Most people will at first find buttonholes very difficult to make. With practice, however, you will gain proficiency and it will become almost second nature. The best way to learn is by having somebody teach you. However, finding a skilled tailor willing to teach you is not always the easiest thing to do. I have created several videos and documented each step in order to try to take the place of a personal tutor. At the very least, you will not have to go searching through old books to pick up hints here and there.

Layout

To begin with, the buttonholes must be marked out on the jacket. The bottom buttonhole location should be marked first, and in the case of a frock coat, should be in the waist seam. The top buttonhole should then be marked, according to your desired style. In my case, an enlisted frock coat, the top buttonhole will be placed ½” from the neck point.

Using a tape measure or bendable ruler, measure the distance from the top buttonhole to the bottom, running a half inch away from the front edge of the coat. Determine the number of buttonholes you want, and subtract one from that number, equivalent to the number of spaces between buttonholes. In my case, there are nine buttonholes, and eight spaces.

Starting at the top, place your tailor’s square with the divisional side up, so that the top buttonhole to bottom buttonhole measurement corresponds with the number of spaces between. In my example, the top to bottom measurement was 16 inches, and I want it divided into 8 spaces between. This happens to be the nice round number of 2, but with other measurements, it can easily be more complicated, hence using the tailor’s square.

Mark off on the edge of the coat each buttonhole mark according to the ruler. Be sure to take the width of the chalk marks into account. If you forget, go back and adjust, as I had to do in this case. You will discover this problem when you get to the second from bottom buttonhole, and discover there is a smaller interval between them.

Next, draw lines square from the edge of the cloth corresponding with each buttonhole mark. These need to be at right angles with the cloth, and not parallel with each other, as the front of the coat has a curve to it.

Mark ½ inch from the edge at each buttonhole, marking the outer edge of the buttonhole. For the inner edge of each buttonhole, mark a line 1/8 inch larger than the width of the button.

On the waist seam buttonhole, you obviously don’t need to mark the placement horizontally, just the end points.

Basting

While there may be basting stitches still holding the canvas and facing in place, you need to ensure that there is absolutely no movement when cutting the holes. Using basting thread, baste around each buttonhole as shown, using a padding type stitch. The needle is inserted right to left, and you stitch in this same direction both towards and away from you.

On the waist seam buttonhole, you want to make sure the seam does not come apart when you cut into it. On both ends of the buttonhole, just beyond the chalk marks, make a small bartack by taking five or so stitches in places, catching both the forepart and skirt.

Cutting the Holes

There are several tools used in cutting a tear-dropped shaped buttonhole. First, you need a sturdy surface, such as a work bench, in order to have a place to hammer. On top of that, place a scrap of lumber, preferably beech as it lacks oils and resin that could stain the cloth.

To cut the buttonholes, I use a hollow punch to cut the eyelet area. These are available at most hardware stores for less than five dollars, and are hollow, so as to cut the fabric instead of just pushing it aside, like an awl. I recommend a size 1/8 or 3/16 in diameter.

Ideally, your chisel will be the same size as the desired buttonhole length. If it’s smaller, it will still work, but you’ll need to carefully align each cut, which is prone to error.

Finally, a small hammer is used to hammer the hollow punch and chisel through the cloth. I happen to have a small antique hammer that works well. Much larger and it becomes difficult to control, especially with such a low tolerance for error.

Place the hollow punch directly on the intersection of the horizontal and outer construction lines. Hold it near the bottom if you can, for better leverage and preventing movement. Give it a few strokes with the hammer, cutting through to the wood underneath. You should have a clean cut. If there is any fabric that did not get cut, you need to sharpen your punch. You can also rotate it in the hole to move the dull spot out of the way.

After punching each hole, take your chisel, and line it up with the center of the hole, which should be on the chalkline. I like to do this by feel first, by dragging the tip of the chisel along the hole until you feel it get to the center. Then check with your eyes for alignment. When you are sure it is lined up, cut through the fabric with the chisel. If you need to make more cuts because of a small chisel, do not pick the chisel up. Instead drag it over following the cut you just made. The second cut should be made with just half to three fourths of the blade, while the rest is still over the cut you just made. In this way, you can help ensure the individual cuts line up to make a straight line.

Trimming the holes

After the buttonhole are cut, you need to trim the little triangular shaped pieces from near the eyelet, giving each hole a nice tear-dropped shape. Use some small, sharp scissors for this task. You may have to trim through one layer at a time, depending on the thickness of the cloth.

