Quality Standards

Recently, I was contacted by someone who bought children’s clothing items from a maker who publicizes themselves as “historically accurate” and holds forth as an authority. Normally, I’d be celebrating both things, because that’s just what we need: makers who have authoritative knowledge and apply it with historical techniques, to the benefit of their customers!

However, the reality was… very frustrating.

Non-period fabric print, poor techniques done very ill indeed, bad cutting that led to impossible fit, poor construction in any era… it was a mess, and there’s little avenue for rectifying or remodeling, unfortunately–there is no additional fabric, and the maker will not remake it or give a refund.j

All that is very negative.

But I prefer to be positive!

So, let’s talk a little about historical qualities in dressmaking, as seen in extant garments and recommended by period primary sources! These are things you can strive for in your own work, and ought to demand from anyone purporting to be a professional.

Choose a Good Fabric.

It’s a basic thing. Period clothing should use period fabric. Not sorta-kinda. Not “if you squint.” Not low-standards almost. Actual period prints are available. There’s no excuse for fobbing off non-period fabric on anyone, ever. It can be a simple plaid, a lovely print cotton, a solid fine wool, a gorgeous smooth silk… there are so many options, at all price points, there’s just no reason to settle for less than good.

Stitching Should Be Tidy and Not Puckered.

Take your time, whether by hand or by machine, and make sure the stitching is not so tight that it puckers the work. This won’t press out, so don’t equivocate: just unstitch as needed, and make the stitching even and smooth.

If you work by machine, make sure you use quality thread, a fresh needle every project or every 4-8 hours of stitching time, and adjust your machine tension properly.

If you work by hand, it can be helpful to pin the dominant-hand side of your work to provide a bit of tension, securing it to the arm of a couch or chair, or clamping it to the edge of your work table. This lets you work more efficiently, and get a more even, regular stitch as well. Check back for a project tutorial for making your own sewing brick!

Secure Threads in a Period Manner.

Period sewing guides suggest a small backstitch knot by hand for securing threads, as well as leaving a tail long enough to form a knot by hand, close to the work. You can do the same.

Period machines cannot reverse stitch. So, don’t do that, particularly on elements that are visible when worn, such as hems. Instead, leave a thread tail, draw both threads to the wrong side of the work, and secure them with a little, tidy square knot, then trim neatly.

This prevents sections of overlapped, wonky stitching where you stopped and started, makes taking out the stitching for future remodels much easier, and removes one glaring modern tell from your wardrobe.

Trim Threads As You Go.

Seriously. Just do it. Trim things neatly, as you go. Right after you finish a seam, secure the threads and trim them neatly! Once the threads start to be crossed over by other seams, you’ll find it much harder to trim them precisely, and you put your finished work at risk of stray snips. Trim as you go, and you skip all this risk!

Press As You Go.

Never not press.

Finger press, at the least, to help crease and open things. But a bit of a hot iron will smooth and set seams beautifully, aid in even stitching for tucks and hems, and create a much nicer, non-bulky finish in nearly any portion of a garment.

Even if a garment is stored wadded in a corner, the difference in pressing during construction versus not pressing during construction is visible and enduring.

Hems and Tucks Should Be Even.

There’s a magical invention called a hem gauge. Or a ruler. Or a yardstick. Or a measuring tape. Or a piece of card with some lines inked on. Or a 3×5″ index card folded up to suit. Or your thumb width.

All of these can be used to make accurate, even measurements for turning up hems, and for marking tucks.

While examples of very uneven hems and tucks can be found in extant items, that’s not the norm, nor should it be an expected part of reproduction sewing. Basic tools will make it very simple to get a nice result.

Tucks for Growth Adjustment Are Done AFTER the Skirt Panels are Joined Up.

Growth tucks have to be adjustable and easily removed to actually function as growth tucks. So, they need to be done in the right point of the construction process, which is: seam skirt panels; set hem; work tucks; measure for balance; hem skirt placket; set fullness. If a skirt is only partially seamed, then the tucks and hem made, these are no longer easy to adjust, and there’s a lumpy, thick seam somewhere on the skirt. Ungainly and non-functional is a lousy way to live.

Do it the period way, and you get all the goodies, none of the fuss.

Take Care to Actually Catch Down the Facing.

It’s understandable that you might miss a section of facing edge if you’re sewing down the waist by machine. Instead, work by hand as they did in the period, and pay attention… or be dedicated to repairing your stitching precisely if you miss by machine.

Repairing means not backstitching to secure, as it will be horrifically visible on the outside of the garment. The stitching must be picked out, threads drawn both to the wrong side, knotted by hand to secure them, then the new stitching placed to precisely intersect with the last threaded hole, and the drawing-knotting process repeated. On the right side, this will mean there is no visible break or overlap in the stitching. It should be evenly distant from the seam, too, not wobbling and crossing everywhere.

Honestly, whether you’re sewing for your own household, for friends, or for a customer, it’s often a lot more time-effective to fell in facings by hand. You get a no-bulk finish the first time, and have total control over stitch placement, for a much nicer finish in general, and a lot less fussing. It’s also much easier to remodel the waistband in the future!

Plan for Fastening (Circumferences & Finishing).

If your wrist measures 6″ and you cut a wristband 6″ long, it will be 2″ too short to fasten at all. You must always allow 1/4″ on each edge to turn in for finishing, plus an extra allowance to have the band overlap and close, plus a bit for wearing ease… so a band for a 6″ wrist will usually need to be cut about 8.5-9″ long in order to be functional when finished entirely: 7″ for wrist and ease, 1/2″ for turning in the ends, and 1″ to 1-1/2″ for overlap and closure.

The same concept applies to waistbands: a band that finishes 28″ will fit a waist measuring 26″. With buttoned closures, the entirety of the buttonhole needs to be overlapped with the buttoning end, so the skirts don’t gape open in the placket; the button will sit a bit back from the end of its band or facing, not right on the edge.

Buttonholes need to be worked through two layers of fabric. Make all facings and bands deep and wide enough to fit the entire buttonhole plus at least 1/4″ before and after it. Period buttonholes are handmade, and “face their stress”–horizontal holes for anything closing a circumference of the body (bodice, waistbands, wrists), and vertical for anything suspending vertically (primarily buttonholes that suspend a child’s petticoat from an underwaist or stays, not typically done for adult clothing.)

Plan for Fastening (Number of Closures).

You’ll want more closures, versus fewer, generally. For bodice fastenings, whether child or adult, plan a button or hook position at the neck and waist, and distributed every 1″ to 1-1/2″ on center between. If there is a yoke, plan for one fastener at the top, and one at the bottom, and if the length between is greater than 3″, one or more in the middle, too–and spaced evenly down the rest of the garment bodice!

Hook placement is far more variable, as the hooks are hidden, and can be arranged entirely for figure needs, versus regular spacing.

Closing Thoughts

I was gutted to not be able to offer much hope to this particular person; the “period seller” took their funds on a garment that was in no way up to basic standards for period sewing or professional sewing. I was only able to confirm the buyer’s sad summary, and offer some assistance to help them get their child dressed well and comfortably.

If we have well-educated buyers, we can expect the general tide of historical sewing standards to rise. If we are working on our own sewing, we can patiently and with determination improve our own work to better match that of the era. We have nothing to lose by wanting better!