I decided I needed a new petticoat as part of the 1875 ensemble I’ve been working on for the last few months. I have a very ruffly petticoat from 1883 (shown in this past post) that helps with the shelf backside shape that became popular in that year, but I wanted a different shape for 1875… something to produce a more rounded silhouette and support the train I was expecting to include on my new dress.
My original thought was that my balayeuse would button to this new petticoat to create the support for the train of my dress (as opposed to making a trained petticoat and then potentially needing an additional petticoat without a train in the future). The idea is that the balayeuse + new petticoat will provide lots of wearing options for the future.
Along those lines, this new petticoat is able to fit over my large bustle from 1883 as well as having the ability to contain the back fullness so that it can also be used for the Natural Form years of approximately 1877-1882 (you can see the bustle in the same past post as the super ruffle-y petticoat). I don’t have a Natural Form dress yet, but it is on the to-do-someday list and in the spirit of reusing garments and saving time, this seemed like a reasonable decision.
Here is the new petticoat over my large bustle. The drawstring partway down the back allows for the adjustment for different bustle shapes. It is anchored in the side seams.
Here is the petticoat without the large bustle. This is approximating the Natural Form look. While the hem pulls up a bit over the large bustle (above), it is pretty even for the Natural Form look (below). The great thing is that once there is a dress over the petticoat you can’t tell what the hem is doing!
The pattern for my petticoat is from Frances Grimble’s Fashions Of The Gilded Age Volume 1, page 107. It’s a pretty simple shape. Accordingly, I made mine using straightforward details and machine sewing/finishing.
The petticoat has a drawstring at the waist, for adjustability. The drawstrings run through the waistband and are anchored along the sides with a line of machine stitching.
At center back the drawstring closes the top of the placket. The placket is just a slit that is bound with a strip of cotton cut on the grain. No bias here–this saves fabric and makes things easier to sew! The waistband and placket biding are finished by stitching in the ditch.
I decided on a medium width pleated ruffle for the bottom edge of this petticoat. I used a fork to help space the pleats, eyeballing and ironing as I went along.
The ruffle is edged with a stiff lace from my stash. I’ve had this for nine years and always wondered what to do with it, because it is so stiff. Turns out it was perfect for a petticoat, when a little stiffness is helpful! The lace comes in the stack of three that I used to top the ruffle. To get the single width I simply cut apart sections of the stack.
Here’s another view of the stack of three lace, the pleated ruffle, and the drawstring. Both this drawstring and the one in the waist are cotton twill tape.
This simple garment qualifies for the Historical Sew Monthly challenge #5: Basic. I imagine it will be used for any project I make, day or evening, from about 1875 through 1882.
Make a garment that can be used for many occasions (like a shift, or the classic ‘Regency white dress’), or a simple accessory that will help you stretch the use of an already existing garment.
Just the facts:
Fabric/Materials: 3.5 yards plain cotton.
Pattern: From Frances Grimble’s Fashions Of The Gilded Age Volume 1.
Year: c. 1880.
Notions: 1 yard ⅝” cotton twill tape, 1 yard ¼” cotton twill tape, 5 yards lace, and thread.
How historically accurate is it?: I’m going to give this one 95%. It’s good on shape, materials, and methods. I believe would be recognizable and plausible for its time.
Hours to complete: 8 ¼ hours.
First worn: In May, for photos with my 1875 ensemble!
Total cost: This was a stash project, so free, but the original cost of the materials were $10.50 for the fabric, $2 for the lace, and about $2 for the twill tapes, so $14.50 total.
While not the most exciting project, this was a great start on the way to making my 1875 ensemble. I’m pleased to have made a garment that is easily adjustable, useful for multiple types of events and silhouettes, and is functional but still pretty!