i Doll Clothing= Rosemarie IonkerFashion Doll ClothingFirst edition/First printing Copyright © 2006 Rosemarie lonker. Al rights reserved. No part of the contents of this book may be reproduced without the written permission of the publisher. Coquette Jacqui” and Alexandra Fairchild Ford” and Amanda Fairchild Ford” are registered trademarks of the Alexander Doll Company, Inc. All rights reserved, Tiny Kitty Collier, Tyler Wentworth®, Mei Li, Syndey Chase™, Glinda” and Tonner American Models™ are registered trademarks of the Tonner Doll Company, Inc. All rights reserved, To purchase additional copies of this book, please contact: Reverie Publishing Company, 130 South Wineow Street, Cumberland, MD 21502 888-721-4999 Library of Congress Catalog Card Number 200692476 ISBN-13: 978-1-932485-39-4 ISBN-10: 1-932485-39-2 Project Editor: Virginia Ann Heyerdahl Design and Production: Tammy S. Blank Cover and Interior Photography: Otto lonker Cover dolls, clockwise from left: Alexandra Fairchild Ford (brunette), Alexandra Fairchild Ford (blonde), Mei Li, Tyler Wentworth, Syndey Chase Printed and bound in KoreaLantos Doll ( lathine for 10-inch (25 em), 16-inch (40 cm) and 22-inch (6 cm) fashion dolls Rosemarie Ionker Reveri2 PUBLISHING COMPANYACKNOWLEDGMENTS Since designing for and dressing fashion dolls is a new subject for me and not an extension of my previously Published doll costuming books, 1 needed some help to achieve the objectives I set forth to accomplish with this book. 1 was lucky, indeed, to find those who could assist me in my endeavor, + First of all, I needed dolls and accessories. The Tonner Doll Company of Hurley, New York, and the Alexander Doll Company of New York City, very kindly provided both. + Nicole Born, « hair stylist, did the dolls’ hair in the styles of the 1950s and 1960s. + Claudia Braun was a tremendous help in decorating the doll models and setting them up for the photo-shoot + Hats were badly needed to augment my dress models, and I was, by sheer chance, introduced to erica Wendt, a professional milliner, who created some beautiful hats to go with my models and also gave me some tips for making simple hats myself, + Home-Sew, Inc., of Bethlehem, Pennsylvania, helpfully sent us a collection of notions. + The “riri mayer, GmbH" company of Switzerland introduced me to their extra-fine zippers. + I cannot end these acknowledgements without again putting a feather in the cap of Virginia Ann Heyerdahl for her solid encouragement and patience in dealing with my translations from German expressions. | could call on her almost ‘continuous dependence on Engli any time of the day. + Avery special thank you to Tammy Blank for all of her excellent work in getting this book ready for publication, + Once again, my deep appreciation to Thomas Farrell and Krystyna Poray Goddu for continued support, encouragement and faith in me and in this project. + And, of course, my heart-felt thanks to my dear husband, Otto, for all the photography work. This book could not have been completed without him.DEDICATION This book is dedicated to my daughter, ce Claudia who is working so hard to bring my dolls' fashions to the world.Contents Introduction Featured Do! Pattern Pieces Chart Pattern Notes ... Long Sleeves . Relocation of Darts and Seams . Straight Skirt .. Straight Skirt without Side Seams Skirt with Eight Panels. Acline Skirt with Pleats... Creating New Styles over the Blouse Pattern, Extra Width in the Back for a Coat or Jacket Kimono Sleeve: Lining, Closing the Garment. Fabrics General Sewing Tips Staystitches.. Set-in Sleeves .. Backing Out Necklines and Armholes Patch Pockets... Unstable Slippery Fabrics Fraying Pin Tucks ... Buttons and Buttonholes How To Hand-Stitch Buttonholes Buttons and Thread Loops Buttons Knotted from Cord or Gimp Fabric-Covered Buttons... Hooks and Eyes. Snaps. Zippers .. a Closing of Skirts and Pants smn Shoulder Straps from a Bias Tube .. Curved Hemlines .. Blindstitching a Hem Binding of Edges... Binding a Corner Bias Binding A Curved Edge Sewing a Dress enn Sewing a Lined Jacket or Coat « ‘Sewing Corsages (Bodices) for Summer Dresses and Evening Gowns ‘Sewing Pants Listing of Pattern Pieces Patterns on.Introduction KC tthe age of twenty-one, after having completed my education and done my y ceships, I opened my ‘own fashion salon. It was May 1961, and there was a tremendous momentum in the fashion industry in Germany. After the war, in the early 1950s, a number of designers had settled in Berlin and opened their businesses ther creating exclusive garments for celebrities and soon expanding to produce small editions for nyone who could afford to buy them. In and wround Berlin many ateliers and small factories produced the ready collections of those designers—people like Hans Oestergaard, Uli Richter and many others, To manufacture these iment production were developed, with each seamstress responsible for sewing an entire garment. These entrepreneurs employed approximately sixty thousand people in and around Berlin for the production of these garments. Another thirty thousand home workers did embroidery and application works, ineluding handmade buttons, which were baked like cookies in ovens. Beautiful fabries wei ed for the top designers’ collections, and ordinary citizens like myself could buy the leftovers if we had a con- nection who deemed us worthy of the purchase. But there were also fabrie departments in large department stores and even a big multi-level store that sold only fabrics in Hamburg, where 1 lived and worked. While many ateliers were forced to ereate clothing only for women with indescribable shapes, but well-stuffed wallets, 1 was lucky to have some young and attractive ‘customers, as well. | produced exclusive outfits, but used some of the techniques of industrial production, which meant my prices were more in ine with the budgets of the younger generation, Ev ready-to-wear collections, lines ually 1 took my master exams in Haute Couture in Hamburg and was invited to join the German dressmakers guild. In the fall of 1964 I was invited to produce a collection for 8 © Fashion Doll Clothing a fashion show for a company that produced exclusive knitted fabries. It was an absolute novelty: the fabrics looked like woolen tweeds or flannels, heavy sitks and fons, but were all knitted. hi was staged in a hotel in Berlin and by being part of it, came very elose to the center of action in the fashion world. 1 did not realize at the time that Berlin had already lost its power as a center of fashion, In August 1961 the government of East Germany built the wall through the cen- ter of Berlin, separat- ing the West of Berl herweight c fashion show located, from the East of Berlin, whi teliers and fa were located, The day the wall went up, the garment indus- try died Meanwhile Florence and Milan had started producing their prét-d-porter (ready-to-wear) lines, and Paris soon fol- lowed. Given the sad situation in Berlin, buyers for the exclu- sive fashion preferred to aly and France. In 1965 I left shops ravel to arly In the early 1960s, I was photographed wearing one of my designs.Europe to follow my husband to live in Asia, and so I did not experience the shift of Germany's fashion center to Diisseldorf, and the move of the top designers to Munich and other ‘major cities in West Germany. In Asia I put on fashion shows for the enter- tainment of the wives of expatriate husbands at clubs, embassies or in our own house. I started ‘an atelier producing children’s clothing, and eventually dolls and doll clothing. I began work- ing with dolls o raise money for social projects, but this soon developed into a doll-clothing business. Now I ind I am back to "ladies" again, ‘They say that as we age, we start moving backwards. Iam twenty-one again, and have ‘once more started a salon—even if it is on a slightly smaller scale, In this book I have sealed down and re-ere- ated some of the outfits that I did for my own fashion shows in the 1960s and 1970s, At a fash= ion show in those days the whole range of gar- ments a lady needed was exhibited, starting with dresses worn during the morning for shopping, working and visiting. Then came afternoon dresses, which were often a little more elaborate and of more exquisite fabrics, and were followed by the "Little Black Dress," which could be worn for many occasions, especially when one was not sure of the dress code required by a particular wvitation. Finally, cocktail dresses and big evening gowns were presented. The finale of a show was always one or more bridal gowns. Sometimes we included outfits that sprang, from our imagination, which could only be wom ata costume party, or never at all. We moved on the catwalk the same way we would anywhere else. We were eager to show off every detail of ‘our creations, and give the guests time to absorb these creations. In the 1960s we took great pride in ereating intricate pattems for our outtits in order to show off our technical knowledge. Once fabrics with big prints or woven pattems came on the mar- ket, simplicity of cuttings was required to pre= serve the designs. This is something you must bear in mind when choosing fabries for your dolls. You can always make a basic dress in the shape of your liking and then drape an excep- tional piece of fabric over it, fasten it to the basic form with invisible stitches, and then finish off the neckline, armholes and hem. In the center back, the fabric is folded in and the basic dress material, which functions as lining, stitched against it, Such a dress, of course, must be done almost entirely by hand. Designing and making high fashion for dolls is not the same as for human beings. In our logical minds, we scale everything down and ize the finished product. But other than drawing on a piece of paper, which is the same for a woman or a doll, everything is different when it comes to designing for dolls. The fab- rics that are available today behave differently when used in small pieces. They have no weight, and will not drape, of else they are too lifT, 100 thick, t00 loosely woven, or else the prints and patterns are too large. Dolls, even if they look like beautiful women, have distinctly different proportions than human beings do. Their heads are bigger, the necks are longer and their busts are bigger, stiffer and set higher. Some of these challenges we can overcome by carefully selecting styles and fabrics. We also ‘overcome them with our enthusiasm for the project. Success depends on a balance of the