
|
over the top of the piece with edge folded to the outside, making sure to
|
||||||
|
line the folded edge up with the raw edge.
|
||||||
|
- Fell the folded edge on the outside down.
|
||||||
|
- Fell the folded edge on the inside down.
|
||||||
|
- Remove basting threads
|
||||||
|
:::
|
||||||
|
|
||||||
|
:::warning
|
||||||
|
It is important to line the weave up of the two pieces when pinning together.
|
||||||
|
You can find out [more about double felling
|
||||||
|
here](https://www.sewncompany.com/felled-seam-german-hemming).
|
||||||
|
:::
|
||||||
|
|
||||||
|
## Step 1: Hem the neckline
|
||||||
|
|
||||||
|
Hem the neckline with the smallest hem you can manage.
|
||||||
|
|
||||||
|
## Step 2: Prep the Sleeves
|
||||||
|
|
||||||
|
- Fold the sleeve in half from the shoulder to the hem.
|
||||||
|
- Sew the sleeve together to create a tube, making sure to leave the width of
|
||||||
|
the sleeve gusset open at the top.
|
||||||
|
- Finish the seam.
|
||||||
|
- Sew one of the sleeve gusset edges to one side of the gap left in the seam
|
||||||
|
you've just sewn.
|
||||||
|
- Take the edge of the sleeve gusset that is adjacent to the one you've just
|
||||||
|
sewn and sew it to the gap on the other side of the sleeve. You should now be
|
||||||
|
looking at a diamond with the top two edges connected to the sleeve and the
|
||||||
|
bottom two edges free.
|
||||||
|
- Finish the seams.
|
||||||
|
- Repeat for the second sleeve.
|
||||||
|
- Hem the bottom of the sleeves.
|
||||||
|
|
||||||
|
## Step 3: Prep the side gores
|
||||||
|
|
||||||
|
- Sew the two side gores together along the longest straight edges to create a
|
||||||
|
kite.
|
||||||
|
- Finish the seam.
|
||||||
|
- Repeat for other set of side gores.
|
||||||
|
|
||||||
|
## Step 4: Prep the Body
|
||||||
|
|
||||||
|
- Mark down from the shoulder, along the side seam, half the total width of the
|
||||||
|
sleeve + the sleeve gusset width.
|
||||||
|
- Sew the front of the body to the back of the body from the mark, down to the
|
||||||
|
corner where the body runs parallel to the grain.
|
||||||
|
- Repeat for the 3 remaining side seams.
|
||||||
|
|
||||||
|
## Step 5: Set in the side gores
|
||||||
|
|
||||||
|
- Sew the side gore to the front and then to back along the edges that were
|
||||||
|
left free from the corner to bottom of the body.
|
||||||
|
- Finish the seams.
|
||||||
|
- Repeat for other side gore.
|
||||||
|
|
||||||
|
## Step 6: Set in the sleeves
|
||||||
|
|
||||||
|
- Sew the sleeve to the body matching the notch to the shoulder. The sleeve
|
||||||
|
should fit in the gap that has been left in the side seam. Make sure to not
|
||||||
|
sew the sleeve shut when attaching.
|
||||||
|
- Finish the seam.
|
||||||
|
- Repeat for the other sleeve.
|
||||||
|
|
||||||
|
:::tip
|
||||||
|
You may find it easier to turn the body _wrong sides_ out for this. It will
|
||||||
|
depend on your construction method though.
|
||||||
|
:::
|
||||||
|
|
||||||
|
## Step 7: Hemming
|
||||||
|
|
||||||
|
Hem the bottom of your shift.
|
||||||
|
|
||||||
|
## Step 8: Enjoy!
|
||||||
|
|
||||||
|
Now go forth and wear it as a historical undergarment or however you like!
|
||||||
|
|
@ -0,0 +1,7 @@
|
||||||
|
---
|
||||||
|
title: Biceps Ease
|
||||||
|
---
|
||||||
|
|
||||||
|
This option controls the amount of ease in the sleeve circumference. The
|
||||||
|
default is for the historically accurate version of a regency sleeve, which is
|
||||||
|
fairly tight to the arm.
