Pattern for Afternoon Appointment Dress

This pattern was custom drafted for the Sonokong Aeyin and Sharp dolls. Their bodies are different from the Classic Barbie or Takara Jenny dolls. If you want to adapt this pattern to fit a different doll, I recommend making a toile first. To use this pattern you must first save it and then scale it to the proper size using the ruler in the scan as your guide.

Please see the following postings for how the finished dresses look and for some construction details. The armholes and neckline were finished with bias strips of organza. The fabric used was 100% cotton. This dress will work equally well with silky poly-blend fabrics. If using this type of fabric, bias cut strips of nylon tulle will make a better finishing for the armholes and neckline.

—–Photos and construction details for version 1 of Afternoon Appointment (with gathered waistline and lace collar), earrings and beaded bag.
http://wp.me/p3xS5g-j

—-Photos and construction details for version 2 of Afternoon Appointment (with ribbon trim at hipline), earrings and beaded bag.
http://wp.me/p3xS5g-H

Tip for making the handbags: Cut 2 pieces of the felt out using the pattern. Hand sew the beads to each piece. Then stitch the front and back of the handbag together using a small whipstitch along the edges sewing between the beads when needed. Use a jewelry chain for the handle.

Afternoon Appointment Front Pattern Piece. The line at the waist level is for the elastic and casing of version 1. The line at hip level is for placement of the ribbon trim used in version 2.

Afternoon Appointment back pattern piece and handbag pattern piece.

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Sweet Leisure Pattern Scan

Please see the previous postings for details about the outfit and sewing:

Sweet Leisure: Kaitlynn’s Holiday Hostess Gown

Sweet Leisure: An inside look on the design and sewing details

The tape measure shown for the scale in each scan uses centimeters.

These patterns are custom drafted for Sonokong dolls but you are free to use them and change as you need to.  I’d love to see how you use and adapt them.

Please note:  You will need knowledge of using a printer to size up or down the results of the printout.  I do not have that knowledge but if anyone does and would like to send me the instructions I will be happy to post them here.

Skirt Front.

Skirt back.

Bodice Front and Back.

Sweet Leisure: An inside look on the design and sewing details

Dolly Jewelry Details

A combination of glass beads that complemented or matched the colors of the fashion fabric were used. I want to use this approach more in the future. I think that subtle gradations of color add an extra dimension to the interplay between jewelry and clothing. For this ensemble the gold beads break up the flow from cream into a palest creamy pink but at the time I thought it would provide interest. I think the ability to discern such flowing of one color into another takes time to develop.

Hand Sewing and Garment Construction Details

The marvelous thing about working in 1:6 scale is that there is an opportunity to try out couture techniques such as hand finished seams and closures. The plus side is that the large and more time consuming aspect associated with full scale clothing is not present. The drawback and challenge is finding the appropriate notions in small sizes. For this piece I experimented with rayon thread to sew and finish the seams. It is much more delicate and requires extra conditioning but the outcome was good in my opinion.

The gown was underlined in a very light weight poly china silk. Lace along the cuffs and neckline was applied along the outside of the neckline and sleeves after these were finished. I think inserting the lace into the seam makes for extra bulk.

Even though the gown was underlined I rarely catch stitch the seams to it since it sometimes distorts the shape of such small pieces. The facing edge at center front was the only part catch stitched from neck to hemline. Of course the hems of sleeves and skirt were also catch stitched to the underlining.

Pressing, Shaping and Fitting Details

Shape is built into the darts and waistline by hand pressing all seams before steaming over a tailor’s ham or sleeve roll. Although the craft supplier I bought these buttons from recommended them for 1:6 scale sewing I now think that even smaller buttons would have been more suitable. At the time, though, I could not find anything smaller in a cream color.

Commercially made fashion doll clothes often omit the darts at the back of a fitted bodice. With the patternmaking system I use I’ve found that the fit is unsuitable when these darts are eliminated. So I sew them in by hand very carefully. I do not sew the waistline of bodice and skirt together. Instead I lap the bodice seams over the skirt and fell stitch into place. The result is a better and smoother fit, even when there is a tiny bit of ease at the waistline.

I’ve also found that set in sleeves result in a bulky fit where the armhole meets the side seam. It is for this reason that up until now I’ve used variations of close fitting kimono sleeves without gusset for doll clothing. I’m considering using this type of sleeve to experiment with creating other sleeves that have the appearance of a raglan sleeve or a sleeve that combines kimono at the back and set in sleeve at the front of the bodice.

More to come in the New Year. Best wishes to all my readers and followers for a very happy holiday season.

Greenaway Girls Collection: Molly’s Empire Waist Dress with Pierrette Collar

The empire waist bodice for Molly’s dress was made from the fitted bodice. The neckline and side darts of the basic pattern were transferred to under the bust. The remaining portion of the fitted bodice was taped to a 1/2 A-Line skirt made from the basic skirt draft. A series of muslin toiles were made and adjusted until the lower skirt portion had a smooth fit without the need for darts below the bust.

The sleeves appear to be bell shaped but are just long kimono sleeves attached to front and back bodice. Extra width was added at the outer edges of the sleeve seams. A small vertical tuck runs along the back sleeve so that the fullness was better controlled.

The lower portion of the dress is underlined with tulle to help hold the shape of the A-line skirt much better.

The lace trim for the sleeve was hand stitched to the inside of the sleeve hem. Special application for the Pierrette Collar was developed and will be detailed in the next post.

The ribbon used under the bust is 1/4″ grosgrain ribbon folded in half so that the finished width is 1/8″ It was applied to the dress after sewing bodice and skirt seam. Fell Stitches were used to sew ribbon to dress.