two. It is possible to re-create past epochs with distinctive atmospheres by dressing dolls in the styles of those times. I find it much more inter- esting to dress our dolls in fashions of the past than those of the present, because today almost all our garments are mass-produced. A particular size has to fit many different shapes, cover a vari ety of tastes, fit in certain price brackets and be capable of being produced in large quantities. As ‘you put your imagination to work on the patterns in this book, remember that the doll wearing your shed garment is luckier than most of us; she will be dressed in a one-of-a-kind creation. Introduction © 9Tiny Kitty Collier shows off her evening gown with a half-circle skirt (see pages 88 and 117).For working in the garden, Coquette Jacqui wears a sundress with big pockets (see page 113) while Tiny Kitty wears a summer dress with a circle skirt (see pages 88 and 106).Glinda is wearing a Shirt Dress (see pages 124 and 125) and Tyler wears a beach suit (see pages 113-115).At the beach, Alex wears a sundress with a low-cut back (see page 112).Coquette Jacqui models a blouse with long sleeves and wide-legged pants (see pages 119-121).Amanda Fairchild Ford is dressed in a variation of a shirtwaist dress. The separate under-dress and the large white collar are made from batiste. The dress is from the finest striped dimity (see pages 122 and 123).Alex shows off a wrap-around summer dress (see page 109).) Syndey Chase wears a sporty outfit featuring a pleated skirt and loose jacket (see pages 87, 126 and 127).Mei-Li models a double-breasted coatdress with 3/t-inch (2 cm) added to the front center for overlap (see page 83).Opposite page: Tyler's coat features ‘a silk satin collar (see 140 and 141); underneath, she “wears a white dress (see page 89). Coquette Jacqui "models an elegant ‘ensemble (see pages 84, 119 and 120),Alex For travel, chooses a pantsuit with a short coat 128 (see pages 79, and 129).Tiny Kitty wears a smart suit (see pages 84 and 136).Preparing to go out, Alex checks her two- piece day dress. The top has a bust dart that continues and forms the belt in the back, which holds the extra width (see pages 86 and 107).Taxi! Wearing a loose short coat over her dress with panel skirt (see pages 131-133), Alex is ina hurry.For daytime, Tiny Kitty selects an Acline skirt with a pullover attached to it. The outfit is constructed over the basic dress and skirt patterns.Tiny Kitty's travel ensemble consists of a coat with an attached shawl and matching hat (see page 130).The American Model wears a two-piece day dress (see page 99). The skirt is constructed like those for the smaller dolls over the basic dress pattern (see pages 84 and 89). Opposite page: The American Model stays warm in a winter coat with kimono sleeves (see pages 134 and 135).Tiny Kitty wears a draped afternoon dress (see page 104).Tiny Kitty dresses up ina draped silk dress (see page 110).For an evening out, Tyler wears a pair of pants (see page 79) made from paisley-printed velvet with a gold-lamé top, which is constructed over the basic blouse pattern.The American Model's aprés-ski outfit is made up of long pants (see page 80), a tee-shirt made over the basic dress pattern and a pullover made over the blouse pattern. SeaUnder her jacket (see page 136), Coquette Jacqui wears an empire-style sleeveless dress (see page 90). The jacket and dress are embellished with sequins.Z 2 = go bge igi aie 2 & ae g 3 5 z =Tyler wears a silk ensemble with a short jacket, created from the basic jacket pattern (see page 76), which can be closed with a row of small buttons. Opposite page: Under the silk jacket, Tyler wears a dress with a curved lowered front waistline. Two small pleats give a little extra width to the skirt; a large flower on the shoulder adds a special accent (see page 91). Sydney's blue dance dress has a lowered waistline and a two-tiered skirt; she wears a short jacket on top, which has leg-of- mutton sleeves and is decorated with an appliqué in a contrasting color (see pages 101, 142 and 143 for dress). | }Tyler models a draped cocktail dress, the fullness of which is held in the front center by a big gold clasp (see page 105).Mei-Li is very formal in her empire-style little black dress (see page 102).Coquette Jacqui's little black dress has an asymmetrical bolero top over a simple dress with an Acline skirt. The edges of the bolero are bound with silk satin (see page 108).Ale’s little black dress is made from panne velvet, and the sleeves and hat are decorated with silk taffeta ribbon (see pages 92 and 93).Alex models a long- sleeved silk dress with an A-line skirt and a decoration of heavy guipure lace around the neckline. To construct the pattern for this dress, use the pattern on page 92, keeping the armhole of the basic pattern and adjusting the neckline.Tiny Kitty goes dancing in a silk dress with a dropped waistline and double skirt (see page 100).Alex chooses a formal long- sleeved evening gown for the opera premiere. The necklace is embroidered with gold thread, beads and pail- lettes (see pages 97 and 98).The American Model wears a folkloristic evening outfit (see pages 116, 138 and 139).Coquette Jacqui wears an evening robe with a big square neckline and long sleeves (see page 106).skirt, cut wide ertough to have extra fullness to gather in the waist (see _ pages 88 and 111). =Featured Dolls Hm) RR he dolls modeling the fashions that can be created from the patterns in this book are listed below. While these patterns were created to fit these specific dolls, they can be adjusted to fit other dolls of similar size. The dolls on which each pattern was created are identified on the pattern pieces as follows: 10-inch (25 em) Coquette Jacqui: 10-inch (25 em) Fashion Doll A 16-inch (40 cm) Alexandra Fairchild Ford” (Alex): 16-inch (40 em) Fashion Doll A + 16-inch (40 cm) Amanda Fairchild Ford (Amanda): 16-inch (40 cm) Fashion Doll A * 10 ch (25 em) Tiny Kitty Collier”: 10-inch (25 em) Fashion Doll B + 16-inch (40 cm) Tyler Wentworth*: 16-inch (40 em) Fashion Doll B + 16-inch (40 em) Mei Li: 16-inch (40 cm) Fashion Doll B + 16-inch (40 em) Sydney Chase”: 16-inch (40 em) Fashion Doll B + 16-inch (40 em) Glinda™ Sculpt 2005: 16-inch (40 em) Fashion Doll B 22-inch (56 em) Ame Featured Dolls © 4916-inch uy is LL docm) 4 16-inch (40 cm) | (7 Fashion’ Fashion DollB ene Doll B 16-inch 16-inch (40cm) (40cm) Fashion Fashion: Doll B Doll A 50 ® Fashion Doll ClothingPattern Pieces Chart SD CR PATTERN PIECE 10-inch (25 em) Fashion Dolls Basic Blouse Basic Jacket Long Pants. Basic Corsages (Bodices) .. Straight Ski 10-inch (25 cm) Fashion Doll A Basic Dress .. , Basic Sleeve Te. Light Blue Cocktail Dress 90 Ball Gown... : . 106 Black Dress... sneered OB Green and White Surimer Dress 13 White Tunic .. 119-120 Blue Blouse 119-120 Pants with Wide Legs ...cnmnnsnesseel2] Beaded Jacket... 136 10-inch (25 cm) Fashion Doll B Basic Dress Basic Sleeve... é Light Blue Dance Dress 100 Beige Blouse 103 Rust Afternoon Dress ‘Summer Dress .. Draped Silk Dress ... Ball Gown lI Winter Coat... : 130 Rust Jacket a aeeIN 16-inch (40 cm) Fashion Dolls Basic Blouse Basic Jacket Long Pants, Basie Corsages (Bodices).. Basic Dress without Dart in Back... Straight Skirts with Front Dart Altered . Long Straight Skirt without Side Seam.....85 Eight Panel Ski Skirt with Pleats... Basic Half-circle Skirt. Organza Coat for Wedding Dress Wedding Dress. PAGE NO. s with Front Dart Aitered...84 Basic Half-cirele Skirt 88 “110 ! i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i PATTERN PIECE 16-inch (40 cm) Fashion Doll A Basic Dress .. Basic Sleeve. Black Velvet Dres: Teal Evening Gown Day Dress Top. ‘Summer Dress Sundress Evening Ensemble Blouse.. Dress with Big White Collar . Green Short Coat Short Coat. Chanel Jacket.. 16-inch (40 cm) Fashion Doll B Basic Dress .. Basie Sleeve. Basie Dress with Seam Allowances White Day Dress Dress to Red Su Blue Dance Dress. Black Dress .. Yellow Afternoon Dress Red Ball GOWN... Beach Suit. Shirt Dress Brown Jacket Black Coat ... Blue and Green Spencer Jacket 22-inch (56 cm) Fashion Dolls Basic Dress Basic Sleeve. Basic Blouse Basic Jacket Long Pants: Basic Corsages (Bodices) Basic Half-circle Skirt Day Dress Top Evening Outfit Dress Top ... Coat .. Evening Jacket Pattern Pieces Chart ® 51 PAGE NO.52 ® Fashion Doll Clothing Tyler models a basic dress, made for pat- tern control, with one sleeve only and show- ing centerline and waistline. Next to her is a dress form with a paper pattern marked for lower neckline and alternative seam and dart lines.Pattern Notes 5) CR he purpose of this book is to teach you how to create wardrobes of fine quality for fashion dolls. To achieve this, you ‘must be able to construct individual and precise patterns, which are always done over basic pat- tems without seam allowances, This book presents basic patterns for dress- ¢s, blouses, jackets and bodices for each of the five doll sizes. All of the outfits in this book are created over those basic patterns ‘The auxiliary lines and the little cross on the bust point in the blouse pattems, which are drawn in red, are essential once you start relo- cating darts and adding different seams. So I advise you to transfer them as well when photo- copying or copying the pattern with tracing paper. I prefer to photocopy because it is almost impossible to do it correctly the other way. Even the difference of a fraction of a millimeter may affect the fit. Almost all. seam allowances are 1/4 inch (0.6 em). This appears enormous on the tiny pat- tems for the 10-inch (25 em) fashion dolls, but ‘you may always trim these back after sewing, if necessary. I have reduced the width of the seam allowances only on some necklines and arm- holes—when it makes sewing easier and would, in any case, need to be trimmed afterwards. For the hems 1 usually add 5/8 inch (1.6 cm) for the 10-inch (25 em) fashion dolls and 3/4 inch (2 em) to 1 inch (2.5 em) for the 16- inch (40 cm) and 22-inch (56 em) fashion dolls. These are, however, decisions you will make according to your own liking and depending on particular patterns. On page 82 you will find an example of the basic dress pattern with the seam allowa added. 