|
||||||
|
|
@ -0,0 +1,6 @@
|
||||||
|
---
|
||||||
|
title: Body Ease
|
||||||
|
---
|
||||||
|
|
||||||
|
The Body Ease option controls how wide the shift is on your body. The default
|
||||||
|
is for a shift that is fairly tight but you can still easily move in.
|
||||||
|
|
@ -0,0 +1,7 @@
|
||||||
|
---
|
||||||
|
title: Gusset Size
|
||||||
|
---
|
||||||
|
|
||||||
|
This option controls the size of the gusset, a larger gusset will give you more
|
||||||
|
freedom of movement and gives a little extra width in the sleeve at the top of
|
||||||
|
the bicep.
|
||||||
|
|
@ -0,0 +1,6 @@
|
||||||
|
---
|
||||||
|
title: Neckline Depth Back
|
||||||
|
---
|
||||||
|
|
||||||
|
This option controls how deep the back neckline is. A historical shift would be
|
||||||
|
low enough to be below the neckline of the dress it goes under.
|
||||||
|
|
@ -0,0 +1,6 @@
|
||||||
|
---
|
||||||
|
title: Neckline Depth Front
|
||||||
|
---
|
||||||
|
|
||||||
|
This option controls how deep the front neckline is. A historical shift would
|
||||||
|
have a neckline that comes to the top of the stays.
|
||||||
|
|
@ -0,0 +1,6 @@
|
||||||
|
---
|
||||||
|
title: Neckline Width
|
||||||
|
---
|
||||||
|
|
||||||
|
This option controls how wide the neckline is. On a historical shift this would
|
||||||
|
be wide enough to not peek out of the dress neckline.
|
||||||
|
|
@ -0,0 +1,6 @@
|
||||||
|
---
|
||||||
|
title: Shift Length
|
||||||
|
---
|
||||||
|
|
||||||
|
This option controls the overall length of the shift. Historical shifts have
|
||||||
|
different lengths, anywhere between knee and calf would be appropriate.
|
||||||
|
|
@ -0,0 +1,6 @@
|
||||||
|
---
|
||||||
|
title: Sleeve Length
|
||||||
|
---
|
||||||
|
|
||||||
|
This option controls the extra length added to the sleeve. If you want a length
|
||||||
|
appropriate for 1790's then you don't use this option.
|
||||||
136
sites/orgdocs/docs/designs/jane/readme.mdx
Normal file
136
sites/orgdocs/docs/designs/jane/readme.mdx
Normal file
|
|
@ -0,0 +1,136 @@
|
||||||
|
---
|
||||||
|
title: "Jane: FreeSewing's Jane 1790's Shift"
|
||||||
|
sidebar_label: "Jane 1790's Shift"
|
||||||
|
---
|
||||||
|
|
||||||
|
<DesignInfo design="jane" />
|
||||||
|
|
||||||
|
## Designer Notes {#notes}
|
||||||
|
|
||||||
|
I made Jane because shifts are a very fundamental part of historical sewing but
|
||||||
|
its hard to make or find a pattern that works for you.
|
||||||
|
|
||||||
|
A lot of blogs have instructions for drafting, but drafting can be
|
||||||
|
overwhelming. Freesewing allowed me to code a pattern that is sized to your
|
||||||
|
body without you having to do all the work of drafting.
|
||||||
|
|
||||||
|
The shift Jane is based on is one I made following [Sharon Ann Burnstons
|
||||||
|
instructions](http://sharonburnston.com/). Her work got me interested in shifts
|
||||||
|
and the details and minutia of making one that does what you want it to do.
|
||||||
|
|
||||||
|
I wanted to make Jane to give people a great place to start their historical
|
||||||
|
sewing journey, a pattern that is easy to use and lets you move on to the
|
||||||
|
exciting things if you feel that way or play around in the world of squarecut
|
||||||
|
garments like I have.
|
||||||
|
|
||||||
|
Zee
|
||||||
|
|
||||||
|
## What You Need {#needs}
|
||||||
|
|
||||||
|
To determine how much fabric you need for Jane you take:
|
||||||
|
|
||||||
|
- Twice the length of your body pattern piece + the length of your sleeve
|
||||||
|
pattern piece.