Cheongsam, New York Style-Part One

Kathrynne models her sheath dress and accessories inspired by the Chinese Cheongsam. A sheath pattern with two vertical darts on each side of the front and back dress formed the basis for the New York Style Cheongsam. Cap sleeves that are in one with the dress were added to the pattern. Instead of a Mandarin collar a high band collar cut on the lengthwise grain was used. No underlining was needed because the 100% cotton fabric used had enough body. A Japanese furoshiki with a small floral pattern suitable to 1:6 scale sewing provided the perfect look and feel for the dress.

The sheath dress was tapered at the side seams about 1/16″ at the hemline level. A line connecting this new point was drawn up to another point about 1/4′ down from the hipline. Instead of the side slits used in a traditional Cheongsam, a kickpleat was created at Center Back.

The Center Back placket was cut in one piece with the dress by adding 1/2″ to the Center Back of the pattern. In this way, the kickpleat was a continuation of the placket. Edges of the placket were finished with bias cut green tulle nylon vielling fabric. The collar at Center Back closes with a very small button and thread loop.

In New York Style Cheongsam, Part Two I will present close-ups and details for how the accessories for this ensemble were created.

A scan of this pattern is available for your use at https://theenchanteddressshop.wordpress.com/2015/11/03/pattern-scan-for-cheongsam-new-york-style-dress/

Underlining, Cutting, Marking and Basting a 1:6 scale doll outfit

It is possible to underline a 1:6 scale doll outfit provided the material used is very lightweight. Depending on the effect desired I’ve used poly chiffon, poly China silk, lightweight muslin and nylon tulle with good results. Sometimes it is necessary to experiment on scraps of fabric to learn the technique and develop the sensibility for what will work well together. I did this with the dress design I call “Cheongsam, New York Style”. For the trial run I used long vertical stitches to hold together a layer of 100% cotton with poly china silk. The fabric was first trued and steam pressed and pinned in place before basting together.

The pattern pieces are laid out on the fabric and pinned into place. I find using fine straight pins with colored glass heads a good way to keep track of the slender pins. Marking seam allowances onto the pattern is the best way to go when working on such a small scale.

I’ve found using the Fiskars Micro-tip Scissors just right for cutting out 1:6 scale garment pieces. I prefer to use white dressmakers marking paper since the markings vanish after steam pressing. For all marking in 1:6 scale I use a smooth tracing wheel.

The garment pieces after cutting have key lines and darts thread traced in black. The darts and seams are then pinned into place and basted. I do not recommend pin basting, especially on such a small scale, even when hand sewing. Small, even hand sewn stitches are just not possible when sewing over pins.

The cut and basted garment pieces are kept together with the needles and thread used for hand sewing in a plastic baggie. It is a good idea to jot down any notes regarding notions or construction onto 3″ x 5″ file cards and include that in the baggie. This will help you remember what to do next if there will be an interruption or long break between hand sewing sessions.

Special Note: It turned out to be a good thing I made a toile for the Cheongsam, New York Style dress. The dart intake was too big and the fit on the doll was very unsatisfactory. After creating two smaller darts the dress looked very good when made up in the fashion fabric. I will present the Cheongsam, New York Style dress in my next posting.

Afternoon Appointment, Version 2

Molly is the dressmaker and designer at The Enchanted Dress Shop. She designs girly and frilly outfits her customers call confections. Molly’s personal style is much simpler. Like Julie she prefers classic, simple styles. This chemise was made from the same pattern that Julie’s dress was made from. Instead of the elastic which shaped Julie’s dress at the waistline, a slight curve was made on the pattern from underarm to hipline. At the hipline a 1/4″ ribbon was hand stitched into place. A small bow was stitched into place and then tacked to the side. Slightly transparent red glass seed beads were used for the pocket book and earrings to complete the look.

The dress is made of 100% cotton backed with white poly organza. The organza added a nice touch and keeps the chemise silhouette looking it’s best. The neckline and armholes were finished with bias strips of nylon tulle. At the back there is a placket finished in bias cut organza onto which snaps are sewn.

 

Afternoon Appointment Version 1

Julie is the fitting model for at The Enchanted Dress Shop. She is a very active and busy young woman. She prefers classic fashions and accessories. The dress shown here was created from a basic unfitted bodice with side dart. Elastic was added at the waistline. To keep the hemline neat, a bias strip of tulle was used to finish the edge of the hem. The hem was catch stitched to the organza underlining.

 

A hand beaded pocketbook was created using felt circles and a necklace chain. The colors of the beads pick-up the flowers of the 100% cotton fabric.

 

Julie’s earrings consist of eye pins containing small jump rings to which a tiny jade colored seed bead was added. The neckline and armholes were finished using bias strips of white tulle catch stitched into place. The dress was underlined in white sparkle organza. There isn’t any casing for the waistline elastic. Instead wide catch stitches were made over the elastic after one end was sewn into place. After that the elastic was pulled to create the gathers. The lace was steamed and shaped into a curve and allowed to dry. Then it was stitched along the neckline.

Underneath it all: Construction of the Garden Party Dress

Inside the Garden Party dress. The bodice was lined with poly china silk and sewn in using a slip stitch. The petticoate was gathered in one with the skirt. The sash connects bodice and skirt. The sash lining was then sewn in place. To minimize bulk, the upper part of the petticoat was made of poly organza.

The lower part of the petticoat is in two layers. The over layer is poly china silk. The under layer is tulle. A 3/4′ to 1″ hem was used for the petticoat and the skirt of the dress.

View of the under layer of the lower part of the petticoat. Two layers of nylon tulle were used. You can also see that a small strip of tulle was placed under the upper portion of the skirt. It was treated as one with the skirt so that it will provide a little lift around the gathers at the waist.

The lightweight layers of nylon tulle and poly china silk lend a gentle but significant support to the skirt and bodice of the dress.