Here is a video covering all of the steps thus far.

The Tailored Buttonhole, Part 1 from James Williams on Vimeo.

Overcasting

Now you must overcast the edge of each buttonhole with a whip stitch. The stitches should be about 1/16” in depth if you can. This however will depend on whether or not the fabric frays. Start by holding the coat with the tear-dropped end facing away from you, and sew clockwise around the buttonhole. The purpose of these stitches is to bind the layers together. As you are sewing, try to push any canvas or linen that shows back under the wool outer layers,so that they are hidden.

The stitches should be fairly dense, about 12 to 15 per inch. Use your regular sewing thread for this stage. When finished, the stitches should be enough to strengthen the buttonhole and prevent fraying, making the actual button stitch almost decorative in nature. On one of my antique coats, the actual buttonhole twist has long worn away, but the overcast stitches remain, protecting the hole to this day.

Four Cord or Gimp

In order to prevent the buttonhole from stretching out of shape, and to provide firmness to the buttonhole, a thick strand of special silk thread called gimp will need to be placed underneath the buttonhole stitches.

There are a couple of producers of this gimp out there still, but I use one in particular called Agreman gimp, which is made by Gutermann. As far as I know, it is only produced in Spain. It is made with filaments of silk, which are then bound by another layer of silk thread, making it very strong and stiff. Other gimps I have seen have contained or been made with polyester thread, so I have avoided them.

If you do not wish to use this type of gimp, it is possible to make your own, using a strand of silk buttonhole twist. Cut a length about 18 inches long, and double it. Secure the ends by weighing it down, taping it, or with your teeth. Begin twisting the thread around itself, stopping just before the point when it begins to form little tension knots.

Take both ends in your hands, being careful to not let the ends untwist, and join them together. You’ll see both halves (really quarters) of the doubled thread begin to twist over each other. Help them along by smoothing the pieces together with your hands. When you are happy with the results, form a knot at the end where the cut ends are, securing the four-cord.

Now wax the four-cord by passing it over beeswax four or five times. Place it between a folded sheet of paper, and press, melting the wax into the threads. The four-cord is now complete. Repeat this process for each buttonhole. Here is the finished four-cord compared to the Agreman. Note how they are both fairly stiff.

The Tailored Buttonhole, Part 2 from James Williams on Vimeo.

The Buttonhole Stitch

A proper buttonhole should be made with silk buttonhole twist. The twist is thicker than normal thread, and will aid in the formation of the purls. I’ve seen two sizes generally available. Size F is very thick, although that makes it easier to work with. Gutermann makes a thinner buttonhole twist which is closer to original buttonholes I have seen. Being thinner makes it harder to work with, however.

Cut a length about one yard long for a one inch buttonhole. Wax and press the thread, and knot one end. Holding the edge of the coat with the buttonholes away from you, insert the needle between the layers of wool, at the left bottom edge of the buttonhole. This will allow you to hide the knot inside. Poke the needle out 1/16 to 1/8 away from the edge, but do not take it out completely at this time. The length of the buttonhole stitch depends entirely on the fabric used. Each coat will be different, so you really need to experiment. If the thread is too close to the edge, it can pull out, especially on easily-frayed fabrics. If it is too far from the edge, you will see puckering and have a generally messy buttonhole.

With the needle still poking out of the wool, take the doubled threads that come from the eye of the needle, and pass them under the needle to the left, forming a loop. Then draw up the thread so that there is about a ¼ inch of slack in the stitch.

At this time, insert the buttonhole gimp between the threads, so that it lays on top of the fabric. If using four-cord, the knotted end should be placed away from you. Draw the stitch firm, moving the thread side to side to lock the stitches. The stitches need to be firm, but not tight. By forming the stitch in this manner, you create a double purl, rather than the single purl commonly done by home sewers. The benefit of this is a stronger stitch, and one that will stay in place longer, even if a stitch happens to break someday.

The purl should be placed either directly on top of the gimp, or slightly to the inner edge. The first method raised the stitches, giving a very firm buttonhole. The latter makes the buttonhole a bit softer, with a lower profile. Again, experiment and see which you like best.