|
||||||
|
- If your sleeves and gussets can fit alongside the maximum width of your body
|
||||||
|
pattern piece, then twice the length of the body pattern piece will be
|
||||||
|
enough.
|
||||||
|
|
||||||
|
This makes the total amount of fabric needed for Jane as the a-line shape is
|
||||||
|
created by taking away fabric at the top of the shift and adding it to the
|
||||||
|
bottom. Depending on how you cut the neckhole, it is possible to take the
|
||||||
|
gussets out of that leftover fabric.
|
||||||
|
|
||||||
|
If you are sewing a historically accurate Jane you will want the following for
|
||||||
|
your sewing supplies:
|
||||||
|
|
||||||
|
- A fine linen thread (2/80 or 2/90, finer if comfortable)
|
||||||
|
- Handsewing needles you find work with your size thread
|
||||||
|
- Beeswax for waxing thread
|
||||||
|
- A thimble is recommended for comfortable handsewing
|
||||||
|
|
||||||
|
If you are working with a sewing machine or not constrained by historical
|
||||||
|
accuracy you will want some [basic sewing
|
||||||
|
supplies](/docs/sewing/basic-sewing-supplies).
|
||||||
|
|
||||||
|
## Fabric Options {#fabric}
|
||||||
|
|
||||||
|
### Historically Accurate Fabrics
|
||||||
|
|
||||||
|
During the Regency period shifts were made out of white linen. If you want to
|
||||||
|
sew a historically accurate Jane, linen is the only choice you have. Linen is a
|
||||||
|
fabric that could withstand the harsh laundry methods of the past better than
|
||||||
|
silk or wool. Because shifts would be washed more than the clothing that went
|
||||||
|
over them, the way the fabric laundered was a priority. Over time, white linens
|
||||||
|
came to represent cleanliness,and could be easily rid of stains by bleaching.
|
||||||
|
|
||||||
|
Additionally, the weave would universally be a plain or tabby weave. What would
|
||||||
|
vary is the weight of linen used. Everyone wore body linen, to not wear it
|
||||||
|
wasn’t permissible.
|
||||||
|
|
||||||
|
This meant that poorer people might use a coarser woven linen which was
|
||||||
|
generally cheaper than someone with a lot of money who could afford finer woven
|
||||||
|
linen. Additionally, unbleached linen was cheaper than bleached linen.
|
||||||
|
|
||||||
|
In your own making, it can be good to keep in mind that finer linen will often
|
||||||
|
be sheerer and will wear more quickly. If you are making a shift to wear on a
|
||||||
|
regular basis, a slightly heavier weight will last longer. The shift Jane was
|
||||||
|
based on is made out of Irish linen that weighs 180 gsm or 5.3 oz/sq yd. This
|
||||||
|
is a linen on the light side of medium weight.
|
||||||
|
|
||||||
|
### Non-historic fabrics
|
||||||
|
|
||||||
|
A Jane that isn’t historically accurate can be made out of a variety of
|
||||||
|
fabrics. It is drafted for a woven fabric. What fabric that should be largely
|
||||||
|
depends on preference and use. For example if you want to use Jane as a slip or
|
||||||
|
nightgown you could make it in a soft cotton or some slinky silk. In general
|
||||||
|
you want a fairly light weight fabric and if you want to use something heavier,
|
||||||
|
it is smart to add more ease to the pattern. As long as you keep in mind that
|
||||||
|
the pattern was designed for a woven you can use any fabric you want.
|
||||||
|
|
||||||
|
## Cutting Instructions {#cutting}
|
||||||
|
|
||||||
|
The best way to get a truly straight line for all the straight seams in Jane is
|
||||||
|
to pull a thread. This is done by snipping into the fabric at the right
|
||||||
|
measurement and then carefully pulling on the single thread that the cut
|
||||||
|
exposes. Once pulled all the way out of the fabric it creates a void that is
|
||||||
|
easily followed to cut a straight line.
|
||||||
|
|
||||||
|
There are two different ways to cut Jane, with or without a shoulder seam. The
|
||||||
|
pattern doesn’t include a back and front to save on paper.