1 made a dress with this pattern in unbleached cotton to determine the basic fit. (See page 52). If you want to create a different shape, change the basic pattern at this stage and use your basic pattern for further creations. It is practical to make your final basic pattern in cardboard and then produce the copies of it by 1 i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ‘racing around it, Make sure you do this with a very sharp pencil You must be extremely precise at every stage of work, because all the "variations" hap- Pen once the sewing starts, Long Sleeves Whether for a dress or a jacket, you will find, in both patterns, that the front seam is shorter than the back seam. The length of the back seam has to be cased in or, if this is not possible, a tiny pleat has to be made at the height of the elbow. In this way, a little extra length for the elbow is created, which allows the sleeve to follow the curve of the arm. Relocation of Darts and Seams ‘Cut out your basic pattern in "full" size to cover the right and left side of the doll body. Only the front is needed if the back remains unchanged. Close all the darts that are in the basic pattern with little strips of adhesive tape, attached to the back of the paper. Pin these onto the doll's dress form or stick them to the body of the doll wi adhesive tape. Using a pen, draw the lines for the new darts or seams. You are free to put them almost anywhere you like, but they should go over or at least close to the bust point, The flexibility of placement depends on the fabric you are using. ‘Some fabrics can be eased in to lessen the extra width, or stretched out for extra length. Most will do this in a bias section, but only a few in a straight grain, And since these dolls have very distinct shapes, you need to take this into account when placing seams and darts. Unfortunately, a different bra will not shape their busts to fit your ideas for a certain design, ‘Take the paper pattern off the dress form or doll and cut carefully along the lines you have just drawn, Gently flatten out the pattem, ‘You may find that it ripples in some places, Pattem Notes ® 53and you will have to decide if it will be possi ble to stretch or ease in the material to over- ‘come this. If the tight spots can be stretched, you can allow the paper to fold a bit. (See page 83: the lower part of the front dart is on the bias and can be stretched.) A little extra width can be eased in on the 16-inch (40 cm) fashion doll's brown jacket (see page 126) The lower part has a litte bit of the bust dart left, which can be eased in to fit the yoke, On the coat of the 22-inch (56 cm) fashion doll (see page 134), the top is eased in to fit the lower part. The extra width gives the yoke the necessary room to go smoothly over the pock- et flaps. If the lower and upper parts were the same width in this seam, the pocket flap would make the seam too stiff and it would stick out. Straight Skirt For the straight skirt basic pattern, use the skirt part of the basic dress pattem. Replace the darts in the front or omit them entirely as shown in the example for the 10-inch (25 em) fashion dolls. ‘Add seam allowances and hem allowance. In my example on page 84, I gave an extra allowance in the back center for an overlap so that the skirt may be closed with a button only and no zipper. Skirt without ie Seams Make a basic pattern, without seam allowances, ofa straight skirt. Close the darts with strips of adhesive tape and close the side seams. Divide the skirt width on the hip line into three even parts. Cut along the new lines. Create the new pattern by relocating the dart at the side and adjusting the parting seams so they take care of the excess width at the waist. For skirts and pants, you need to calculate quite a bit of extra width in the waist, depending ‘on the fabric you intend to use and whether you 54 ® Fashion Doll Clothing want the blouse to tuck into the waistband, Skirt with Eight Panels ‘Theoretically, such a skirt for a doll would have jjust eight equal panels as long as the waistline ‘gets adjusted, but on page 86 I show you how it is properly constructed, and how you would have to do it when using it for yourself, Most important is that the front and back center are a straight line from the hip-auxiliary line upwards to the waistline. A-line Skirt with Pleats There are two different ways of constructing an ‘A-line skirt with pleats. One way is to start with @ basic A-line skirt patter (without seam allowances), draw in the lines of the pleats you plan to have, cut up the pattern and add the width for the pleats, ‘On page 87, the second way is demonstrated. In this method, you cut out the basic straight skirt pattern and, before adding the allowances for the pleats, give a bit of extra width to each pleat front from the hip-auxiliary line down to the hem. It is not necessary to make a different pat- tem for the back and front since the waist width can be adjusted with the pleats or, if necessary, a little bit can be taken off the back in the side seams. With most fabrics, itis also possible to ease in some extra width when attaching the waist- band. Creating New Styles over the Blouse Pattern ‘The bust dart of the blouse pattern does not end exactly at the bust point because it is a loose-fit- ting garment. You need to use the litle red cross as the "turing point" for darts in alternative styles.Extra Width in the Back for a Coat or Jacket To get extra fullness in the back of a coat or jack- ct, cut a line from the hemline to the middle of the armhole, add the extra width and even out the armhole line. See the green coat for the 16-inch (40 em) fashion doll on page 129. Kimono Sleeves To construct a kimono sleeve, raise the shoulder seam at the arm point 1/8 inch (0.3 em) for the Jo-inch (25 em) and 16-inch (40 em) fashion dolls, and 1/4 inch (0.6 em) for the 22-inch (56 cm) fashion dotis. Draw a straight line from the neck point across the raised point and continue for the length of the sleeve. Lower the armhole point at the side seam according to the desired looseness. Draw a parallel line to the new shoul- der line, which ends in the lowered armhole point. Determine the sleeve length and draw a line ina right angle to the shoulder line to connect to the underarm line, Draw the same on the back pattern, but measure the length of the upper arm seam from the shoulder point to the hem. Do the same for the underarm seam from the side seam to the hem and transfer those to the back pattem. Connect the two points to get the hemline of the sleeve. Lining In most cases, | double all the outfits using a thin lawn or batiste, This is the easiest way to finish necklines and armholes neatly. Fora dress with sleeves, you may leave the sleeves unlined. For a dress with set-in sleeves, attach the lining to the seam allowance around the armhole. (This should be done by hand at the end.) For kimono sleeves, cut the lining following the normal armhole, then finish off the edges of the lining by over-edging or hemming. For the 10-inch (25 cm) fashion dolls, leave the arm- holes of the lining unfinished, so as to avoid an ‘unattractive bulkiness. ‘The lining of a draped dress is cut from the pattern of the basie form before the pattern is cut up to add all the extra fullness. This is done for women's clothing, as well. On dresses, the lining is hemmed separate- ly from the dress fabric and about 1/4 inch (0.6 em) to 3/8 inch (1 cm) shorter than the dress, depending on the size. On jackets, the lining is cut as long as the ‘outer fabric and the hem is doubled, as on neck- lines and armholes. Jacket sleeves should be lined. Give the sleeves a hem of 3/4 inch (2 em) to 1 inch (2.5 em) and cut the lining 1/4 inch (0.6 em) to 1/2 inch (1.3 em) shorter, respectively. If a jacket or coat has a facing along the front opening, you need an extra patter for the lining (see page 127). In the pattern, the facing and the lining need to overlap a good 1/2 inch (1.3 cm), which amounts to two seam allowances of 1/4 inch (0.6 em) to join the fuc~ ing and the lining, Be sure that the facing and the lining together are as wide as the top fabric. | prefer coat linings to be loose at the hem, ‘but for the 10-inch (25 em) fashion dolls, it is usually good to sew the coat fabric and lining together at the hem so the garment will not be too bulky. Closing the Garment When constructing the pattern, you must con- sider how the finished garment will be closed. For zippers or buttons and thread loops, a sim- ple seam allowance of 1/4 inch (0.6 em) is ‘enough. For buttons with buttonholes, you must ‘add the width for the overlap (see page 99). For the 10-inch (25 em) fashion dolls, the overlap is 3/16 inch (0.5 em) and the button- holes must be done by hand. Pattem Notes ® 55For the 16-inch (40 em) fashion dolls and the 22-inch (56 cm) fashion dolls, the overlap is 1/4 inch (0.6 cm) and the buttonholes can be done by machine. For the 22-inch (56 em) dolls’ coats, | sometimes allow a 3/8-inch (1 em) overlap. Fabrics Choosing fabries for dressing our ladies is a lot of fun, but needs to be done critically. Not many of the fabrics available today are suitable. Ideally, only natural fibers, with as little as pos- sible finishing, should be used. Finishing prod- ucts that make the fabric crease-resistant, flame~ proof, and so on, are synthetics and take some of the life out of the natural fibers. Soft woolen flannels, crepe, wool chiffon, cashmere and jer- sey, Dupioni silk, taffeta, organza or erepe-satin are perfect choices. There are also varieties of cottons like batiste, muslin, lawn, dimity, 56 © Fashion Doll Clothing Liberty cotton, cotton crepe, corduroy and, of course, fine prints from the quilting department, that are very attractive when used on fashion dolls. Any knitted materials, of which there is an abundance, are nice and easy to use. They are very forgiving and, as a last resort, can be ironed and steamed into the required shape. Another benefit of natural fibers is that they are easy to dye. So if you do not find the desired color in a particular fabric, you can dye it yourselt. When it comes to color, our miniature ladies are just as fussy as we are ourselves. Not everyone looks equally good in any one color. Luckily, these ladies do not talk back and we can dress them in any wild combinations, as designers do with their models, and they will not argue or complain, Be careful, though, when dressing them in period costumes. At various times in history, certain colors could not be achieved through dyeing because of lack of technical knowledge, o were not in fashion, or had a particular connotation. Bright colors are a relative recent development. In 1901, colorfast dying (Indanthren dyes) first became possible, but it was not widely used until the 1950s when the dyers’ resistance to the chemical process had been overcome. Since then, ordinary people can have clothes of brightly colored fabrics.General Sewing Tips SD CR eople have asked me if we have special sewing machines to produce miniature garments, and are surprised to learn that we use big industrial machines. Industrial machines have a different transport system from domestic machines and do not act up when fed uneven thicknesses or tiny little pieces. While domestic machines are developed to do many different jobs, industrial machines only do one, but they do that one perfectly. For the production of miniature garments, it is advisable to outfit a domestic sewing machine with a straight stitch throat plate that has only a little round hole for the needle. Use a very fine needle, a 70/10 of 80/12, for wootens. You might have to adjust the pressure of the foot and the tension of the thread for sewing very thin fabrics. All machine sewing should be done with very small stitches. Imagine the size of the stitch in proportion to the size of the garment and what it depicts. It is also much easier to sew around narrow curves when using small stitches, ‘To make it easier to remember, in this book all seam allowances are drawn 1/4 inch (0.6 em) wide, except for a few necklines and armholes. While this works perfectly for clothing for the 22-inch (56 cm) fashion dolls and well enough for that of the 16-inch (40 cm) fashion dolls, it becomes difficult for the 10-inch (25 em) size fashion dolls! garments. If you calculate this seam allowance proportionally to the size of a human being, you would have a seam allowance ‘of almost 2 inches (5 em). Figure this as the extra in an armhole and you see how ridiculous it is. Since our fingers cannot be adjusted to smaller sizes, we have to work with enough seam allowance to hold on to and to ensure the seams will not fray. For the 22-inch (56 em) fashion dolls'cloth- ing, the seam allowances in the armholes cause no problems. For the 16-inch (40 cm) fashion dolls! garments, you need to clip them at the underarm and when working with clothing for the 10-inch (25 em) fashion dolls, you need to 1 i i i i i i i i i i i i i I i i i i i I i i i I i i i i i i i 1 i i i i i i i i i i i i i trim them and carefully over-edge them by hand. This must be done even when the sleeves are lined, because a seam allowance of 1/8 inch (0.3 cm) will not hold under stress; 1/8 inch (0.3 em) is only enough when backed with lining. Over-edging by hand Staystitches Staystitches are useful when you want to ensure the fabric does not stretch out; for example, if a ‘waistline is on the bias or if there are pin tucks that would open when you have cut the piece into its final shape. Set-in Sleeves In the past, set-in sleeves on dresses and jackets had a much higher sleeve head than set-in sleeves on contemporary garments have. On these pattems, I have kept the higher sleeve head of earlier times because it allows you to make a dress tighter around the chest, and not have the sleeve fold under the arm when the arm is down. It also prevents the shoulder of the bodice from pulling down. In order to put such a sleeve into the armhole, you must first ease in the extra width. Run a gathering stitch around the sleeve head, just a little narrower than the seam allowance, ease in the width and iron if necessary. Join the shoulder seams, pin in the sleeve, starting at the mark at the sleeve head, then pin the front of the sleeve to the front of the bodice Leave the sleeve without extra width for the lower half and then ease in, edge on edge, for the upper part, Repeat this for the back bodice General Sewing Tips © 57part. Here the extra width may start a little lower. In the beginning you might struggle to get it even, but do not give up: practice makes perfect! In fashion schools we were judged on how well we could put in sleeves. It is possible, with some practice, to sew in the sleeves of the 16-inch (40 em) size dresses by machine, but for the 10-inch (25 em) size, 1 prefer to do it by hand, These dresses are so small that the entire armhole is covered once the machine foot is lowered on it and I like to see what I am sewing, When the sleeve is put in without extra width for pleats or gatherings, the seam allowances around the armhole are ironed towards the head of the sleeve away from the neck. The sleeves of our basic pattem have only ‘enough width to allow it to form a nice round head, and the seam allowance needs to support this. A full sleeve (as on the patterns for the 10- ich (25 cm) Fashion Doll B on page 103, the 16- inch (40 em) Fashion Doll A on page 98 and for the 16-inch (40 em) Fashion Doll B on page 143) does not need this support, and the seam allowance is clipped and ironed towards the neck Backing Out Necklines and Armholes The easiest way to finish necklines and armholes of sleeveless dresses is with a full lining. It is preferable to use a finely woven cotton batiste This is stronger than any lining fabric from vis- cose to acetate, in which the individual threads are 100 slippery. Cut the top fabrie and lining of ‘equal size. Individually close the shoulder seams and iron the seam allowances apart. Put the two parts together, right sides facing each other. Sew by machine with very small stitches around the neckline and armholes. Trim allowances to 1/8 inch (03 em), clip where necessary and turn around by pushing the two smaller parts (the back when the opening is in the back) through the shoulder part. There is, of course, a limit to the amount of material that will go through the ‘opening at the shoulder between the neckline and ‘arm line. If the back has extensive skirt pieces 58 ® Fashion Doll Clothing attached to it or the fabric is not soft enough, you might have a problem. | found my limit when making the 10-inch 25 em) blue silk cocktail dress. The silk is cut crosswise to drape better, but this way it also frays easier in the lengthwise direction of the dress. After several attempts, | got it done. Iron the silk onto an extra-thin woven interlining and stitch twice around the neckline and armholes. ‘The width of the shoulder part left is 3/16 inch (0.5 cm). I do not think, however, that it can be ‘as narrow as this for the bigger sizes, because there would also be more material to be pulled through when turning it Patch Pockets To get two patch pockets shaped evenly, there is a simple trick. Cut the shape for the finished patch pocket from cardboard. If you like the eor- ners rounded, make sure they are the same on both sides. Cut the fabric with a 1/4 inch (0.6 cm) seam allowance at the sides and the bottom and 1/2 inch (1.3 em) on top. Fold and iron the seam allowances on the top and fasten by machine or hand, Machine-stitch one row of gathering stitches very close to the cut edge. Place the cardboard shape onto the left side of the prepared patch, aligning the top with the edge of the cardboard. Gently pull the gathering thread until the rounded comers fold in. The side where the thread was pulled needs to be straightened again 0 the upper comer does not pull in, Holding on to the top end, carefully iron the seam allowances around the cardboard, Once you have finished the ironing, pull the cardboard out of the top and use it for the next pocket.Unstable Slippery Fabries ‘There might be an occasion when you find it impossible to avoid using an unstable fabric for very special outfit. One way of managing such fabric is by draping it over a basic dress and fas- tening the creation, fold by fold, around the cut ‘edges of the basic dress. Once you are satisfied with the look, you can double everything with a lining cut exactly like the basic dress. Maybe you have a thin material with a beautiful design and want it to show, Iron the material carefully, align it in a right angle on your ironing board, and place the thinnest woven iron-on interfacing on top. Make sure the grain of the fabric and the interfacing is aligned and fuse the two. This should give it enough firmness to facilitate easy work. Fraying The fraying of small pieces is an annoying side effect of working with Dupioni silk, for example, It is best to over-edge the larger pieces before doing anything else with them, Only one direc- tion of the fabric is vulnerable. The small pieces of the bodice may be outlined with a small line of glue or acrylic paint. The trouble is that it needs some time to dry before it can be handled again. 1 usually fuse the entire bodice parts to thin woven interfacing. So far | have never regretted doing this or found it unattractive. Pin Tucks When you plan to decorate a blouse or dress with pin tucks, it is best to sew the pin tucks before cutting out the pattern, Prepare a piece of fabric that is cut straight on the grain and well ironed. From the straight edge, measure the distance to the first pin tuck and mark with a fine pencil dot. Keep the measuring tape in place and continue to make dots for all further tucks, placing them every 3 inches (7.5 em) to 4 inches (10 em) down the length of the fabric. Then fold the fabric along these dots and sew off the tiny tucks. Once you have ironed the piece, you may cut it in the form of your pattern piece. Buttons and Buttonholes Before beginning to make an outfit, you must decide how to close the finished garment, because the pattern has to be adjusted accord- ingly. For the larger dolls, the dresses and tops can be closed with buttons and machine-made buttonholes. This means the pattern has to have an extra 1/4 inch (0.6 em) of width for the over- lap and possibly 1 inch (2.5 em) for the facing. often double the piece with the lining. Using fine Woven cotton gives enough stability for ‘buttonholes, while a softer fabric needs a piece of interfacing to prevent the buttonholes from stretching out of shape or fraying. Do not forget ‘when using this method that the pattern must have the 1/4 inch (0.6 cm) overlap and another 1/4 inch (0.6em) for the seam allowance. For the 16-inch (40 cm) dolls, machine- made buttonholes on coats can sometimes be used. For dresses in this size, you might choose a carefully handmade buttonhole, because it is not as stiff and it is easier to adjust the size, Try it out first on a scrap of the fabric you plan to use, aS not all materials will allow a handmade buttonhole in miniature size How to Hand-Stitch Buttonholes 1. Using contrasting colored threads, mark the position of your buttonholes lengthwise and ‘crosswise at both ends. 2. Stitch around this marking to attach the lay- cers to each other. The distance between the two ies of stitches should be about 1/8 inch (0.3, em), 3. Cut the buttonholes between the two rows ‘of machine stitches. 