February 7, 2017
Butterick 6093 Redo..trois…quatre!
2017’s sewing projects got off to a rocky start, but I threw myself into planning for Valen-Teens Tea with the DFW Costumer’s Guild. We would be hosting a special guest: Laura, the creator and president of Shear Madness!
Photo courtesy of Barb Chancey
The event started off as informal and small, but soon grew to quite a full party! We met up at the Secret Garden Tea Room in the Montgomery Street Antique Mall in Fort Worth for an early lunch and, of course, tea:
After tea, we browsed the antique mall for a little while and then went for a nice stroll in the Fort Worth Botanic Gardens next door.
The event’s theme was 1910s, so Becky wore a thrifted Edwardian outfit she put together from the wonderland that is Goodwill, including her favorite lavender skirt, a pin-tucked floral blouse, and a vintage wool coat she got for a steal– $15! To top it off, she wore a rosey straw hat with a floral spray left over from my Edwardian Hat Hack.
Becky’s outfit Breakdown:
Pink straw hat – $3.49, Goodwill
Floral Pin-tuck blouse – $4.49, Goodwill
Lavender formal skirt – $7.49, Goodwill
Vintage wool coat – $14.95, Goodwill
(Her stockings and shoes were from her daily wear clothes. Always check your own closet! you never know what will work perfectly for a costume!)
Becky, 1915 style!
For my outfit, I dug Butterick 6093 out of the bottom of my pattern drawer. I’d made it a few years ago and had been less than impressed with the fit. However, I liked the general look and it goes together really fast, so I decided to give it another try.
Version 1, July 2015: “Straight” Size 12 made from cotton and a sari. It was a tad small.
Version 2, August 2015: 1st attempt at a multi-sized dress made from a cotton sheet and a dupatta that Laura sent me. Made for my sister who was the same size I was at the time. It turned out a little too large.
So, I had Goldilock’s problem: the first dress was too small, the second dress was too big…I needed to find one that was just right!
Without the breaking and entering charges, of course.
I decided to make a wearable mockup first. That way, if I ran out of time to make the final dress, I would at least have a version that would work. A wearable mockup is a trial garment that is finished like a regular garment, but isn’t necessarily what you want the final garment to look like. It’s simplified and often made out of an inexpensive/not-so-important fabric. For mine, I had picked up some rolled up remnants of purple mystery fabric at Walmart years ago that had these nifty thick white and purple threads that made pin-tuck-like stripes in the fabric. I had never unrolled it to see what it was like. Turns out it’s cotton organdy! I almost saved it for a different project, but I had bought it with Edwardian specifically in mind, so I now-or-nevered it into a simple version of Butterick 6093:
It’s sheer and unlined, so I used French seams for everything except the armscyes and waist seam.
Of course, that means that I had to sew every seam twice, but it makes a really nice, neat finish on the inside of sheer fabrics.
Since I’m an entirely different size than I was in 2015, I decided to start Butterick 6093 from scratch. I had tried a new measurement method for my 1868 Monet outfit earlier in January, and while that outfit didn’t go as well as I’d hoped, the sizing method was actually really helpful: Instead of choosing on flat size, like 16, and then doing a whole bunch of alterations sizing it up and down in various places via mockups, you take a few extra body measurements and choose each pattern piece individually.
My 1868 dress of failure.
Original photo by Festive Attyre
(one of the few pictures of this dress)
I got the idea from my Fashions of the Gilded Age by Francis Grimble. In the book, you have to take a lot of incremental measurements of your body in order to scale up the pattern pieces. In the case of Butterick 6093, instead of just measuring all the way around my bust or full bust, I broke it down into two separate measurements: 1) full front bust from side seam to side seam and 2) back from side seam to side seam at bust level. Then I laid out the tissue and measured the pattern pieces themselves instead of relying on Butterick’s suggested measurements.
By using this method, I ended up with a size 14 back and a size 20 front! Sounds a bit crazy, right? But it works! Truly Victorian, the popular Victorian pattern brand, uses a similar method to select your pattern pieces. The method suits Butterick 6093 well because there are no darts or curved back seams to worry about.
I really love the purple organdy dress, but when I tried it on…
Scientifically accurate rendering.
1910s dresses, like Regency dresses, can be problematic on certain body types. Indeed, the ice cream cone look was totally in from 1910-1913, but that isn’t a look I strive to recreate! The combo of the crisp fabric and the way I had gathered it made for a super-full front that would make a great Lumpy Space Princess cosplay, but not the most flattering tea gown.