Continue working each stitch in the same manner across the lower edge of the buttonhole, making sure they are spaced evenly both in depth and proximity. Each stitch needs to be taken over the gimp, holding it in place. The spacing between stitches should be close enough that the purls touch, but not so tight that they interfere with each other.

After you’ve made about five stitches, carefully pull the gimp so that the end lies flush with the first stitch of the buttonhole.

When you get to the tear-dropped area, the purls need to gradually be placed directly on top of the gimp, to make room for more stitches in the tightly curved area. The stitches can also be made slightly deeper, if desired.

Continue on to the upper half of the buttonhole, turning the coat as you work. Make sure that the stitches are made similarly to the lower half, as it’s easy to space them slightly differently if you aren’t careful. When you get to the second to last stitch, carefully trim the gimp flush, then make one last stitch.

Bar Tack

Bring the thread up as if you were going to make another stitch, but instead, make a bar tack across the end. This is done by taking three stitches across the end of the buttonhole. These should be the same width as the buttonhole, or slightly smaller, for a neat appearance. Bring the thread out to the right side as if you were going to make a fourth stitch, but instead, insert the needle under the three stitches, wrapping the thread around. This should be done across the entire length of the bartack, and if desired, you can make a single perl for each by bringing the single end of the thread under the needle, as per a blanket stitch.

Finishing

Pass the thread to the bottom, and insert the needle underneath the buttonhole stitches three times in alternating directions. This will finish the buttonhole without unsightly knots or stitches.

Basting Closed

At this point, the buttonhole is completed and should be basted closed to prevent it opening or stretching out of shape during the final pressing. All other prior basting stitches can be removed, however.

Practice Makes Perfect

Buttonholes must be practiced on scraps before you try them on an actual garment. If you cut two pieces of wool and a piece of canvas 18 x 6 inches, you can baste them together and practices buttonholes up and down both sides. The hardest part of making a buttonhole is learning the best practices, which is either through trial and error, or from somebody showing you how. I had to make over four hundred buttonholes to get to this level. At the same time, I was able to teach someone to get to the same quality with only a couple of tries. Hopefully this tutorial will help you reach that level as well.

If you enjoyed this tutorial, please check out my online tailoring workshops. Thanks!

Some Originals

Here are a few original buttonholes for you to compare yours with.

I sat down and tried to make sense of the instructions, following the crude illustrations. Somehow, I managed to cut out the fabric and sew the pieces together. Having no idea what I was doing, the coat was made with no pleats or tail pockets, had side pockets on the skirt, a very flimsy interlining, and was ‘bag lined’, meaning the lining was sewn to the body right sides together, and simply turned. The collar was pad stitched, but with my lack of experience, had no actual affect on the collar, which remained limp and poorly pressed. After the coat was finished, a friend took a look at it and said “You should take the sides in a few inches”. Having no concept of period fit, I had made the coat several sizes too large .

Having realized that coat was a disaster, I took it upon myself to learn more about period tailoring techniques. I learned to draft my own patterns from Devere’s Handbook of Practical Cutting, and worked on perfecting my tailoring skills. Along the way, I’ve spent thousands of hours researching, from old tailoring manuals, to studying original garments, to experimenting with my own work. I remember thinking along the way “Oh, what I wouldn’t give to have this information all in one place”.

Civilian Frock Workshop

Being at the point where I am fairly skilled in period tailoring (there is always more to learn), I’d like to share the information I have learned over the years with you and spare you some of the trouble that I went through. Beginning January 2, 2012, I will be offering a 16 week civilian frock coat workshop, based online. In this workshop you will learn how to draft and construct a very accurate, tailored civilian frock coat – fully lined and properly quilted, all from the comfort of your own home. I will be posting information in both HTML format for easy viewing, and high quality PDF format for printing out, and offering support online via a message board or email. This is a format that is working well for the workshop I am  currently running on creating an Enlisted Frock Coat.

I will be opening up registration this Friday, November 25, with much more information to come then, and a special discount for that one day only. Stay tuned and please share with your friends!

Not satisfied with the sack-like quality of many of the reproductions on the market today?

I am pleased to announce a home-study course on how to tailor one of these fine garments yourself. The course is completely self-paced, and you will receive a new module weekly over a period of twelve weeks in your email inbox. The course is taught via printable PDF instructions, video examples, and a message board for answering your questions. At the end of these twelve weeks, you will have in your possession an article of clothing that you will cherish the rest of your life.