4. Starting at the right end comer, begin cov- ering the machine stitches with buttonhole stitches. Fasten the end of the thread, insert the needle from the back, hold on to the doubled part of the thread that is close to the needle, and wind it in a loop from the left, over the needle to the right, under the needle and up again on the General Sewing Tips © 59left side, Pull the needle through and tighten the knot so it ends up on top of the edge and not between the two edges. The two rows of knots would take too much room if they are both between the edges, and the finished buttonhole would look oval and not straight. Place the stitches just close enough for the knots to have room. If the stitches are too far apart, the but- tonhole will fray. If they are too close together, the edge will look rippled. 5. Secure both ends of the buttonholes with two or three straight stitches across the width of the two rows of buttonhole stitches. Those bars ‘can be done with buttonhole stitches as well, but ‘on our little garments, they would look rather coarse, In fact, | even do the straight stitches on blouses for myself. Handmade buttonholes Buttons and Thread Loops ‘The most common method of closure 1 use is buttons and thread loops. This way the two parts of the garment touch each other, but do not over- lap. The edge is backed with the lining and the seam allowances give enough strength to hold the thread loops. ae If ‘Thread loops 60 © Fashion Doll Clothing Buttons Knotted from Cord or Gimp. When 1 cannot find suitable buttons for our ladies garments, I sometimes use a knotted but- ton, which is easy to make from cord, gimp or soutache, Follow these instructions carefully and you will soon be able to do it. It takes a bit of practice to get all the loops even in the end, but a little pulling and pushing works wonders. To fasten the two ends of the cord underneath the button: 1. Fasten a sewing thread close to the bottom of the button, wind the thread a few times around the cord and fasten. 2. Leaving the thread attached to the first cord end, go over to the other end of the cord and fas- ten when close to the first one. 3. Make sure you have enough stitches over it to prevent fraying. 4, Trim end pieces of cord and thread as close as possible to your stitching, Buttons made from cord or gimp Fabric-Covered Buttons Fabric-covered buttons can be made with small rings from a hardware store. If you cannot get the size you want, you can make one with the help of a metal rod and wire. Wind a sturdy wire of 1 mm around the ‘metal rod. The smallest 1 have used is 3/8 inch (0.1 em). Cut the wire into rings. The small gaps will be squeezed closed when you cover these with the fabri, 1. Cut out a circle of fabric twice the size of the ring. 2. Runa double row of gathering stitches by hhand around the circle and cover the ring with the fabric.3. Tighten the fabric and sew a row of back- stitches around the inner circle of the ring. 4, Finish off the back with a net of threads called a spider. Fabric-Covered buttons Hooks and Eyes Before you start to sew on hooks and eyes, bend apart the two parts to give them more strength. Fasten them with a row of stitches that almost covers the entire round of the eyes. It is impor- tant to also put some stitches under the tip of the hook and at the two sides of the eye. Snaps A snap is sewn on with three to four stitches in each hole and in such a way that the stitches on the "female" part are not on top of the "male" part when closed, Zippers In 1917, after slow birth and years of rejection, the zipper was patented by Gideon Sunback, a Swedish immigrant to the United States. Different from today's zipper, it was called a "Separable Fastener." The machine Sunback created for the manufacture of his zipper pro- duced a few hundred feet of fastener per day. ‘The main use in early years was for boots, galoshes and military gear. Not for twenty years were zippers promoted for children’s clothing and men's trousers. At the time of the American patent, a zipper with a different type of closing system was reg- istered under the name "ri-ri” in Switzerland. ‘This zipper was very fine and flexible, and soon was used for exclusive ladies’ fashions. Well- known designers still use this zipper today in their collections. In the 1950s, spiral zippers conquered the market. These are strong, less expensive and come in many colors. ‘These days we could not imagine a life without zippers. And even our dolls’ clothing ‘can now be fastened with tiny zippers specially made for these sizes. Closing of Skirts and Pants ‘The closing of skirts and pants is tricky. A zip- per would do the job neatly, but is bulky. An overlapping waistband would also be bulky. The most appropriate method, at least for the 10-inch (25 cm) size fashion dolls, is to finish the wais line with a thin cotton bias band, thread loop and button. Shoulder Straps from a Bias Tube Cut a bias strip exactly at a 45-degree angle to the grain of the fabric. This is essential to make sure the tube will not twist later. Stretch thi strip out with a hot iron and steam if necessary, then fold and sew the desired width. Form a trumpet shape at the end, cut off at the end and trim, Attach a needle with a double thread to the General Sewing Tips © 61tip of the trumpet and carefully tum the tube right-side-out by threading with the head of the needle first through the tube. Ease in the tip of the trumpet and the rest will be easy. Narrow bias tubing Curved Hemlines Curved hemlines need extra care since the edge of the allowance is wider than the garment when it is folded in, This extra width must be eliminat- ed before the hem is fastened. The edge of the allowance has to be slightly tighter than the gar- ment itself. To achieve this, sew two lines of gathering stitches along the edge of the allowance, Pull the stitches to make the edge fit the width of the garment and iron to smooth in the extra width. This works very well on most fabries made of natural fibers. If you have a problem getting rid of the width, you might need to put in litte folds. Then trim the allowance to an even width, over-edge and slip stitch the hem, The rounder a hem is, the narrower the hem allowance must be. On the 10-inch (25 em) fash- ion dolls’ checkered half-circle skirt, the hem allowance is only 1/4 inch (0.6 em). Blindstitching a Hem Hold the garment in such a way that the folded hem faces your left side and the garment itself faces your right. Carefully roll over the edge of the hem and stitch, alternating into the fold over the hem and the main part of the garment. The distance between those stitches depends on the garment, but they should never be closer than 1/4 inch (0.6 cm) on either side. 62 © Fashion Doll Clothing Blindstitching ahem Binding of Edges A very decorative way to finish edges is with ing. This can be done with a contrasting color or tone-on-tone with a contrasting fabric. In the 1950s, a tartan fabric was often used for binding to offset an otherwise unattractive plain colored garment, Binding is always done with a band cut on the bias. Make sure itis cut precisely 45 degrees to the grain to pull even. 1. With a steam iron, stretch out the bias band. 2. Sew the band along the edge to be bound in the width you desire, tum the remains of the band to the back, fold in and fasten. This can either be done by hand with stitches that catch into the machine-sewn line or by machine, sewn from the right side into the ditch of the seam, Binding an edgeBias Binding a Corner 1, Sew the bias band to the edge of the piece to be bound and fasten the sewing line with two reverse stitches in the comer at the same dis- tance as the line you have been making. 2. Turn around, put a fold into the comer and start sewing at the very end of the piece to hold the fold as well, It is important to fold the band correctly to form a 45-degree line undemeath. 3. Turn the bias band to the back, double fold and finish off the back. Binding a corner Bias Binding a Curved Edge If the curve is convex, the bias band must be sewn to the edge loosely to allow for extra length in the outer circle. Fora concave curve, you must pull the bias band tight, so it is not wavy at the edge of the outer circle. Sewing a Dress Before you start sewing an outfit, all the pieces must be cut out from the dress fabric, lining and facing, interfacing and bias bands, if applicable, 1. Over-edge individually the center back and side seams of the dress fabric and lining. 2. Close all darts in the dress and lining, 3. _ Join the shoulder seams of the dress fabric and lining. 4, Put the two parts together with the right sides facing each other. 5. Using a sewing machine, join them, starting at the end of the back opening, up the center back, around the neckline and down the other side. 6. Gather the head of the sleeves and sew them in, See the instructions for Set-in Sleeves (page 57). 7. Over-edge and iron the hem of a short sleeve, If you are making a long sleeve, double fold and machine-stite 8. Sew the dress fal together, from the hem up to the underarm and down to the hem of the sleeves. 9. Join the side seams of the lining as well, with the right sides facing each other. 10. Press open all these seams. 11. Clip the seam allowances in the curves of the underarm and trim to 1/8 inch (0.3 em) ‘on the 10-inch (25 em) and 16-inch (40 em) garments. 12, Over-edge the hem, fold and press. 13. Double fold the hem of the lining. Make sure the lining is about 1/4 inch (0.6 em) short- er than the dress. 14, Close the center back of the dress fabric up to the point where it is joined with the lining. Then sew the lining up to the same point, press the seams open and adjust the hems of both parts, 15, The hem of the lining can be fastened by machine, while the hem of the dress and the short sleeves are done by hand using slip stitches, 16. At the armholes, fasten the lining running stitches to the seam allowances of the dress fabric and finish it with over-cast- ing stitches so it will not fray. General Sewing Tips © 63Sewing a Lined Jacket or Coat Do all steps to produce this pieve in both the top fabric and the lining, 1. Sew the darts 2. Close the shoulder seams. 3. Double the pocket flaps with lining fabric, tum, press and topstitch. 4, Prepare the patch pockets. See the instruc- tions for Patch Pockets (page 58). 