|
||||||
|
|
||||||
|
If you are cutting Jane with a shoulder seam you:
|
||||||
|
|
||||||
|
- Cut **1 body** part with front neckline
|
||||||
|
- Cut **1 body** part with back neckline
|
||||||
|
- Cut gore line in front and back parts
|
||||||
|
- Repeat on the other side of the front and back parts
|
||||||
|
- Cut **2 sleeve** parts
|
||||||
|
- Cut **2 sleeve** gusset parts
|
||||||
|
|
||||||
|
If you want to cut Jane without a shoulder seam you:
|
||||||
|
|
||||||
|
- Cut **1 body** part on the fold as indicated on the pattern
|
||||||
|
- Cut the neckline on the body part
|
||||||
|
- With the body part folded at the fold line, cut the side gores
|
||||||
|
- Repeat on the other side of the body part
|
||||||
|
- Cut **2 sleeve** parts
|
||||||
|
- Cut **2 sleeve** gusset parts
|
||||||
|
|
||||||
|
### Cutting out without a pattern
|
||||||
|
|
||||||
|
In the past shifts were generally cut without a paper pattern. If you want to
|
||||||
|
cut without a pattern as well you can use the following instructions:
|
||||||
|
|
||||||
|
Cut a rectangle double the body length and the body width. You can cut the side
|
||||||
|
gores all in one go. To do this you fold your fabric at the shoulder line and
|
||||||
|
then mark the halfway point down the length.
|
||||||
|
|
||||||
|
Then you mark your shoulder width (the distance from the shoulder to the
|
||||||
|
beginning of the dotted line). And mark the side gore by tracing a line from
|
||||||
|
the point marked to the midpoint of the body length.
|
||||||
|
|
||||||
|
Then you fold the body in half widthwise. There should be 4 layers of fabric at
|
||||||
|
the edge now. To cut the gore you now cut the line you just drew through all
|
||||||
|
four layers.
|
||||||
|
|
||||||
|
Now cut the neckline, the sleeves and the sleeve gussets.
|
||||||
55
sites/orgdocs/docs/designs/lucy/instructions/readme.mdx
Normal file
55
sites/orgdocs/docs/designs/lucy/instructions/readme.mdx
Normal file
|
|
@ -0,0 +1,55 @@
|
||||||
|
---
|
||||||
|
title: 'Lucy tie-on pocket: Sewing Instructions'
|
||||||
|
sidebar_label: Sewing Instructions
|
||||||
|
sidebar_position: 20
|
||||||
|
---
|
||||||
|
|
||||||
|
Lucy can be sewn by hand or by machine as you prefer. When sewing by hand, you
|
||||||
|
can use a running stitch to sew the pocket pieces together and bind with a
|
||||||
|
whipstitch.
|
||||||
|
|
||||||
|
## Step 1: Constructing the Pocket
|
||||||
|
|
||||||
|
- Bind the pocket slit.
|
||||||
|
- With _wrong sides together_ stitch the two pocket pieces together around the
|
||||||
|
outside.
|
||||||
|
- Bind the outside edge.
|
||||||
|
|
||||||
|
:::tip
|
||||||
|
If you prefer you can _french seam_ the outer edges of the pocket bag together.
|
||||||
|
:::
|
||||||
|
|
||||||
|
## Step 2: Binding the top edge and ties.
|
||||||
|
|
||||||
|
There are two methods for binding the top edge. One leaves the side edges of
|
||||||
|
the top binding open so the ties can be threaded through. The second uses the
|
||||||
|
tape for the ties to bind the top edge. Read through both methods carefully and
|
||||||
|
decide which one you wish to use.
|
||||||
|
|
||||||
|
### Using binding
|
||||||
|
|
||||||
|
- Cut a piece of binding the length of the top edge + seam allowance.
|
||||||
|
- Fold under the short edges of the binging and stitch in place.
|
||||||
|
- Bind the top edge of the pocket bag with the prepared binding making sure
|
||||||
|
that the folded ends are left open.
|
||||||
|
- Thread a tie through the binding.
|
||||||
|
- Finish the tie ends.