The Federal Enlisted Frock Coat is often regarded as being mysterious and complicated to construct. Through my step by step guide, complete with detailed drawings and descriptions, we will unlock these mysteries and other secrets of the tailoring trade.

Why am I running this workshop?

Over the past three years I have created over 25 individual frock coats, all custom made for each person. During construction of each, I have kept notes on what I have learned each time, and have striven to make each coat better than the last. I hope to pass that knowledge on to you before it is lost forever. By learning this knowledge, you will help improve the accuracy of your portrayal. Tailoring is also becoming a lost art, and I hope to keep it alive through helping to teach others.

Here is a brief overview on what you will learn during the 12 week course.

What is Included

When you sign up you will receive Module One, containing a PDF with the following information:

• Welcome
  
• About the Author
• Drafting Supplies – What you need to start drafting your own custom pattern.
  
• Fabrics – Lists and descriptions of every fabric you will need, and where to get them.
  
• Trimmings – We’ll talk about threads, piping, and other miscellaneous trimmings you’ll need.
  
• Tools and Equipment – Tools that will make your tailoring that much easier.
  
• Measurements – A guide to taking all the proper measurements.

Also included in Module One are an Excel and Open Office spreadsheet, where you will enter your measurements. The points are then automatically calculated for when you start drafting. Very useful for other civilian coat drafts as well!

A detailed shopping list for you to check off each item as you obtain it.

Module 2 – Drafting

• Learn to draft an accurate Frock coat using Devere’s system.
• Get a complete set of Graduated Rulers, ready to print out.
• Learn how to draft a close fitting wrapper.

Module Three – Fitting

• All fitting issues will be addressed.
• Balance.
• Fit of the armscye and other key areas.
• Complete the draft with a skirt, collar, and sleeves.
• Final Mockup

Module Four – Cutting

• Striking – How to properly lay out your patterns on the cloth.
• Inlays – Using inlays to perfect the fit of your coat.
• Canvas – Cut a proper canvas to give that period shape to your coat.
• London Shrink – Preparing your fabric for sewing.
• Lining and Interlining – Learn about the innards of a Federal Enlisted Frock Coat.

Module Five – Skeleton Baste

• Ironwork
• Basting the coat together
• Your first fitting in wool

Module Six – Assembling the Coat

• Sewing the body together
  

  

• Interior Tail Pockets – Assembly and Drafting
• Inserting the Canvas and it’s preparation.
• How to properly assemble the skirt
• Drafting a sleeve of the 1860s
• Assembling the Lining
• Quilting the Lining
• Forward Fitting – Perfecting any remaining areas

Module 7 – Final Finishing

• Sleeves
• Cuffs
• Facing
• Finishing the Collar
• Buttonholes
• Final Pressing

You’ll be able to post photographs of your updates to a private forum just for this class, and get critiques and helpful hints there, as well.

Register Today!

Upon registration you’ll receive the first module containing an 18 page guide to taking measurements and description of needed supplies, as well as a spreadsheet for writing the measurements down (and useful for drafting), and a shopping list. Further modules will be sent each week. Sign up by clicking the button below!

You will be able to sit without fear of losing another suspender button. Your trousers will be at the correct height. And they will look better, on top of all that.

An Introductory Guide to 19th Century Trouser Drafting

I am offering a free beginner’s guide to drafting 19th century trousers. All you have to do is sign up for my mailing list on the right, and the ebook will be sent right to your inbox.

Included are a set of graduated rulers, measurement and drafting spreadsheet, and of course the 21 page manual containing step-by-step instructions on drafting a mid-19th century trouser. Get it today!

Not satisfied with the sack-like quality of many of the reproductions on the market today?

I am pleased to announce a workshop on how to tailor one of these fine garments yourself. The workshop will be spread over  a period of twelve weeks, and will be conducted online, through printable PDF instructions, a message board for more personal attention, and video. At the end of these twelve weeks, you will have in your possession an article of clothing that you will cherish the rest of your life.

The Federal Enlisted Frock Coat is often regarded as being mysterious and complicated to construct. Through my step by step guide, complete with detailed drawings and descriptions, we will unlock these mysteries and other secrets of the tailoring trade.

Why am I running this workshop?

Over the past three years I have created over 25 individual frock coats, all custom made for each person. During construction of each, I have kept notes on what I have learned each time, and have striven to make each coat better than the last. I hope to pass that knowledge on to you before it is lost forever. By learning this knowledge, you will help improve the accuracy of your portrayal.

