How to: COPY a DRESS or KNOCK-OFF a PATTERN

How can you copy a dress? How can you make a pattern from your favorite fashion? If you have ever loved a vintage dress and wanted to sew another, then knowing some basic techniques for copying garments would be helpful.

This tutorial will show you how I made a pattern from this vintage mid-1950's cotton dress. I chose a very simple style, one with short kimono style sleeves that are cut in one with the bodice. I also used a style with only one simple bodice dart in both front and back.

The details in this bodice are a simple wing collar with sleeve cuff to match. There is a button front as well.


The back view is 'clean', without details, showing a one piece construction with darts to make the fit.

As you follow these photos, you may want to 'click' on the image to see an enlarged version, as some details are small.

tools and materials:

Cork Board: I use a large old bulletin board

Paper: I use plain white butcher paper, because that is easy to find. Using the BACK side of old gift wrap in a wide width can work as well. If you have access to pattern 'dot' paper, then that is best. But I will show you how to work without that grid.

Ruler: A 12" or 18" ruler and a yard stick

Pins: I prefer pearl head pins because they are easy to use and see.

Pattern Wheel: This is ideal, but I will also show you how to use a pin to create marks if you don't have this tool.

Pencil: sharp

Dress: Pressed and smooth

TERMS: I will use the following terms

Grainline and On Grain: this is the 'up and down' direction that follows the yarns (warp) that would have been tied to the loom. It is a perfect vertical line.

Cross Grain: This is the 'side to side' yarn direction, that follows the yarns (weft or fill) that would have been woven across the loom. It is a perfect horizontal line that is exactly perpendicular to the Grainline.

Bias: This is a perfect diagonal line (45 degrees) created when the vertical grainline and horizontal cross grain line are folded together. This is the same line that is created when a bandana is folded to create a triangle. This diagonal has stretch properities.

Selvage: This is the fabric edge. Traditionally it is woven when the cross grain yarns (weft or fill) turn and weave back across the fabric. More modern wide with textiles may have a 'fringey' selvage.

Center front (CF): This is the front line of a garment. It can be found when the sides of the garment are evenly matched together, creating a fold (center front fold). In most garments, this is on grain and oriented perfectly vertical on the textile.

Center back (CB): This is the perfect back line of a garment and is determined the same way as center front.

This project will begin with the back view because it is the least complex.

Step 1: Find the center back line on the bodice
Work from the inside of the garment, match up the dart seams, side seams and neckline, pinning those together. This will produce a center back fold. You may press this flat

Step 2: Draft the center back line on paper
Lay a length of paper about 18" long on your cork board, pin the corners down.
Use your ruler to draw a sharp line that is about 18" long with at least 15" of paper width on one side. I turn the board sideways, and will work that way in the photos.

Step 3: Align the center back line
Lay your back bodice that is pinned so that the center back fold is exactly on the drafted line. Here I use my ruler to guide me. I then pin the fabric from waist to neckline on this fold.

Run the pattern wheel down the edge of your CB fold.
Run the pattern wheel along the waistline and neckline as far as you can without getting into any pulled areas.
Alternative method: using a long pin (corsage pin works well), run a length of 'stab' punches down the fold line. I just 'hop' the pin down the line, creating a length of pin dots.


NOTE: When I pin, I use a technique where two pins are in a "V" position. This helps to keep them fixed in place and not pull out.


Step 3: Draft the Dart: In this photo you can see how the dart tip is also pinned down. It is important to keep the grain of the fabric straight. The yarns should stay in a perfect 'grid' orientation, and not be stretched towards a bias or diagonal.

Run the pattern wheel up the dart seam line from waistline seam to the point. Accent that point with a cross mark to create a bulls eye "T".

Step 4: Bodice side and shoulder seams: It may be necessary to remove the CB pins as you smooth the garment towards the side seams. Smooth a perfect horizontal out from the point of bust and pin that point.

SUGGESTION: Work out from the dart's point to smooth out the fabric towards each seam line. Think of this like the center of a clock with the hands radiation outwards. This will maintain the dart's position, and the fabric grainline more easily.