Oh. My. Glob.
But when I put it on my dress form, it looked fab!
I mean, it helps that my dress form is shaped like an ideal size 10 with the added bonus of having one of my old bras stuffed onto it like a giant Barbie voodoo doll that sulks in the corner of my sewing room:
I expect things to look awesome the dress form, but if she’s very-near-to-literally having my exact bustline, why isn’t it a muffin-topped mess on her? It turns out that it’s got everything to do with my short waist.
My dress form is standardized to meet industry standards. That means she has an “average” torso length which happens to be about 2″ longer than mine! So the purple dress looked great on her because the very fitted skirt was the right length for her. On me, however, the top is about 1.5″ too tall causing the skirt to extend past where it should be, pushing the excess bodice length up and over the top, creating the unflattering droopy ice cream cone shape (Why do I end up describing all my sewing projects as desserts?!).
If you look at my previous versions, you will see a similar thing happening even at the smaller sizes.
I removed an inch off the top of the skirt pattern pieces for my final version.
Image includes complimentary glob of cat hair for your viewing pleasure.
It was like the magic cure! No more ice cream cone!
Of course, the final version doesn’t fit very well on my dress form, but that’s because it fits ME, not HER.
Take that, Gertie!
The fabric I used for the final version is an amazing cotton shirting with woven swiss dots. Just like my failed 1868 dress, it is one of the last fabrics I purchased at Hancock’s before they went under. This time, however, I don’t feel like I wasted it! It was a dream to sew with. I used it “inside out” so the fuzzy side of the dots faced out. The cream fabric is a filmy cotton curtain I found at Goodwill that has a drawn threadwork look:
Unlike the swiss dot, the curtain fabric was NOT a dream to sew with, so I didn’t make the long undersleeves I planned, but I did use it to make a contrasting rever! Thanks to my great experience with Butterick 3648, I am in love with revers! To turn 6093’s lapel into a rever, I simply taped it onto the bodice pattern piece on one side so when I cut it out, I ended up with this:
I’ve grown to admire Butterick 6093’s versatile styling options. Even if you don’t want to do fancy stuff like make revers, it comes with a curved lapel that can be used alone or in a pair, a squared collar, and skirt panels that can be used alone or overlapped, or you can leave all those extra bits off, like I did for my purple dress! It also has two sleeve options, though I haven’t tried the long sleeves with the cuffs yet.
Pattern options include:
- 3 skirt options: 1 drape, 2 drapes, none
- 6 collar options: single lapel, double lapels, square collar, square collar+1 lapel, square collar +2 lapels, no collar
- 2 sleeve options: short sleeves, long sleeves
There are over 30 combos you can make from the basic pieces alone!
And that number doesn’t even include things like changing the wrap direction of the bodice, adding extra embellishments, using more than one fabric, etc.
In fact–as a testament to the versatility of the pattern–we realized that three of us had used Butterick 6093 to make our tea dresses, but our dresses were all very different!
While I opted for the asymmetrical collar and a double-draped skirt in light cotton, Jane used a textured wool blend and completely omitted the collar, and Laura chose the square collar and a printed cotton.
Instead of gathering the bottom of the bodice, I made two large box pleats. It’s definitely unusual, but it worked! I also box pleated the back in the same manner.
I added a kick pleat in the back– the same solution Jane had come up with.
The dress is one piece and closes at the side seam with an invisible zipper. It’s not Historically Accurate, but it’s discreet.
For those concerned with HA, the zipper can easily be swapped out for hooks and eyes.
Overall, I would say that this pattern is a good one if you are willing to figure out the sizing. It’s flattering on nearly all body types and is a quick dress to make. I made it in about 10-12 hours (most of that time was spent ironing, TBH).
To accessorize my dress, I wore the hat I made in my Edwardian Hat Hack, my sister’s little white purse (which goes to nearly every event!), an antique necklace, some thrifted shoes, and a very serendipitous vintage coat I found the day before.
Photo courtesy of Mistress of Disguise
My attempt at an autochrome.
4 yards of green cotton – $16, Hancock’s Fabric
1 cotton curtain – $1.49, Goodwill
1 invisible zipper – $3.50, Walmart
1 spool of thread – $1.95, Walmart
Shoes – $7.99, Goodwill
1960s coat – $18.95, Goodwill
Total – $49.88
Underneath, I’m wearing my beloved Rago 821. The way it fits me very closely mimics a Teens corset, but it’s stretchy and cheap! I got it for about $30 off Amazon. I highly recommend it for 1910s and later!