Here is a brief overview on what you will learn during the 12 week course.

When you sign up you will receive Module One, containing a PDF with the following information:

• Welcome
  
• About the Author
• Drafting Supplies – What you need to start drafting your own custom pattern.
  
• Fabrics – Lists and descriptions of every fabric you will need, and where to get them.
  
• Trimmings – We’ll talk about threads, piping, and other miscellaneous trimmings you’ll need.
  
• Tools and Equipment – Tools that will make your tailoring that much easier.
  
• Measurements – A guide to taking all the proper measurements.

Also included in Module One are an Excel and Open Office spreadsheet, where you will enter your measurements. The points are then automatically calculated for when you start drafting. Very useful for other clothing as well!

A detailed shopping list for you to check off each item as you obtain it.

Module 2 – Drafting

• Learn to draft an accurate Frock coat using Devere’s system.
• Get a complete set of Graduated Rulers, ready to print out.
• Learn how to draft a close fitting wrapper.

Module Three – Fitting

• All fitting issues will be addressed.
• Balance.
• Fit of the armscye and other key areas.
• Complete the draft with a skirt, collar, and sleeves.
• Final Mockup

Module Four – Cutting

• Striking – How to properly lay out your patterns on the cloth.
• Inlays – Using inlays to perfect the fit of your coat.
• Canvas – Cut a proper canvas to give that period shape to your coat.
• London Shrink – Preparing your fabric for sewing.
• Lining and Interlining – Learn about the innards of a Federal Enlisted Frock Coat.

Module Five – Skeleton Baste

• Ironwork
• Basting the coat together
• Your first fitting in wool

Module Six – Assembling the Coat

• Sewing the body together
• Interior Tail Pockets – Assembly and Drafting
• Inserting the Canvas and it’s preparation.
• How to properly assemble the skirt
• Drafting a sleeve of the 1860s
• Assembling the Lining
• Quilting the Lining
• Forward Fitting – Perfecting any remaining areas

Module 7 – Final Finishing

• Sleeves
• Cuffs
• Facing
• Finishing the Collar
• Buttonholes
• Final Pressing

Along the way we’ll also take a look at photos of original garments. You’ll be able to post photographs of your updates to a private forum just for this class, and get critiques and helpful hints there, as well.

Registration is closed

Registration is now closed for this workshop. Sign up for my newsletter to be the first to know when this will be offered again!

A Quick Study of Period Trousers

To begin with, let’s take a look at a few photographs from the period. By studying original garments you can get idea for the way they were worn, constructed, and fit.

In the first photograph, notice how the waistbands of the trousers are all covered by the waistcoats. I particularly like the lighter-coloured trousers, as they lend a certain contrast and interest to the rest of his ensemble.

.

Here I included what appears to be two enlisted men, due to the nice view of the trousers and waistcoat. As you can see, they are fairly baggy, as was the style during the 1860s.

In the following photo, you can see a hideous example of a frock coat on the left. He seems to have something very bulky in his pocket. Combined that with being too tight across the chest, it looks very sloppy. It was most likely not made for him. The waistcoat peeking out beneath the coat looks much nicer, however, and again note that it covers the waistband of the trousers. The gentleman on the right is wearing fairly baggy clothing. Look at those huge lapels! But no hint of a shirt in the waist area.

Here is a gentleman wearing a silk shawl-collared waistcoat, again covering the tops of the trousers. Waistcoats were cut a little longer than natural waist, while trousers were cut right up to the natural waist.

This man’s vest is almost entirely unbuttoned. Nice fit of the trousers, and note the curved corners on the waistcoat front. You can still stylize without compromising fit.

Check out the fabric on these matching trousers and waistcoats. Very unusual! It looks almost like a tweed to me.

I like the fit of these trousers the best out of any pictured so far. Notice there are no breaks or wrinkles in the fabric. The hem is nicely done, and the trousers are not overly baggy. Another benefit of wearing your trousers at the proper height is to give yourself an illusion of height. Very good for shorter people. In this example, they appear to be made of a wool broadcloth.