You will need to release the dart pins that are in place from the waistline to the point below the dart point. As you smooth the fabric, the dart should pivot a bit away from that original location. This is forming the dart's tuck of excess fabric.

Pin out the remaining waistline seam, side seams, neckline, shoulder and sleeve.


Edges: Run the tracing wheel to mark those edges. You may need to release some pins that are pulling the shape in order to get the sleeve and neckline shape. Just take care to
- work flat and smooth
- keep the fabric on grain, don't stretch it on the bias or make it 'crooked'.

When you remove the garment, this is what the back view should resemble. Reinforce the pattern wheel punched lines with a pencil and ruler. The CB line can be folded, so that your draft has both sides.

This is the front pattern that was drafted in the same way.


Button front: Where is center line if there are buttons? This line usually runs down the center of the button line (or the dot where each button is sewn in place). You can make a pin 'punch' where each button is centered.

NOTE: I worked the front pattern from the good side of the garment. You can see that the fabric pattern and details are facing out. I did this to make the buttons, collar and cuff easier to see.

When using this method, I did not pre-draft the CF line because it is under my dress front and I can't see it. I drafted the CF line after removing the dress from the paper. I had a row of pin punches to denote that CF line, so it was easy to find.

Front Neckline: This is pinned, then traced down that line. You can add pin 'punch' marks at each end to note the exact length.


Collars and Cuffs: How can I draft these shapes? These are the easiest pieces to work with. Just flatten each onto the paper, and pin flat and smooth. You can trace the outside edges with a pencil, and use the pattern wheel to outline the seam where it is sewn into the dress.


NOTE: As you draft, remember that these are seam lines, and you will need to add your seam allowances to this pattern. Generally these are 1/2" in the fashion industry, and 5/8" for home sewing patterns.

NOTE:
A seasoned patternmaker once told me "There's more than one way to skin a cat".
Meaning: This is only one method to produce similar results. As you work and gain experience, you may develop different techniques. Or perhaps you will be taught a different method by someone else. Regardless, as long as the technique produces the desired results, any way is OK.

Going Further:

Fit Sample:
Cut a fitting sample from the same type of fabric as your vintage dress. My dress is simple cotton, so any cotton or plain muslin will work in this case. I will add side seam allowance to make a 1" seam allowance at each side. I recommend this in case you need more room during the fitting.

Draw the seam lines from your pattern onto the muslin in a red sharpie or marker, and it will be easy to follow. With the fitting, use a 2nd color marker to show new alterations. Transfer those new seamlines into a 2nd pattern. If you don't need to make many changes, this 2nd pattern should be ready to use with your fashion fabric.

SEWING the DRESS:
The following vintage sewing posts may help you to sew your dress:

How to sew Flat Lining

How to sew a Fitted Bust Dart

The Party Dress Book by Mary Adams: a Book Review

Sewing dresses is a great creative outlet, but for many who sew, coming up with ideas and trying to make them real is a big challenge. Finding vintage inspired fashion to sew can be difficult as well. "The Party Dress Book by Mary Adams" is a great source for new and vintage concepts and ideas for sewing dresses. It has a whimsical bent, with styles that you won't find in a store. Rather, the focus is on dream-like and fantasy looks with a vintage 1950's or Victorian or Marie Antionette kind of style.



The sewing techniques shown in this little book range from layering sheers, applying bias strips, ruffles, applique and other textures. By using opaque and sheer fabrics, many unusual and fanciful effects are created. The author reviews each type of texture in detail, showing how it can enhance a surface and provide richness and visual interest.





Bodice and skirt details are shown from the author's collection. There is a significant portion of the book devoted to the author's background and artistic profile. This is not always what someone looking for sewing ideas is willing to read, but it does provide an interesting viewpoint and career outline that some may find inspiring.



The final book chapters provide a pattern with directions for making a dress. This is a princess line bodice and circle skirt dress, which is especially good for detailing with textures and color.