|
||||||
|
|
||||||
|
:::tip
|
||||||
|
To make sure the binding is long enough, instead of cutting the binding down
|
||||||
|
you can fold under one edge and stitch the binding to the top edge but before
|
||||||
|
getting to other end fold under and trim the other edge of the binding then
|
||||||
|
continue the stitching.
|
||||||
|
:::
|
||||||
|
|
||||||
|
### Bind with the ties
|
||||||
|
|
||||||
|
- Use a piece of tape as binding and tie, attach the pocket bag to the centre
|
||||||
|
of the tape.
|
||||||
|
- Bind the top edge of the pocket bag whilst leaving the remainder of tape
|
||||||
|
free.
|
||||||
|
- Finish the tape ends.
|
||||||
|
|
||||||
|
## Step 3: Enjoy!
|
||||||
|
|
||||||
|
That's it! You're all done! Now go stuff your new pockets to the brim!
|
||||||
5
sites/orgdocs/docs/designs/lucy/options/edge/readme.mdx
Normal file
5
sites/orgdocs/docs/designs/lucy/options/edge/readme.mdx
Normal file
|
|
@ -0,0 +1,5 @@
|
||||||
|
---
|
||||||
|
title: Edge
|
||||||
|
---
|
||||||
|
|
||||||
|
This option controls the width of the top edge of your pocket.
|
||||||
|
|
@ -0,0 +1,5 @@
|
||||||
|
---
|
||||||
|
title: Length
|
||||||
|
---
|
||||||
|
|
||||||
|
The length option determines how long your pocket will be.
|
||||||
5
sites/orgdocs/docs/designs/lucy/options/width/readme.mdx
Normal file
5
sites/orgdocs/docs/designs/lucy/options/width/readme.mdx
Normal file
|
|
@ -0,0 +1,5 @@
|
||||||
|
---
|
||||||
|
title: Width
|
||||||
|
---
|
||||||
|
|
||||||
|
This option determines the width of the pocket overall.
|
||||||
97
sites/orgdocs/docs/designs/lucy/readme.mdx
Normal file
97
sites/orgdocs/docs/designs/lucy/readme.mdx
Normal file
|
|
@ -0,0 +1,97 @@
|
||||||
|
---
|
||||||
|
title: "Lucy: FreeSewing's Lucy Tie-On Pocket"
|
||||||
|
sidebar_label: Lucy Tie-On Pocket
|
||||||
|
---
|
||||||
|
|
||||||
|
<DesignInfo design="lucy" />
|
||||||
|
|
||||||
|
## Designer Notes {#notes}
|
||||||
|
|
||||||
|
This is a 18th century pocket pattern based on the hanging pocket in Patterns
|
||||||
|
of Fashion 1 pp. 73. I made it so people could have a historical pocket pattern
|
||||||
|
that is easily adjustable.
|
||||||
|
|
||||||
|
I would like historical patterns and resources to be more accessible to people
|
||||||
|
so the documentation has some historical context and suggestions on
|
||||||
|
historically accurate ways to make it, but its just as awesome to see people
|
||||||
|
make wild modern versions.
|
||||||
|
|
||||||
|
Zee
|
||||||
|
|
||||||
|
:::tip Historical context
|
||||||
|
|
||||||
|
Tie-on pockets like Lucy were worn roughly from the mid-seventeenth (1650s)
|
||||||
|
century until the end of the 19th century (1890s). They came in all shapes and
|
||||||
|
sizes but Lucy is based on an 18th century example.
|
||||||
|
|
||||||
|
They were worn and used by all members of society and were mainly womens wear
|
||||||
|
as men had a variety of pockets sewn into their clothing.
|
||||||
|
|
||||||
|
Pockets would be tied around the waist and could be accessed through a slit in
|
||||||
|
skirts and petticoats. Where the pocket would be in between the layers was up
|
||||||
|
to the individual. If it was hidden in between layers that would provide more
|
||||||
|
security, but hinder accessibility. People who worked in trade often wore their
|
||||||
|
pockets on the outside of their garments entirely, for easy access.
|
||||||
|
|
||||||
|
(Tie-on) Pockets were used alongside patch pockets, sewn in pockets, bags and
|
||||||
|
other ways to carry your things. Sometimes they even had additional pockets
|
||||||
|
hidden inside them!