These trousers are nicely fitted as well. The man on the left has his vest buttons undone, and you can see precisely where the trousers hang on the waist. While you can’t see much of the other gentleman’s trousers, notice the nice length on the hem, and how they seem to taper down to the ankles. It was very fashionable to wear ‘peg-top’ trousers that were very baggy, tapering down to a narrow bottom. He’s wearing a very nice top coat, as well.

Here is a very well-dressed gentleman. I love the fit of the coat. Again, study the relationship between vest and trousers, and how they interact with each other.

Getting the Correct Fit

Getting trousers that fit correctly can sometimes be a challenge. If purchasing a ready-to-wear pair of trousers, you will very rarely find something that fits you properly. These trousers are either based on average measurements, or are sometimes graded up or down in size from original patterns. The problem arises because people are very rarely the same size and shape as the patterns. If you are one of those lucky people with a proportionate body, then by all means go with these types of trousers. If not, however, you will always find some defect in the fit.

When trying on a pair of trousers, you must wear them at the natural waist, located about the level of the navel. In the back of the trousers, the waistband should rise up two or three inches (this is somewhat variable), in order to facilitate the use of braces. I prefer to cut my trouser backs on the higher side, so that they cover the small of the back completely. The waist should be somewhat fitted, but not completely tight. And when following period drafts, such as Devere, you will find the back seat area to be rather loose. This allows range of movement, and the extra fabric is hidden by a coat.

One major problem with many ready-to-wear trousers is that the rise is not deep enough. The rise is the measurement from the fork (crotch) of your trousers up to the waist seam. If this is not deep enough, then your trousers will never fit at the correct height.

After the pants are fitted correctly, you must make sure the waistcoat is at the proper length, being about an inch below the natural waist in the 1860s. This ensures that the waistcoat covers the trousers completely. And the extra height in the back of the trousers means when you bend over, your shirt will still not show. It also greatly reduces the chances of a button popping off!

As you can see, there is a lot to think about when trying to avoid that common ‘gaposis’ problem. I encourage you to try out these methods and start wearing your trousers at the proper height. You will find it a lot more comfortable once you get used to it.

When I cut trousers for my clients, all of this is taken into account. I will cut the trousers to correspond with the waistcoat, and take half a dozen measurements to ensure the correct fit. If you are interested in a pair of bespoke trousers or waistcoat, please contact me today. Also, stay tuned for an ebook I am currently writing on drafting your own pair of trousers. This will be free of charge to all subscribers of my newsletter.

Image Sources

Falmouth, Va. Group in front of post office tent at Army of the Potomac headquarters.
Library of Congress, Prints & Photographs Division, [LC-DIG-cwpb-03803 DLC]

Washington, District of Columbia. Group on steps of Quartermaster General’s office, Corocoran’s Building, 17th Street and Pennsylvania.
Library of Congress, Prints & Photographs Division, [LC-DIG-cwpb-04251 DLC]

Washington, District of Columbia. Group at Quartermaster General’s office. Corcoran’s Building, 17th St. and Pennsylvania Ave. N.W..
Library of Congress, Prints & Photographs Division, [LC-DIG-cwpb-04284 DLC]

Here they are, in the original box:

Wiss Pinking Shears in Original Box

A close-up shot of the box reveals they were made in Elizabeth, New Jersey. Who knows where they are made today. I feel that things were made to a much higher standard of quality back then, whereas today so many things are made in China.

Product of Wiss Newark, NJ

And finally, opening the box reveals the shears themselves. As you can see, they are in fairly good condition, the worst thing being a bit of tarnish. Finding the original instruction sheet as well was a nice surprise.

Pinking Shears in Box

Here they are out of the box. This model measures 10 1/2 inches in length, which I believe is the largest size they make.

Antique Wiss Pinking Shears

A close-up shot of the blades allows you to read the inscription. I had been hoping for some kind of serial number to see when they were made, but they turned out to be patent numbers.

Wiss
Newark, NJ, USA
PATS. 1959190
1965443 — 197040B

Patent Numbers

For those of you who weren’t aware, pinking shears are different than normal shears in that the blades are saw-toothed instead of straight, leaving a zigzag edge instead of a straight edge.  This helps prevent fraying to some degree by limiting the length of the frayed thread after it’s cut. This would have been very handy to have last month as I was tailoring my silk waistcoat.

When I first tried the shears, I was disappointed to find that they were incredibly dull. However, a quick search online revealed that they were relatively easy to sharpen yourself, unlike tailors shears. I found this very informative and edifying video on Youtube on the proper sharpening technique for pinking shears.