The pattern itself may seem complicated for a beginner to work with, but similar patterns are available in purchased patterns, if that approach is easier. In fact, a purchased pattern might provide helpful supplementary sewing instructions not given in the book.

This bodice is shown without boning, which will make it soft, without structure. With this style, shoulder straps are essential. I am guessing the author left out boning to make the pattern easier. Having a purchased pattern may help to advise the sewer who wants a boned bodice instead.


I highly recommend this book as a source of inspiration, along with a great series of tutorials on how to create texture and visual interest when sewing fashion. This is something that has been left out of fashion sewing in recent years, so for many this may be a first peak into new territory for sewing.

Book: The Party Dress Book, How to Sew the Best Dress in the Room
Author: Mary Adams
Publisher: Watson-Guptill, 2010
Binding: spiral bound

Skill level: Intermediate
(With a purchased pattern, this book could be used by someone who has fit and sewn a dress or two successfully, and is ready to be more creative.)

Suggested:
This book will appeal to anyone who loves fanciful and creative fashion.
It is the perfect engagement gift for a creative bride to be.
This is equally fun as a 'look book' for someone who doesn't sew but loves new ideas.
It is also an interesting read to learn about the author's own career in the arts and fashion.

Supplimentary Patterns:
The following commercial patterns may be used when making the dress shown in this book.

Princess bodice, with sweet-heart neckline:
Simplicity 4070
New Look 6805

Princess bodice, with flat neckline:
Butterick 5322
Butterick 4443
Simplicity 2440

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Lilli Ann: 1950's Swing Coat

In vintage fashion, a Lilli Ann label brings to mind the San Francisco design house that specialized in drama and fashion flash. It is noted for wonderful wool coats and suits produced following WWII. Although the company history spans several decades, the late 1940's through mid-1960's era are probably the most popular eras for Lilli Ann collectors. I wanted to share one of my Lilli Ann study garments with you. It dates from the early to mid-1950's.
Probably the first thing you will notice is the sheer weight of this black wool coat. It is really heavy, in part due to the thick, lush fur blend wool that was produced in post war France for Lilli Ann. The shiny fur guard hairs produce a glimmer that is unmistakable. The silhouette for this coat is a wide 'swing' or 'A Line' cut. Its wide hem is very full, enhanced by pleats in front that fall from the neckline.

Appliqued on the wool are black velvet stripes that widen towards the hem. These chevron down the center back seam line, creating a pointed optical illusion at the hem. The stripes are wound around the coat, starting in the upper front and ending in a chevron point at back.
To compliment this 'A line' shape, the sleeves have width at the elbow and gather into narrow wrists. These are accented by deep turned back cuffs. An equally wide pilgrim collar can button to the chest.
When looking to date this coat, I found several Lilli Ann coats of the same textile. Often these have a 'fit and flare' princess seamed silhouette. These two types of coats seem to form the main silhouette selection at Lilli Ann during the early 1950's. Wide collars were popular, and are almost always part of the look. This picture group shows a Lilli Ann coat and others typical of the era.
The drafts of this coat are drawn to scale and show the coat in detail with its very wide skirt. The front pleats are also apparent in the draft, along with the placement of the velvet appliques.

I hope this great coat can be an inspiration to you. Many elements are very easily reproduced. Especially trying the chevron applique could make a 'ho hum' coat simply fabulous!
And if you collect vintage, keep your eye out. You never know where a Lilli Ann coat will be hiding!

More articles on Lilli Ann:

1940's suits

1950's and 60's suits

1950's Jackets

1980's Jacket


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Mad Men Era: Green Silk Cocktail Coat

Vintage fashion from the late 1950's or early 1960's can be created in silhouettes that stop traffic. Mad Men style, it's something to wear this winter.

Sometimes something perfect comes along, and this emerald green cocktail coat from Sak's Fifth Avenue is one of those moments in fashion history. Sculptural and refined, it's waiting for an evening on the town or keeping off the sea breeze when you admire the view of Hollywood from a hillside terrace.

Green Silk Satin Cocktail Coat: Sak's Fifth Avenue

1960's MOD Fashions to Wear or Sew

Sewing dresses can be fun and easier than you think. 1960's fashions have such cute styles that seem very wearable right now. Yes, that center style has a divided skirt! I could see sewing up a few for spring, or even some in heavier fabrics for winter. How cute would these be with leggings and boots?

These dresses are all from vintage BUTTERICK patterns of that era. With so many cool vintage patterns selling on Etsy and other sites online, I think it wouldn't be too hard to look them up for yourself. I find these older patterns have excellent pattern instructions that are easy to work from.

Here are the back views with pattern numbers, so you can get a good idea about the styles.
Would you use a 60's pattern to sew a dress like the ones here?


If you collect or wear vintage, this group of styles dates from Spring, 1967. Using patterns can be a great way to help with dating vintage garments too.


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Sewing Vintage Styles: Vogue Vintage Patterns, 8686 & 8687

Vintage style sewing patterns Vogue 8686 and Vogue 8687 offer a great way to get a retro look with a more modern fit. Fall is a good time to start a sewing project and these two patterns would sew up well in light weight wools or wool blends.

The Vogue 8687 ensemble above has a 1950's coat style that would be easy to sew. It could be made to be worn alone. This coat would be perfect in many weights of fabric, from brocade for evening to gabardine, plaid or canvas for outer wear. The body of the coat is cut in one with the sleeves, so it is a great project for the sewist who might be afraid of a difficult and complicated coat pattern.

The sleeveless sheath included in this pattern could also be worn alone. 1950's styles are often seen in silk florals, brocades, solid crepes or linens (great for spring and summer). For a more modern twist why not try a light wool men's wear gabardine.

Of course, you can go with the suggested ensemble and create the set. I have in my collection a gorgeous dress and coat set in black wool crepe lined in silk with a black and white abstract design. This pattern is a super way to showcase a dramatic silk print. Another alternative is to make the sheath bodice in the same silk to match. As a lining, the print will come as a suprise when you take off the coat with a flourish!




Vogue 8686 has a mid-1930's style with a slender skirt and wider upper body typical of the period. When looking for the right fabric, try to find one with enough drape to reveal the body. If the fabric has too much shape, this dress could look bulky and stiff. I think that a wool crepe would be nice and have the right vintage look.

The bodice pattern has small bust gathers at the waistline, typical of the early to mid-1930's. It may not have enough shape for a larger bustline. Sizes bigger than a B cup may want to make a muslin fit sample and add shape to the midriff with a waistline bust dart to decrease the bodice fullness.

This dress would be a knock-out, especially of you can find a great bakelite buckle to go with it!

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SEWING VINTAGE: 'S' Curve Darts & Flat Lining as Facing

Sewing vintage patterns from the 1940's, 1950's and early 1960's is fun, but getting the right look often requires sewing methods we don't see today. Learning how to sew the styles you like will make it easier to get the look you want. One method is flat lining, and here I want to show a fast and easy way to sew. Our modern fusible interfacings have made traditional flat lining unnecessary. It can have advantages though, and I thought I would share those with you.

Another out dated construction technique is the "S" shaped dart. A straight dart creates at flat curve. In some cases, that is what we want. However, if you are trying to get an hour glass fit to your bodice, than you might want to consider an "S" shaped dart. Glove fitting dresses like those produced by Lanz in the 1950's reveal this dart shape: it hugs the rib cage and curves around the bustline for a smooth body fit.


This light-weight summer cotton dress would wrinkle, and perhaps pull at the seams without this inner construction method. A cool cotton faces the fashion fabric, creating a stronger bodice to the flowing skirt.

FLAT LINING as FACING

Briefly, this method uses a cotton lining that is cut at the same time as the fashion fabric. This is sewn around the neckline and if it is sleeveless, the armholes. This bodice is then turned to the right side. At this point the darts can be sewn and the side seams completed.

This is a fast method that eliminates the need for facing in most cases. The time spent cutting out facing and finishing those edges will be saved.