5. Place the pocket flaps, right sides together and finished edge upwards, onto the yoke. Baste along the line of the seam allowance by hand oF machine, Use the basting thread as a guideline for joining the yoke to the bodice part. Press the ‘connecting seam and topstiteh if desired. 6. Place the patch pockets correctly under the flaps, but about 1/4 inch (0.6 em) lower than the seam that joins the yoke and bodice. This gives the flaps enough room to fall properly. Stitch the pockets to the bodice. 7. Double the collar and topstitch. 8. Roll the collar over your left index finger so that the top layer of material gets more length and the bottom layer is a little tighter. Pin the two pieces together and secure them with some basting stitches, if you feel you need to do so. The collar should not be flat now, but nicely curved, 9. Place the collar around the neckline. Make sure the distance fom the center front is the same on both sides. 10. Join the lining along the edge of the facing. 11, Fold the facing and lining over the collar, check again the distance of the collar to the fold of the front edge and close the seam that holds the collar between the top material and lining. ‘Trim—especially the front comer—by cutting the seam allowances into different widths. Clip the seam allowances around the back of the neckline, Turn and press. 12, Fitin the sleeves in the top material, See the instructions for Set-in Sleeves (page 57). 13, Sew the sleeve lining to the hem of the sleeve, fold and iron the hem, Up to this point, the process is the same for 64 ® Fashion Doll Clothing all coats and jackets, but now you must decide if you want the fixed at the hem or not. If you do, follow method A below. If not, go directly to method B. A. The entire coat or jacket is lined and fixed at the hem: 1. Close the side seams inclusive of the sleeves and the sleeve lining all at the same time. Press the seams apart, Take special care that they remain properly separated where the lining joins the hem of the sleeves. 2. After the side seams of the lining are sewn and pressed, place the top fabric and the lining right sides together, and close the hem. 3. Finally, everything is tured around and the sleeve lining is pulled into the sleeve. Check if the seam allowances are still separated where the lining joins the sleeve hem. A bit of pulling and pushing before ironing will help to get the piece into shape. 4. To finish, baste the bodice lining to the seam allowance of the armhole. With the assis~ tance of the gathering thread in the sleeve lin- ing, ease in the width in the sleeve head, fold the seam allowance, pin the folded edge over the seam allowance around the armhole and whipstiteh, In case of a kimono sleeve, you cannot tum the jacket or coat through an armhole once the hem of the lining and top fabric is closed Instead, you must leave an opening in the side seam of the lining big enough to get everything through. For a jacket for the 16-inch (40 em) dolls, about 2 inches (5 em) is sufficient. A coat might need more, depending on the thickness of the fabric. When everything is in shape and pressed, close the little opening with invisible hand stitches. This method can also be used for a piece with a set-in sleeve. In that case, fit the lining sleeve exactly like the one of the top fabric before closing all the side seams, Do not for- get the opening at the side. Finish the hemline and pull it all around through the opening in the lining,BB. The coat or jacket has a loose hem. In this case, whether you have hand-sewn or machine fitted armholes, everything can be turned easily through the hem opening. 1, Use a sewing machine to join the top fabric with the facing at the hem for the entire length of the facing. 2. Trim the excess fabric of the facing from the front comer. Fold the hem of the top fabric and double-fold the lining so itis about 1/4 inch (0.6 cm) to 3/8 inch (1 em) shorter than the outer length. 3. The hem of the coat lining can be done by ‘machine, slip stitched or decorated with feather- stitches. Featherstiteh Sewing Corsages (Bodices) for Summer Dresses and Evenings Gowns 1, It is best to underline any strapless top to give it more stability. Relatively thin iron-on interfacing will also do the job. 2. Fix any edge that is on the bias at least with 4 staystitch, possibly with a narrow cotton band ‘ora bias band, that has been stretched and steam ironed to maximum extension. A strapless top has to fit especially tight in the waist so it wil not slip down. A clever way to prevent strapless dresses from slipping down is a waistband Measure a ribbon of 1/4 inch (0.6em) to 3/8 inch (1 cm), the ends folded, to fit precisely around the waist, Outfit the ends with a hook and eye respectively. Attach the waistband loosely to the darts and seams at the waistline on the inside of the dress. Close the hook to hold the dress up before any other closure is done up. 3. Itisa neat way to sew the skirt onto the top ‘material first and cover the seam with the lining, by folding it in and whipstitching along the row of machine stitches. Sewing Pants 1. Decide if you want the pants to close in front ‘or back, and plan to add the extra seam allowance to the respective seam for the underlay. 2. Cutout all the pieces first, then start sewing the darts and one of the center seams to about 1/2 inch (1.3 om) before the edge of the inner leg seam, The other center seam is also closed from the opening point to 1/2 inch (1.3 em) short of the edge of the inner leg seam. 3. If the opening is in front, fold in the seam allowance on the right side of the pants and top- stitch the decoration for the fly. On the left side of the pants the underlay extends from the cen- ter 1/4 inch (0.6 cm) on the 10-inch (25 em) dolls’ clothing, 3/8 inch (1 em) on the 16-inch (40 cm) dolls’ clothing and 1/2 inch (1.3 em) on the 22-inch (56 cm) dolls' clothing. Fold in the edge and stitch along the edge to fi 4, Secure the opening corner of the fly to the underlay. 5. Close the side seams and add pockets, if you like. 6. Press the side seams and the hems of the legs. 7. Do the inner leg seams and, finally, stitch the crotch seam over the inner leg seams. 8. Press the inner leg seams and slip stitch the hems. 9. Finish the waist with a proper waistband or bind it with a bias strip from the same material to look like a waistband when finished. If the closure is in the back, you can also finish the waist with a bias band of thinner fabric, which is tumed to the inside, folded and whipstitched carefully to the top material. You may also fas- tened it by machine. If you do, | suggest a first row of stitches at the edge and a second row about a 1/4 inch (0.6 em) further. General Sewing Tips * 65Listing of Pattern Pieces mR PATTERN PIECES DOLL SIZE PAGE PATTERN PIECES DOLL SIZE PAGE Basic Dress 16-inch (40cm) __67-68_ | Light Blue Dance Dress 10-inch (25 em) __100 Basics tind @5em) 6 | BheDueeDrss 16h 40 em) 10 Base Sle iinch@Sem) 70 | Blk Das Gio 40 em) 102 Basie Steve iinhaoen) 70! Beg Bas loinc 25 em) 103 Base Des inch (S6em) 11} RutAferom Dros inh 25m) 104 Base Slave inh (S6em) 72 | Yow Aferoon Ore Gin (40m) 105 Basic Bowe rain Ssen) 13 | Same Des inh 25) 106 Basic Bowe inch Oem) 8 | Bal Goon Oink 25) 106 Basie Blouse 10-inch (25 em) __75. i Day Dress 16-inch (40cm) __107 Base ake ‘winksemy 75 | Blak res inh 25m) 108 Basic Jacket IG.inch (40.em) 76} Summer Dress 1Ginch (40cm) __109. Bas ake incisen) 7228 | Dag Sk Des 10nd 25 em) 10 Long Pas iWinchCSem) 78 | Ra Ball Gown inh 40 em) 11 Long Fas Isiah oem 9 | Sines Vin 40m) 112 are ain (sen) 00 | Gren Wide nese 10cm) 13 Bsc Conges (Bos) iWinchGsen) 81 | Bech Suit (Gio 0 em) 5 Base Conge (Boies) ih iden) 81 | Evening Ot res Tp Dich (Sem) 116 Basic Corsages (Bodices) 2inch (56cm) _81_j_ Ball Gown 10-inch (25 cm) __117 ‘Basic Dress with Seam Allowances U6-inch (40cm) _82__| Evening Ensemble Blouse 16-inch (40cm) __118 pte Deehie leases a! ares ease eal Sesgh lire wih on DavAloed —10ich@5en) 84 |‘ Bue Ion 2 em) 119120 Singh Skins wi Fon Dated tein 40cm) | Ps wi We Las Ioind Sem) 21 Long Sig Sin wiht Se Seam 16ich (Dem) 8S | Diss wih ig White Car Vinh 4 em) 12-133 Eight Panel Skirt iG-inch (40cm) 86! Shirt Dress AGineh (40 cm) _ 124-125 Sis Pe eens as | pee ican ere Bas ail St inh Sam) a | Gem Seat Com inh (4 em) 12829 Base ali Skin IGinh(dvem) 88 | WinerCow ind Sem) 180 Bas Halil Skin a2inch (Sem) 88} Shot (Gio 0 em) 11-53 White Day Dress 1éinch oem) 89 | Coat 22-inch (56 em) _ 134-135, ip Be Ceca Drs iwinhsem 0 | Bead oink Sem) 6 DrssioRed ut Iie oom 1 |} Rasta ond 25m) 186 Black Velvet Dress 16-inch (40 em) _ 92.93 i ‘Chanel Jacket A6ineh (40.¢m) 137. gma Co i Weng Des 16inch Dem) 9395 | Evening let ih em) 18139 olng Des (Gin iocm) 96 | Blk Cow Gin 40cm) — 0-4 Teal Eesing Gown iin oon) 9798 | Ble and Gren Speer eck Vie 4 em) 142-183 Day Des Top inch(S6en) 66 ® Fashion Doll ClothingBasic Dress Pattern for 16-inch (40 cm) Fashion Doll B, Fashion Doll Clothing Basic Dress, Front Size: 16-inch (40 em) Fashion Doll B Fashion Doll Clothing Basic Dress Back Size: 16-inch (40 em) Fashion Doll B Patiems © 67Basic Dress Pattern for 16-inch (40 cm) Fashion Doll A Fashion Doll Clothing Fashion Doll Clothing Basic Dress, Basic Dress. Front Back Size: 16-inch (40 em) Size: 16-inch (40 cm) Fashion Doll A Fashion Doll A 68 © Fashion Doll ClothingBasic Dress Pattern for 10-inch (25 cm) Fashion Doll B al (wn ¢z) :ourgr * ea aS, Basic Dress Pattern for 10-inch (25 cm) Fashion Doll A (> ¢2) ypur-or 271g Patterns © 69Basic Sleeve Pattern for Basic Sleeve Pattern for 16-inch (40 cm) Fashion Doll B 16-inch (40 cm) Fashion Doll A Fashion Doll Clothing Fashion Doll Clothing Sleeve Basic Sleeve Size: 16-inch (40 em) Size: 16-inch (40 cm) Fashion Doll B Fashion Doll A Basic Sleeve Pattern for Basic Sleeve Pattern for 10-inch (25 cm) Fashion Doll B 10-inch (25 cm) Fashion Doll A Fashion Doll Clothing Basic Sleeve Size: 10-inch (25 Fashion Doll Clothing Basic Sleeve Size: 10-inch. (25cm) cm) Fashion| Doll B 70 ® Fashion Doll ClothingBasic Dress Pattern for 22-inch (56 cm) Fashion Dolls ey LAA Fashion Doll Clothing Basic Dress Front Size: 22-inch (56 cm) Fashion Dolls Fashion Doll Clothing Basic Dress Back Size: 22-inch (56 em) Fashion Dolls te ‘Add 4 inches (10 em) Add 4 inches (10 em) v 27Basic)Sleeve Pattern for 22-inch (56 cm) Fashion Dolls Basic Sleeve for Blouse Pattern for 22-inch (56 cm) Fashion DollsBasic Blouse Pattern for 22-inch (56 cm) Fashion Dolls Fashion Doll Clothing Basic Blouse Front Size: 22-inch (56 cm) Fashion Dolls Fashion Doll Clothing Basic Blouse Back Size: 22-inch (56 em) Fashion Dolls Pattems © 73Bunpory noc uo Basic Blouse Pattern for 16-inch (40 cm) Fashion Dolls Fashion Doll Clothing 4° FBasic Blouse Pattern for 10-inch (25 cm) Fashion Dolls Fashion Doll Fashion Doll Fashion Doll Clothing Clothing Clothing Basic Blouse Basic Blouse Basic Blouse Back Sleeve Front Size: 10-inch Size: 10-inch, Size: 10-inch (25cm) em) Fashion Dolls Fashion Dolls Fashion Dolls, Basic Jacket Pattern for 10-inch (25 cm) Fashion Dolls Fashion Doll Clothing Basie Jacket Sleeve Fashion Doll Clothing Basic Jacket Clothing Basic Jacket Size: 10-inch (em) Fashion Dolls Back ize: 10-inch (em) Fashion Dolls Patterns ® 75Basic Jacket Pattern for 16-inch (40 cm) Fashion Dolls stfoc woryseg (wo op) spurot as peg srpef aise Sunpor no wowyseg stiea woryse (up oF) purr aig 76 ® Fashion Doll ClothingBasic Jacket Pattern for 22-inch (56 cm) Fashion Dolls Fashion Doll Clothing Fashion Doll Clothing Basic Jacket Basic Jacket Front Back Size: 2-inch (56 em) Size: 22-inch (56 ¢m) Fashion Dolls Fashion Dolls Patiems * 77Long Pants for 10-inch (25 cm) Fashion Dolls Fashion Doll Clothing Long Pants Front a8 Basic Jacket Sleeve for 22-inch (56 cm) Long Pants Fashion Dolls sshion DollsLong Pants for 16-inch (40 cm) Fashion Dolls Fashion Doll Clothing Long Pants: Back Size: 16-inch (40.em) Fashion Dolls Fashion Dolt Clothing Long Pants Front Size: 16-inch (40 cm) Fashion Dolls I { I 1 ! ! I { | | | ! | i | | | \ ! | | | | ' |Long Pants for 22-inch (56 cm) Fashion Dolls ‘era (uo 59) Hour FET aAwApU Dee ) vay (Wo €°¥) YoUPF/E-1J0 2atsnpur “wzayed 0} (wm £02) SMPUE PPY | I I | si}oq woryseg (w> 96) Youre :azIg pea jue 8407 1D 10 HOSA \ \ \ \ 80 ® Fashion Doll ClothingBasic Patterns for Corsages (Bodices) Basic Corsages (Bodices) for 10-inch (25 cm) Fashion Dolls Fashion Doll Clothing Basic Corsages (Bodices) Size: 10-inch (25 em) Fashion Dolls Basic Corsages (Bodices) for 16-inch (40 cm) Fashion Dolls Dotted line for 16-inch (40 cm) Fashion Doll A Fashion Doll Clothing Basic Corsages (Bodices) Size: 16-inch (40 em) Fashion Dolls Basic Corsages (Bodices) for 22-inch (56 cm) Fashion Dolls Fashion Doll Clothing Basic Corsages (Bodices) Size: 22-inch (66cm) Fashion Dolls Pattems * 81Basic Pattern for 16-inch (40cm) Fashion Doll B a showing how to add Seam i Allowances '. 1g 3 g Fashion Doll Clothing 12 Basie Dress with Seam 1£ Allowances z Front | Size: 16-inch (40 cm) fe Fashion Doll B | Fashion Doll Clothing Basic Dress with Seam Size: 16-inch (40 cm) Allowances Back Fashion Doll BDress Pattern for 16-inch (40 cm) Fashion Dolls, shown without the Dart in the Back and witha Diagonal Dart in Front Add hem allowance Patterns. © 83 ‘Add hem allowanceStraight Skirts with Front Darts Altered stiod worse, (up <2) ApuroL 9435 Huo party Hea ta unis qusrens, qeOrE SEM Bingo, eq wows stiea worsea (wo oF) ypur ar 9215 ° 3 3 | Stiog uoryseg (ap oF) WoUr-9T 29215, quony [25 pai ama. | ues pin nis my8tens |, Siem ne tons _ ploy uo ano “34045 1aHUI 84 © Fashion Doll ClothingLong Straight Skirt for 16-inch (40 cm) Fashion Dolls without Side Seam 1 1 ! ' ; Fashion Doll | Fashion Dott Fashion Doll Clothing \ 1 Clothing Clothing Long Straight Skirt Long Straight 1 Long straight 1 without Side Seam [= Skirt without | Skirt without 4 Back m Side Seam Size: 16-inch (40 cm) ' Side ' Fashion Dolls 1 Size: 16-inch 1. em Fashion Dolls ! ' ! ' ' 1 ! 1 ' | | 1 ! 1 ! \ ' \ , Me ee ee | Pattems © 85Eight Panel Skirt for 16-inch (40 cm) Fashion Doll A Coordinate with Day Dress Top, Page 107 86 © Fashion Doll ClothingSkirt with Pleats for 16-inch (40 cm) Fashion Dolls Cut here for opening, either on. the right side in the back or es i i i Patterns * 87Basic Pattern for Half-circle Skirt (One-third of waist width minus 1/8 inch (0.3 cm). Skirt length For Size 10-inch (25 em) Fashion Dolls: ‘One-third of the waist width minus 1/16 inch (:1Sem) For 16-inch (40 em) and 22-inch (56 cm) Fashion Dolls: ‘One-third of the waist width minus 1/8 inch (3 cm) a Fashion Doll Clothing Half-circle Skirt To construct a half-circle skirt, start with a 90-degree angle, measure one-third of the waist width ‘minus 1/8 inch (3 em) for 16-inch (40 cm) or 22-inch (56 cm) Fashion Dolls and one-third of the waist width minus 1/16 inch (:15 em) for 10-inch (25 em) Fashion Dolls from the corner along one line and then the skirt length from that point down the line. Circle around the starting point. 88 ® Fashion Doll ClothingWhite Day Dress for 16-inch (40 cm) Fashion Doll B For the back, use either a basic pattern with a dart or the one ‘without a dart (see page 83). Pattems © 89Light Blue Cocktail Dress for 10-inch (25 cm) Fashion Doll A. Fashion Doll Clothing Light Blue Cocktail Dress Bodice Front Size: 10-inch 3 3 8 é 2 é g 5 90 © Fashion Doll Clothingi i : Dress to Red Suit for 16-inch (40 cm) Fashion Doll B 57Black Velvet Dress for 16-inch (40 cm) Fashion Doll ABlack Velvet Dress Sleeve for 16-inch (40 cm) Fashion Doll A Black Velvet Dress, Sleeve Size: 16-inch (40 em) Fashion Doll A \ \ \ \ i Five rows of gathered taffeta ribbon, \ 5/8 inch (1.5 em) wide 3 Wedding Coat Sleeve for 16-inch (40 cm) Fashion Dolls Pattems ® 93Fashion Dolls 94 ® Fashion Doll ClothingOrganza Coat for Wedding Dress for 16-inch (40 cm) Fashion Dolls _,.- Fashion Dolt Clothing ‘Organza Coat for Wedding Dress Front Size: 16-inch (40 cm) Fashion Dolls XN Fashion Doll Clothing XN Organza Coat for Wedding Dress Back Size: 16-inch (40 cm) Fashion Dolls, Pattems © 95(40 cm) Fashion Dolls for 16-inch Wedding Dress — P19} wo amd “OH, Taq) “Add 51/2 inches (4 cm) for fll length of skirt, inlusive of 1-3/4-nch (2 em) hom 96 © Fashion Doll ClothingTeal Evening Gown for 16-inch (40 cm) Fashion Doll A Fashion Dat cting ‘Teal Evening Gown Fashion Doll Clothing Skirt Teal Evening Gown, Size: 16-inch (40 cm) Skirt Fashion Doll A Size: 16-inch (40 cm) Fashion Doll ATeal Evening Gown Sleeve for 16-inch (40 cm) Fashion Doll A 98 ® Fashion Doll ClothingDay Dress Top for 22-inch (56 cm) Fashion Dolls = Bodice Front Size: 22-inch (66cm) Fashion Dolls, I Fashion Doll Clothing Day Dress TopLight Blue Dance Dress for 10-inch (25 cm) Fashion Doll B Fashion Doll Clothing Light Blue Dance Dress Upper Ruffle Size: 10-inch (25 cm) Fasition Doll Clothing Fashion Doll Clothing Light Blue Dance Dress Light Blue Dance Dress Bodice Back Bodice Front Size: 10-inch (25 em) Size: 10-inch (25 em) Fashion Doll B Fashion Doll B ‘Add 15 inches (38.1 cm) for full-length ruffles Light Blue Dance Dress Lower Ruffle Size: 10-inch (25 cm) it | | | atone cote ‘ | Fashion Doll B | | Fashion Doll Clothing re Fashion Doll Clothing Light Bla Dance Doss Light Blue Dance Dres Sint Yoke Font ati Yote Size TOsneh 25cm) :1.nch (25cm) Fashion Doll B- Fashion Doll B ‘Attach the wider ruffie to the lower edge of the skirt yoke piece and the ‘upper ruffle between the bodice and the upper edge of the skirt yoke. 100 ® Fashion Doll ClothingBlue Dance Dress for 16-inch (40 cm) Fashion Doll B g § i 2 8 zg ‘Top skirt ruffle: 3-1/2 inches (9 cm) by 24 inches (61 em) Bottom skirt ruffle: 4-1/4 inches (11 cm) by 24 inches (61 em) Pattems ® 101t 5 102 © Fashion Doll Clothing Black Dress for 16-inch (40 cm) Fashion Doll BBeige Blouse for 10-inch (25 cm) Fashion Doll B Ploy wo no "eq Jane Fashion Doll Fashion Dott Fashion Doll Clothing Clothing Clothing Clothing Beige Blouse Beige Blouse Beige Blouse Beige Blouse ‘Back Front Front Side Back Side Size: 10-inch, Size: 10-inch Size: 10-inch Size: 10-inch. (25cm) (25cm) (25m) (25cm) Fashion Doll B Fashion Doll B Fashion Doll B Fashion Doll B Pattems © 103Rust Afternoon Dress for 10-inch (25 cm) Fashion Doll B Fashrion Doll Clothing \ Rust Afternoon Dress Front with Drape \ Size: 10-inch (25 cm) \ Fashion Doll B For the back, use a basic pattern with or without a dart inthe back (see pages 69 and 84). 104 ® Fashion Doll ClothingYellow Afternoon Dress for 16-inch (40 cm) Fashion Doll B For the back, use either a basic pattern with a dart or the one without a dart (Gee pages 67, 68 and 83). Patterns ® 105Summer Dress for 10-inch (25 cm) Fashion Doll B Fashion Doll Clothing ie 2 ‘Summer Dress & Bodice Front BE Fashion Doll Clothing Size: Winch (25 em) i Summer Dress Fashion Doll B 5 Belt Size: 10-inch (25 cm) Fashion Doll B Ball Gown for 10-inch (25 cm) Fashion Doll A Gather and bind with bias band to a length of inch (25 em). Leave seam allowance on both sides to attach to the décolleté line. 3 i: | & Fashion Doll Clothing Bodice Front Size: 10-inch (25 cm) Fashion Doll A Fashion Doll Clothing Ball Gown Bodice Back Size: 10-inch (25 cm) Fashion Doll A 106 Fashion Doll Clothing4 ! I 1 t ! ! Day Dress Top for 16-inch (40 cm) Fashion Doll A Coordinate with Eight Panel Skirt, Page 86 ay Dress Top Bodice Back ‘Size: 16-inch (40 cm) Fashion Doll A E Fashion Doll Clothing \ a} Fashion Doll Clothing Day Dress Top Bodice Front Size: 16-inch (40 em) Fashion Doll A Joy wo yn “quosy rayUa>, Patterns * 107Black Dress for 10-inch (25 cm) Fashion Doll A Lining attached to skirt Be ae uu i g : i 108 ® Fashion Doll Clothing N N) \ \ NSummer Dress for 16-inch (40 cm) Fashion Doll A — © shin Dl Cong ‘Summer Dress \ Bodice Front | Size: 16-inch (40 em) \)_ Fashion Doll A L.-J a — V Fasiion Doll Clothing Summer Dees Bodice Back \ Size: 16-inch (40 cm) Fashion Doll A Center back, cut on fold Fashion Doll Clothing ‘Summer Dress Sash Size: 16-inch (40 em) Fashion Doll A \ | t 1 \ 1 1 1] Add 8 inches (20 em) to the length of the sashDraped Silk Dress for 10-inch (25 cm) Fashion Doll B 110 © Fashion Doll ClothingRed Ball Gown for 16-inch (40 cm) Fashion Doll B risk, t 1 Fashion Doll Clothing Red Ball Gown Collar ‘Size: 16-inch (40 cm)Sundress for 16-inch (40 cm) Fashion Doll A ‘Add 2 inches (5 em) 112 @ Fashion Doll ClothingGreen and White Summer Dress for 10-inch (25 cm) Fashion Doll A t Center back, cut on fold 2 a] g i i § Fashion Doll Clothing Green and White Summer Dress Bodice Front Size: 10-inch (25 em) Fashion Doll A Beach Suit for 16-inch (40 cm) Fashion Doll B Fashion Doll Clothing Beach Suit Bodice Front Size: 16-inch (40 em) Fashion Doll B Basically, this is the same pattern, only in different sizes and, as you will see, one is done over the dress pattern and the other over the corsage (bodice) pattern. To ensure it fits tightly about the bust, you have to fold the pattern from the bust point upwards when using the dress pattern. Pattems © 113Beach Suit Pants for 16-inch (40 cm) Fashion Doll B ‘Top is cut off for lower waistline of bodice Fashion Doll Clothing \ Beach Suit Pants Pocket (sew to Pants Front) ! 1 Size: 16-inch (40 em) \, Fashion Doll By 1 ' ' 1 1 1 ' Fashion Doll Cothing Beach Suit Pants Pocket (Inner Pocket) Size: 16-inch (40 cm) | *h I ' ! ' Fashion Doll B Basic pattem is cut for shorter length 114 ® Fashion Doll ClothingBeach Suit Pants for 16-inch (40 cm) Fashion Doll B ‘Top is cut off for lower waistline of bodice Basic pattern is cut for shorter length Pattems ® 115Evening Outfit Dress Top for 22-inch (56 cm) Fashion Dolls ‘Center front, cut on fold 116 ® Fashion Doll ClothingBall Gown for 10-inch (25 cm) Fashion Doll B Fashion Doll Clothing Ball Gown Skirt Back Size: 10-inch (25 em) Fashion Doll B ~ XK Fashion Doll Clothing Ball Gown Skirt Front Size: 10-inch (25 em) Fashion Doll B Center front, cut on fold ee ee Pattems © 117Evening Ensemble Blouse for 16-inch (40 cm) Fashion Doll A ‘Two ties are cut 2 inches (5 em) by 9 inches (23 em) 118 ® Fashion Doll ClothingWhite Tunic for 10-inch (25 cm) Fashion Doll A ‘yitod woryseg (up ¢z) ypuror 71s, oped oun aA ‘|, Suppor tog Howse Ville woryseg 1 (a9 ez) your-or 215 1 su0uy run, aM ‘ Suanpord ited worsog a 1) i Center front, cut on fold. Blue Blouse for 10-inch (25 cm) Fashion Doll A _ Yea voryseg (wo <) vou g1 924Blue Blouse Sleeve for 10-inch White Tunic Sleeve for 10-inch (25 cm) Fashion Doll A (25 cm) Fashion Doll A Fashion Doll Clothing Blue Blouse Back Facing, Size: 10-inch 25 em) Fashion Doll A Facing for Front and Back of Blue Blouse for 10-inch (25 cm) Fashion Doll A 120 ® Fashion Doll ClothingPants with Wide Legs for 10-inch (25 cm) Fashion Doll A Pattems ® 121Dress with Big White Collar for 16-inch (40 cm) Fashion Doll A 122 ® Fashion Doll ClothingDress with Big White Collar for 16-inch (40 cm) Fashion Doll A 2 § g i & Pattems © 123Shirt Dress for 16-inch (40 cm) \ a. Center back, cut on fold Le ‘Add 4 inches (10 cm), inclusive of 1-3/4-inch (2 em) hem Add 4 inches (10 cm), inclusive of 1.3/4-inch (2.em) hem pocccc cece * x / \ TT Fuation Dal Coting \ Shirt Dress, \ a Collar Size: 16-inch (40 em) Fashion Doll B a) 124 ® Fashion Doll ClothingShort Sleeve for Shirt Dress for 16-inch (40 cm) Fashion Doll B Pattems ® 125T ewes | Fashion Doll Clothing 1 quoquowses | 1 (a oF) our-gr sazig T 1) Perera | <= pjoy uo yn> “eq A9}UaD wpefumog 4 Sumpor nea wens Sa Brown Jacket for 16-inch (40 cm) Fashion Doll B i Sumpyor jjoq wowysyy \ 126 ® Fashion Doll ClothingBrown Jacket for 16-inch (40 cm) Fashion Doll B apa uowsey (wo oy) wurstoag | Pattems © 127Green Short Coat for 16-inch (40 cm) Fashion Doll A Fashion Doll Clothing Green Short Coat Front Size: 16-inch (40 cm) Fashion Doll A. 4 | ! | | ' ' 1 1 | ! ' | | ! 1 1 128 © Fashion Doll ClothingGreen Short Coat for 16-inch (40 cm) Fashion Doll A Extension for more fullness in the back Fashion Doll Clothing 2 Green Short Coat = Sleeve 5 - Size: 16inch (40 em) 3 \ Fashion Doll A a Fashion Doll Clothing 7 Green Short Coat = ‘Bodice Back z Size: Winch Oem) E Fashion Doll A Center back, cut oF — r ' \ Fashion Doll Clothing ( i Green Short Coat Back | 1 Size: 16-inch (40 em) I 1 Fashion Doll A \ ' { .« £2) bt oA Ss. 1 | Patterns © 129Ploy to yn> 498g sOVUD Fashion Doll Clothing Winter Coat Back Size: 10-inch (25 em) Fashion Doll B Winter Coat for 10-inch (25 cm) Fashion Doll B SS Fashion Doll Clothing , Winter Coat Shawl Size: 104nch (25 em) Fashion Doll B ‘Add 7 inches (18 cm) to the length of the shawl *& Join to left front of coat. 18 ry I 130 © Fashion Doll ClothingShort Coat for 16-inch (40 cm) Fashion Doll A Fashion Doll Clothing Short Coat Back Size: 16-inch (40 cm) Fashion Doll A Extra allowance to guarantee proper closure of coat Center back, cut on fold Add 3 inches ‘Add 3 inches (7:5 em)Short Coat Back with Extra Width Added for 16-inch (40 cm) Fashion Doll A (wo 1p) seuput 8/S-t PP ‘Center back, cut on fold 132 ® Fashion Doll ClothingShort Coat Front with Extra Width and Front Facing Added for 16-inch (40 cm) Fashion Doll A Neckline is gathered and bound with a bias band to. finished length of 5 inches (127 em) from ‘one front to the other. Pattems © 133 Add 2-1/4 inches (6.6 cm) to finish sleeve Add 1/4-inch (0.6 cm) to finish sleeveCoat for 22-inch (56 cm) Fashion Dolls ‘Add 9 inches (23 cm), inclusive of 1-inch (2.5 em) hem‘Way (WI ¢Z) YOUEL Jo aassnpout “(WD ¢Z) SAHPUI 6 PPV g 5 i Fashion Dolls Coat for 22-inch (56 cm)Beaded Jacket for 10-inch (25 cm) Fashion Doll A Fashion Dell Clothing Beaded Jacket | Back ‘Size: 10-inch (25 cm), Fashion Doll A Rust Jacket Back Size: 10-inch (25, |cm) Fashion Doll B Fashion Doll Clothing Rust Jacket Sleeve Size: 10-inch (25 cm) Fashion Doll B Fashion Doll Clothing Beaded Jacket Sleeve (Dotted lines) Size: 10-inch (25 em) Fashion Doll A 136 ® Fashion Doll ClothingChanel Jacket for 16-inch (40 cm) Fashion Doll A Fashion Doll Clothing No seam allowance needed front, hem and ashi Doll Clothins a 2 Fashion Doll Clothing Chanel Jacket Front oa Size: 16-inch (40 cm) “Tashion Dolla Sie: sch (0 cm) Fashion Doll A Fashion Doll} Clothing Chane! Jacket Front Side Size: 16-inch (40.cm) Fashion Doll AEvening Jacket for 22-inch (56 cm) Fashion Dolls 138 © Fashion Doll ClothingEvening Jacket Sleeve for 22-inch (56 cm) Fashion Dolls Pattems * 139Fashion Doll Clothing Black Coat Front Middle with Shown. Size: 16-inch (40 cm) Fashion Doll B ‘Add 1-1/2 inches, (em), inclusive of 13/4-inch em) hem 140 ® Fashion Doll Clothing Fashion Doll Clothing Black Coat FrontSide Panel Size: Veinch (40 em) Fashion Doll B \ 4009 jo a1nsojp sodosd anquesen® oy aouenoqje ex, Black Coat for 16-inch (40 cm) Fashion Doll B‘Add 4 inches (10 cm), inclusive of 1-3/4-inch (2.¢m) hem Fashion Doll Clothing Black Coat Collar Size: 16-inch (40 cm) Fashion Doll B 16-inch (40 cm) Fashion Doll BBlue and Green Spencer Jacket for 16-inch (40 cm) Fashion Doll B Fashion Dol! Clothing Blue and Green Spencer Jacket Application for the Front Yoke Size: 16-inch (40 cm) Fashion Doll B 142 ® Fashion Doll Clothinguwoaip pue ong Suamord ne woxseg Fashion Doll B Patems ® 143 Blue and Green Spencer Jacket for 16-inch (40 cm) ied worse (ua OF) YPUTST 2715, ‘A2015, pel saouadg waar pur any Biayorp iyo woupseg 1 [10d uoRysey ~“ (ao oF) wuror 9215 / ‘anaoyg ay} 103 uoneanddy raype{ zouiads woai5 puw ang / Bungoiy ned wonysogAbout the Author ‘A German national, Rosemarie (Meyer) lonker was born in 1939 in Spremberg, Eastern Germany. She grew up in Cologne and Hamburg. After completing high school, she attended art school in Cologne and then the Hamburg Institute of Fashion, from which she received a mas- ter's degree in dressmaking, After graduation, she ran her own "salon and held fashion shows in a number of German cities, including Berlin and Hamburg. She was also an independent designer for garment production houses. In 1965, after her marriage, Mrs. lonker moved to Asia to join her husband, who was working for the Singer Company. The couple lived in Taiwan, Hong Kong, Indonesia and Singapore. While in Hong, Kong, she started a children’s fashion workshop, selling her creations there and expanding her market into Singapore and South Africa, Later, while living in Inclonesia, Mrs. lonker added dolls! dresses, primarily smocked and embroidered models for collectors’ dolls, to her stock. This enterprise was begun as a social project to teach sewing, smocking and embroidery work to young women who were often sec- ond or third wives (Indonesia is primarily a Muslim country, and men e) When Mrs, fonker's father offered to take to Germany samples of of Muslim faith are allowed to have more than one w the dolls’ dresses the women were making, she decided to turn the project into a business under the name of "Petites Creations.” What began asa small workshop had grown toa sizable business by the time she returned to Europe in 1987, She lived first in Switzerland and final- ly settled in Germany (Over the past twenty years, Mrs. Jonker has gained much experi~ cence in making fashions for dolls. She has created outfits for dolls by some of the world’s top artists, and has addled hats, shoes, luggage and other accessories to her Petites Creations line of doll fashions. She also has raised three children, who now e in such diverse places as Bali and Germany Mrs. lonker’s know-how in making fashions for mi up to children's sizes is extensive. Her strong background in the histo- ry of clothing as well as fashion and her love of handwork, especially smocking and embroidery, are very apparent in her designs. It is that background in dressmaking, fashion designing and modeling that gave her the impetus to create this book. She is also the author of A Closetful of Doll Clothes, Fashions for Small Dolls and Dressing Dolls with Rosemarie lonker. 144 ® Fashion Doll ClFashion Doll Clothing Rosemarie Ionker In her fourth book, the acclaimed doll-clothing designer turns her creative hand to dressing today's popular fashion dolls. Drawing on her background a ion designer in the early 1960s, Mrs. lonker has ereated a collection of patterns reflecting the prét-a-porter styles of those times, which are now viewed as cla sies of fashion design, The patterns featured are sized to fit a range of dolls, from / 10-inch models like the Alexander Doll Company's Coquette Jacqui to the Tonner * Doll Company's 22-inch American Models, and including 16-inch Tyler ‘Wentworth and Alex Fairchild Ford and all their friends. Following Mrs, lonker’s expert guidance, readers will be able to create an entire wardrobe, from practical dresses for daily wear to elegant ensembles for afternoon cocktails to glamorous evening wear. The author encourages sean stresses to adapt the basie patterns presented in the book into their own original designs, thus one-of-a-kind collection for their lucky fashion dolls. Rosemarie Jonker, author of Dressing Dolls with Rosemarie lonker, Fashions for Small Dolls and A Coserful of Doll Clothes, is well-known for hher exquisite doll clothing, which has been seen on the creations of many celebrated dollmakers. In the mid- 1980s, she founded the doll-clothing company, Petite Creations, which has gained international recogni- ion for its highly detailed designs and accessories. Bor in Germany, Mrs. lonker studied art in Cologne and earned a master’s degree in dress- making from the Institute of Fashion in Hamburg. She has spent more than three decades in the fashion world, designing and creating clothing for children as well as dolls. SBN 1-932485-38-2 $24.95 Reveri? PUBLISHING COMPANY waitin =