After proper sharpening, and a good oiling with standard sewing machine oil, they cut like new again!

These pinking shears are but one of the many tools a tailor uses on a day to day basis. I’ll go over more of them when I come across interesting or unusual finds. Please comment and share with your friends!

Collarless Waistcoat from Devere

A Collarless Waistcoat

Next, it was a matter of stylizing the vest according to what I wanted. In this case, I’m going to make a collarless vest. You can see the proportionate pattern indicated by the thin dotted line. First, the back neck is raised up 3/8″ to take the place of the collar.

In the front, the neckline is adjusted according to your preference. In my case, I wanted a fairly high neckline.

In the front shoulder, a small gusset is inserted, to match the longer length we created in the back shoulder seam when it was raised.

Finally, the bottom of the waistcoat is lowered about 1 1/4″, according to fashion. In the 1860s, vests were worn a little below the natural waistline, to ensure they covered the tops of the trousers.

Something’s Fishy

There were some special considerations I had to take, due to the type of fabric. Silk does not retain its shape when stretched, so darts (or fishes in Devere’s), were taken out to shape the fabric.

The first fish I took out was in the waist seam. This is done by extending the center front until it forms a straight line. Take that amount, and apply it to the fish. The fabric I’m using has large stripes, so by straightening the front, it allows the stripes to follow the edge of the waistcoat.

It’s also permissible to take the dart out on the side. In my case, this would have helped disguise the dart, allowing the front pattern to flow uninterrupted. However, it’s proximity was too close to the next dart that I put in, I felt.

In the 1800s, coats were cut much more crooked than they are today. Without going into too much detail, you can see in this photo, the dark line represents the straighter cut, while the thinner line represents the crooked cut. With the crooked shoulder, properly worked up with an iron, you can get a much closer fit. However, working with silk, this is not possible.

The first step was to straighten the center front slightly, again forming the straight line. Next, the neckpoint was moved 5/8″, and lowered 1/4″. And the top of the scye was moved 5/8″ as well. This obviously displaces everything to a more straighter cut. But to get the closer fit, and counter all of this, we need to insert a dart in the armscye. This should be equal to the amount you straightened the shoulder.

Checking for Fit

After all that work, the pattern is done, and it’s time to cut out a trial garment to test for fit. In this photo, you can see where I adjusted the neckline, lowering it more to my taste. You can see the dart placements, and how they affect the shoulder, and center front, as well.

Here you can see the muslin test garment I made for myself. Unfortunately, it does not fit the tailor form at all, but it does fit me very well, I can assure.

Finally, here is the cut silk. I plan to provide updates as I go along. If you have any questions, please leave a comment.

Prior to the creation of man made, synthetic dyes in the late 19th century, all dyeing was done with natural products. One such dye was extracted from the the roots of the Madder family or Rubia, a type of perennial scrambling shrubs and herbs. These Madder plants grow in many parts of the world, and were popular in Europe during the early 1800s, being introduced from the exotic lands of the Middle East, particularly Turkey. In this post, I will explain how to extract and dye fabric with the roots of the Madder plant. I will be dying a piece of jean cloth from Family Heirloom Weavers to use as interlining in my coats.

One major use for madder root dye was for dyeing the red coats used by the British Army. One can find period recipes from the period, ranging from recipes that sound like you’re making some type of food (adding wheat bran and Fenugreek), to the more grotesque recipes that added human urine. Although I’m one to strive toward’s being as accurate as possible, I am not ready to try that one yet.

Here is the recipe I based my experiments on, found on the First Foot Guards website:

Take 3 pound of Allom, one pound and half of Tartar, boil the stuff in it an hour and half, then pour off the Water and put fresh water into the kettle, make a liquor of ten pounds of Madder, four oz of Potashes, and some urine, and boil it off when it hath dissolved one night.

Since I had no prior experience with dyeing of any kind, I decided to use a similar modern recipe, one which gave more precise instructions. To start off, you need a fairly large pot, made either of stainless steel or enamel coated. Stainless steal is very expensive, so I opted to go with an enamel 50 quart stock pot. The reason for avoiding iron or aluminum pots is that they will affect the colours of the dye.