Open side seams allow for further fitting and adjustments in the future. The top edge at the armhole can be hand sewn to reinforce that upper edge. This method works for both sleeveless styles and bodices with sleeves.


'S' CURVE DART

The dart will have an smooth seam line up the rib cage, then curve around the bottom of the bust, tapering to a fine line at the end. An 'S' curved bodice dart will create a smooth fitting bodice. It has to be fitted on the body, and should be developed in the pattern stage. However, it can be pinned into place after the bodice is flat lined.

POINT OF BUST

This is the bustline center. Do not end darts here because that will make pointed darts. Imagine a Quarter sized circle around the point of bust (it's OK to draw this onto your lining). End the dart point at that circle perimeter line.

FITTING

1-BASTE the side darts, using your machine's largest stitch length

2-BASTE the side seams together

3-TRY ON the bodice

4-PIN the back seam together down the seam line

5-PIN in the front bodice darts, shaping them to the rib cage and around the bustline, creating an 'S' curve dart.

6-MARKING: after fitting, remove the bodice for marking. You may mark the dart position on the lining with chalk or pencil before you sew these darts. The two darts should be 'balanced' visually but they may not be exactly the same. As long as the bodice side seams are in the correct location (down your body sides), then they should be fine. No one is exactly the same on both sides of their body, so your darts may reflect that as well.

7-CLIPPING: some 'S' curve darts require clipping so that they can be pressed open. Trim away excess fabric to create a 1/2" seam allowance up the dart. If you have a serger, you can finish these cut seams to prevent unraveling (or zig-zag over the edges).

8-PRESSING: these darts can be pressed open, or towards the front. On this bodice the seams were overlocked together and pressed towards center front. Often the fabric bulk requires that they are pressed open.


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HOW TO FLAT LINE as FACING:
STEP-BY-STEP

LINING and FASHION FABRIC

On your cutting surface, lay out the fashion fabric 'face down'. Over this, lay on the cotton lining. Smooth out bubbles and align the selvage edges. Pin on pattern (this method will need a pattern for each part, as it doesn't have a center fold). Cut out the pattern.

SEWING

1-Separate the lining and fashion fabrics. Sew the lining fabric shoulder seams and bodice fabric shoulder seams. Press those seams open.

2-On the work surface: lay out the fashion fabric bodice, face up. Over this, lay the lining bodice, face down. The two layers will now be facing each other. Pin together, matching the shoulder seams, then smooth the fabric flat so that all edges meet.

3-SEW around the neckline and armholes. Clip the seam allowances around these curves.

4-TURN the bodices to the right side so the good sides are now facing out, press flat. Match all edges and pin together so that the fabric doesn't shift apart.

5-OVERLOCK unfinished edges, with both layers together: side seams, waistlines and back seams. If you do not have a serger, trim these edges neatly then zig-zag overcast with a wide stitch.

6-FITTING: (see notes above)

7-DARTS: sew bodice darts (see "S" curve dart)

8-SIDE SEAM: this seam will be sewn, then opened flat. The top edge can be reinforced by hand stitching to keep it open. This type of seam will allow for alterations in fit.

9-NECKLINE and ARMHOLE edges can be edge stitched to create a crisp, flat edge.
The bodice is now ready for the skirt to be sewn on to it.

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I hope you can try this flat lining technique with your next project. I think you will really like the results. If you have had your own experience flat lining, let us know how that worked out.

note: I used a display form for these photos who is sizes smaller than the dresses shown. You will notice the fit isn't correct, try to imagine it is.

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Flappers on Film: Vintage Kodak footage in Color

Flappers, the wild and young generation of the 1920's are back with us once more. Captured by the medium of colored film, several actresses of 1922 are shown HERE in self conscious poses, gestures and movements. Kodak film experiments of that era recorded for us a generation that is now long gone, but is still a strong influence on us today. Enjoy this video, it's such an intimate peek into their lives.

Doing the math, if the young women in these shots were about 22 years old, then they would have been 110 this year.

photo image above is a random flapper photo that is not seen in this film, but I like her anyway

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