|
||||||
|
|
||||||
|
If you want to learn more you can read: Burman, B. & Fennetaux A. (2020) _The
|
||||||
|
Pocket, A Hidden History of Women's Lives_ Yale University Press, London
|
||||||
|
:::
|
||||||
|
|
||||||
|
## What You Need {#needs}
|
||||||
|
|
||||||
|
To make Lucy, you will need the following:
|
||||||
|
|
||||||
|
- [Basic sewing supplies](/docs/sewing/basic-sewing-supplies)
|
||||||
|
- About 0.5 meters (0.6 yards) of suitable fabric (see [Fabric
|
||||||
|
Options](#fabric)
|
||||||
|
- About 0.5 meters (0.6 yards) of fabric if using a lining
|
||||||
|
- About 2 meters (2.2 yards) of bias binding or strips of fabric if binding the
|
||||||
|
edges
|
||||||
|
- A length of tape that you can tie around your waist to make the ties with
|
||||||
|
|
||||||
|
:::tip Piecing is Period!
|
||||||
|
|
||||||
|
Pockets like these do not need to be made out of whole pieces of fabric, you
|
||||||
|
can piece together scraps into a large enough piece to cut your pocket pattern
|
||||||
|
out of. Neither do both sides need to be made out of the same fabric.
|
||||||
|
:::
|
||||||
|
|
||||||
|
## Fabric Options {#fabric}
|
||||||
|
|
||||||
|
Because pockets were worn by people in every layer of society historically what
|
||||||
|
they were made out of varied intensely. Some were made out of sturdy and plain
|
||||||
|
fabrics, marked with the owners initials. Others were made out of lavish silks
|
||||||
|
or richly embroidered.
|
||||||
|
|
||||||
|
As such when it comes to fabric options the world is your oyster.
|
||||||
|
|
||||||
|
- Modern prints make fun modern pockets
|
||||||
|
- Use a plain cotton or linen for a more historical option
|
||||||
|
- Have a lot of scraps? Make a patchwork pocket!
|
||||||
|
- Pockets were often a first embroidery project, so go wild if you want to
|
||||||
|
|
||||||
|
The one thing to keep in mind is how stable your fabric is. If it is not very
|
||||||
|
stable or you think it won’t hold very much weight, you can add a lining.
|
||||||
|
|
||||||
|
Additionally, if you are handsewing your pocket it is worth picking a fabric
|
||||||
|
that isn’t too thick or heavy.
|
||||||
|
|
||||||
|
Your binding doesn’t have to be the same colour as the main fabric either. You
|
||||||
|
can use it to add a fun accent, or make your pocket fancier. Bias binding
|
||||||
|
curves easier around any curves, but you can just as easily use strips of
|
||||||
|
fabric as a more waste conscious option.
|
||||||
|
|
||||||
|
The ties can be made from self fabric, or you can use something like a twill
|
||||||
|
tape instead.
|
||||||
|
|
||||||
|
As always, whether you want to stick to historical practices or make something
|
||||||
|
modern is entirely up to you!
|
||||||
|
|
||||||
|
## Cutting Instructions {#cutting}
|
||||||
|
|
||||||
|
- Cut **2 pocket** parts
|
||||||
|
- Cut pocket slit into **1 pocket** part
|
||||||
|
|
@ -15,7 +15,7 @@ import { capitalize, optionsMenuStructure, optionType } from '../src/lib/utils.m
|
||||||
* Run 'npm run prestart' to force it, or it will happen automatically
|
* Run 'npm run prestart' to force it, or it will happen automatically
|
||||||
* when you run `npm run start`
|
* when you run `npm run start`
|
||||||
*/
|
*/
|
||||||
const skip = ['charlie', 'diana', 'holmes', 'huey', 'jane', 'lucy', 'titan']
|
const skip = ['charlie', 'diana', 'huey', 'titan']
|
||||||
|
|
||||||
/*
|
/*
|
||||||
* mkdir helper
|
* mkdir helper
|
||||||
|
|
|
||||||
Loading…
Add table
Add a link
Reference in a new issue