Mordenting

To start off with, you need to mordent the fabric. Pictured are Alum, and Cream of Tartar. The purpose of the mordent is to help the dye itself to adhere to the fabric. Different mordents can create different colours, as well. All chemicals must be added proportionately, as such:

• Divide the weigth of the fabric by four
• Measure out that amount of Alum
• Use half as much Cream of Tartar

In my case, I was dyeing four yards of fabric, which came out to weigh exactly four pounds. Divided by four, meant I needed to use one pound of Alum mordant, and half a pound Cream of Tartar. Unfortunately, I didn’t have enough Cream of Tartar, but everything still turned out fine.

After measuring the out the mordents, fill your pot with enough hot tap water to cover the fabric by several inches. Then add the chemicals. The Alum didn’t do anything exciting, but when I added the Cream of Tartar, the whole pot of water immediately started bubbling. Very cool. Finally, add the fabric, and allow it to soak at least four or five days.

A quicker alternative is to heat the solution and fabric to 180 degrees, keeping it at that temperature, and allowing it to cool overnight.

Extracting the Dye

Meanwhile, it is time to extract the dye. The Madder Root I purchased from Aurora Silks came pre-ground. It had a brownish-orange colour to it, and it was hard to believe I’d get that deep orange red at the end of the process.

There is also the option to buy whole roots and grind them yourself, but I decided to wait until another time. I may also try growing the plants myself, although it takes three years before the roots are ready.

Tie the roots up in a cheese cloth, so that the pieces do not become stuck in the fabric.

The roots are then put into a pot of hot tap water, and allowed to soak overnight. Next, slowly bring the dyestuff to 180 degrees for 30 minutes. It’s very important not to go above 180 degrees, or the dye will start to turn brown. After the 30 minutes, pour and strain the solution into the dye pot (the mordant solution and fabric have been removed at this point). Repeat this process until dye is no longer being extracted. I ended up doing this seven times, starting at 2pm and ending at 1am the next morning. It takes a long time!

Here are the two pots I was using. The smaller pot on the right is being used to extract the dye, which is then poured into the big dye pot. That pot was huge!

One thing I noticed while extracting the dye was that it looked like a very deep purple. Using some different mordents, you would be able to extract this purple, instead of the reddish orange.

Dyeing the Fabric

When you have extracted all the dye, it is time to add the mordented fabric (which should still be wet; do not allow it to dry out after the mordent process, keep it in that mordent bath). Carefully add the fabric, trying not to leave bunched up areas, or it will dye unevenly. Bring it slowly up to 180 degrees and heat for at least 1 hour or until you get the desired colour.  Keep in mind that the colour will lighten after rinsing and drying. Allow the fabric and dye to cool at least overnight. 12 hours later, the dye was still warm to the touch, so I let it cool longer.

Following are a few shots of the fabric actually being dyed.

Finally, it is time to rinse and dry the fabric. I put it in a large container, filled it with water, swished it gently to avoid felting, and discarded the water outside onto the snow. Having red snow was pretty neat. I did this three times, and then put it in the washing machine on the rinse cycle, gently. Then I allowed it to dry outside on the clothesline. Here is the finished fabric, just prior to ironing. Notice how the right side is darker than the wrong side:

That is due to the weave of the fabric. The cotton dyes differently than the wool weft.

Another shot under different lighting.

The fabric is now all rolled up, ready to be used in my next project! This fabric was readily available in the 19th century, and used as an interlining in coats, aiding in padding and as a backing for the extensive quilting often seen. Some may think it a waste of time to do all this work and not have it be seen, but I believe in being as accurate as possible. While no one will ever be 100 percent accurate, this is at least one step closer. If you have any questions, please leave a comment.

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The top of the pocket is held in place by a box stay, which can be very difficult to sew nicely. A lot of practice is needed. Here is the stay from the outside of the coat.

I skipped ahead a few steps in order to get the collar construction done. To start off with, you need some bias strips of wool flannel or other thin fabric. In this case I used some leftover Hainsworth Doeskin.After cutting, these are pressed in half lengthwise to form the piping.

The piping is basted to the right side of the collar:

Then the piping is carefully sewn down. Use the foot on the sewing machine as a guide to keep the stitching even. Sew too close to the edge, and you won’t be able to press it. Too far away, and the piping will look too thick and ugly.

The seam allowance on the collar is trimmed off, as well as one layer of the piping, to reduce bulk when pressed. The piping is then carefully pressed back.

Here is the view from the right side of the collar.