My updated, more technical review of Butterick 6093 is posted on the Sewing Pattern Review website here.
I actually found this month’s “FOTM” way back in May, but I just now got around to photographing them. I found this set of three Victorian and Edwardian bodices for sale on eBay, and at $16 for the lot, how could anyone (even on a tight budget like mine) resist?
The woman I bought them from didn’t know much about them except that she got them as a lot together from an estate in northwestern Pennsylvania. The trio span the decades from the 1880s to about 1910.
The oldest bodice of the lot is the small brown one on the left. When I say small, I do mean small: 32 bust, 22 inch waist, and teeny 14 inch shoulders! It’s a young misses’ bodice, however, so the numbers are quite average for a teenage girl in the era. It was likely made for/by the young lady around 1886 or so:
Young Misses’ Bodice, circa 1886
I can’t be certain of its exact age, but in 1886, “fluffy” pleated fronts like this came into fashion. You can see a similar bodice treatments in this fashion plate from the same year:
Fashion Plate, circa 1886
The bodice is fairly simple in design. The main body is made of fine wool with a central panel of dotted silk. There is braided trim and little trailing branches of embroidery up the sides (commonly seen on crazy quilts of the era, so perhaps the wearer enjoyed quilting as well). It is missing its collar and two buttons and has many little moth holes, but is otherwise in lovely condition.
The other two bodices/blouses are post-1900. The brightest of the bunch is the eye-catching purple silk stripe blouse (It’s boned inside, so it’s technically a bodice, but the look is that of a blouse):
Bodice, circa 1901
The colors, styling, and especially the sleeve decoration all point to a date right around 1901. The pouter pigeon front (sort of hidden by my mannequin’s lack of bust) and the bottom-heavy “bishop” sleeves can also be seen in these period fashion plates:
Fashion plate, September 1900
Fashion plate, circa 1901
Yay! Matching purple stripes!
Once again we have lovely dotted silk, this time in lavender and violet with cream stripes. In this case, the seamstress let the fabric do all the talking, cutting it diagonally for the front pieces and leaving it mostly untrimmed. It is missing its collar and most of one cuff, but the other cuff is still intact:
The final bodice in this lot is a somber black shirtwaist made of very thin, fragile silk:
Shirtwaist, circa 1908-10
It dates to about 1909, though blouses of this type had been in production for about 20 years between 1895 and 1915. The clues to dating this one are the collar, wide shoulders, and relatively plain, straight sleeves, much like these:
Wool Shirtwaists Ad, circa 1908
This particular blouse was made at home, not at a factory. In fact, it looks very similar to this shirtwaist pattern from Past Patterns:
The pattern is based off of a Butterick pattern from 1909. It has similar sleeves, pleating, and stitching. However, the front pleats on my shirtwaist are separate instead of overlapping, so I’s probably not made from the same pattern, but there were many other patterns available in magazines and mail-order catalogs that a home seamstress could buy, so the pattern this shirtwaist was made from may be out there somewhere still, waiting in a shoebox to be discovered!
Though it may seem rather dull in comparison to its companions, the black shirtwaist does have one standout accent– a fabulous beaded collar:
This thing weighs more than the rest of the blouse!
The collar is older than the blouse by at least 20 years and is slightly too large to fit properly, indicating that it was probably recycled from an older dress. It brings to mind mourning clothes from the previous century. Though mourning clothes were still around in the Edwardian era, it wasn’t nearly as common as it had been during Victoria’s reign. As you can see in the wool shirtwaist advertisement above, black was a common, fashionable color in its own right. Not every black dress, shirtwaist, or skirt was for mourning purposes! Black has frequently fluctuated in and out of style of its own accord. Still, the measurements of this shirtwaist (38 bust, 30 inch waist) indicate that it was probably worn by a mature woman. She may have carried the customs of her youth in the 19th century with her into the 20th century.
Discovering a trio of bodices together from a single estate with such a clear timeline makes me wonder if they all belonged to a single woman over the course of a lifetime. The way all three are styled reveal a love of simple, unfussy design and, who could forget, the love of polka dot silk! If she were 15 in 1886, she would have been wearing the bright purple blouse right around age 30 and the darker blouse around age 38-40. If only I had an 1890s bodice to complete the decade by decade look at turn of the century clothing! It might just be coincidence that all three were found together, but I treasure the possibility that they belonged to a single woman, mapping her life in fabric and thread as she sewed her way through the changing fashions of the 19th and 20th centuries.
Previous Finds of the Month: