The Great Pattern Review
Ageless Patterns
Leonora Merkel - Not Recommended
I would write comments about a specific pattern from Ageless Patterns, but find my comments apply to all of the patterns I purchased from this company. I bought a few sewing and crochet patterns (the patterns are Victorian through early 1910's), all of which contain little or nearly no instructions as to how to construct the garment. The crochet patterns are "photocopies" of original instructions from vintage pattern books, so if you are used to modern instructions, forget about trying to attempt one from Ageless Patterns. The stitches listed are none that are still in common language. They merely say "work in the manner of...." The sewing instructions give some guidelines as to which fabrics to use, contain few actual pattern pieces (those for trimmings and men's neckties contain none) and instructions that are limited to sew pieces together. The pattern catalogue, however, is a good reference book for ideas on trimming and styles of the time. When I contacted the woman who runs Ageless Patterns to see if I could return the patterns, she told me "absolutely not and I must not know how to sew." I have made numerous reproduction period gowns and day attire, a pretty good accomplishment for someone who doesn't know how to sew.
#1010 - 1878 Black Faille House Dress
Rachel Wendel
First of all, we bought the pattern for the skirt only. I drafted a completely different bodice. My biggest problem upon receiving the pattern was discovering that the pattern was NOT for the exact skirt shown in the picture, which was disappointing because the whole reason we bought the pattern was to save us time figuring it out for ourselves. The drapes and folds in the back are what we got out of the pattern. The instructions weren't very clear on several points. However, even though the picture shows tiers and a ruffle on the front of the skirt, the pattern was for a plain panel in the front so we had to add these ourselves. Overall, I really like using these patterns to get a unique look and I recommend them for experienced sewers who aren't afraid to make adjustments. Just beware that you may not be buying a pattern for the same dress you see in the picture, and it's going to take some time to figure out the details.
#1021 - 1878 Figured Bourette Reception Dress
Holly Messinger - Not Recommended
Unless you're looking for a challenge. I like jigsaw and logic puzzles, so the overskirt for this was a good evening's diversion for me. The text is copied verbatim from sewing instructions of the time. The vocabulary is obscure and the instructions confusing: "Pleat the breadth as indicated on the pattern and fasten a on b so that a revers is formed." The "pleat indication" on the pattern is a single line of stars and dots; I found b, but a is nowhere to be seen. I still haven't figured out what the extra dotted line on the skirt front is for; the instructions make no reference to it. The pattern included pieces for the overskirt and bodice, but the cover illustration shows trim and flounces for which there are no pieces, including a "side pleated flounce of the material 28 inches wide, which is sloped off at the top toward the middle of the front to a width of 6 1/2 inches." A lot of improvisation is required here. I'm not a novice sewer. I've made many, many suits, evening wear, superhero and Renaissance costumes and my own wedding dress. Many garments were made from my own patterns. I'm used to cobbling together pieces of patterns, but this takes the minimalist award. On the plus side, she's got some stuff available that I've never seen elsewhere, and she included an underskirt pattern to go with the outfit that was not in the original pattern. It was a nice gesture.
#1089 - 1891 Ladies Riding Corset
Mina Coats - Recommended for experienced sewers.
I would recommend them only for experienced sewers, and even then, perhaps not for someone who had never constructed a corset before. The patterns arrived hand drawn out on one very large piece of paper each, (normal type, not pattern paper) with only one page of sewing instructions. In short, they were very much like the patterns actually used back then. Luckily I've put together a corset before and could figure it out, but for someone who never has, or someone who needs written instructions, these are not the thing. But they're wonderful for someone who knows their way about, and doesn't need much. The only instructions included the amount of material needed, what type of material, and a small bit of instruction concerning the seams. These limited instructions describe what number piece was called what. They did not tell you which bosom gore or which hip gore went where. You need to figure that out yourself, as there is no step-by-step instruction. I was both amused and displeased, but because I love challenge, I chose to keep them and work my way through anyway.
#1176 - 1896 Costume with Bolero Jacket and Deep Girdle
Bridget Conlogue
I had a lot of fun making this suit. All of the pieces fit very well together, and although some of the markings were incorrect, it was obvious to me what went where. The bust size is closer to 36", and the waist size is actually about 27.5". It wasn't clear to me why the fitted lining would be the length of the jacket, which has its own lining; I extended the fitted lining four inches down to my natural waistline and mounted the girdle over it. The armholes are very tight, as is standard with Victorian dresses. The skirt, which I interlined with pink canvas, weighs a ton. Actually, the whole costume weighs a ton, with all of the fabric layers (six at the armholes!), interlining, lining, steel boning. It is drafted to accommodate the very rounded hips that are a result of tight corseting. I made hip pads to make up for my deficiency instead of trying to refit the pattern here. I didn't expect any instructions at all, so I was pleasantly surprised to receive one page that explained various pattern markings and some of the construction points particular to this design. As this pattern line is geared toward Theatrical Costumers, one should take this caveat seriously. I am not a professional costumer, but I do have advanced sewing skills and a strong background in historic clothing construction, which is why, I believe, this pattern worked for me. I developed a construction plan before beginning, took my time, and enjoyed this historic experience. The suit is made of plain black wool with black and white houndstooth trim. The girdle and collar are grey silk taffeta. The collar and plastron are white Alencon type lace over white peau de soie/grey taffeta. I would try other patterns from Ageless Patterns based on my experience with this pattern.
#1240 - 1869 Trimmings for Dresses, Skirts and Mantles
Jennifer Haley - Not Recommended for beginning sewers.
Not technically patterns, these two packages include written instructions for creating six and seven different fancy wide trimmings and an illustration of each trim. As in the rest of the Ageless Patterns line, these instructions are original and use sewing terms of the period. The sewer must also decide how to finish edges and join pieces for most elements. Between the text and illustrations, I replicated several of the trims (in muslin for now) without difficulty.
#1241 - 1868 Trimmings for Dresses and Skirts
Jennifer Haley - Not Recommended for beginning sewers.
See review under Pattern #1240.
#1295 - 1873 2 Styles of Muslin Corset Covers
Jennifer Haley - Recommended for experienced sewers.
Recommended for advanced sewers with experience of Victorian costume construction and terminology, or an intermediate sewer who likes a challenge. As noted on the Ageless Pattern's website, the patterns include original instructions, which assumed the sewer was familiar with making up such a garment and were very brief. This pattern is like most given in Victorian domestic magazines: a minimalist outline for one size, relying heavily on the maker's fancy for details and finishing. No instructions are given for the trimmings shown, other than noting their type and width, and the sewer must mark her own front darts. Some knowledge of French or heirloom sewing techniques is useful for replicating the illustrated trim. I used this as the basis for drafting a pair of combinations with an off-the-shoulder neckline, which turned out (from the hips on up) just as promised. However, I would have been a bit frustrated had I expected anything like a modern pattern for period garments.
#1306 - 1889 Dress & Directoire Jacket
Sandy Chantry - Highly Recommended
I have made up 25 or 26 patterns produced by this company. They produce gorgeous one-of-a-kind costumes. The lady who manufactures them is a theatrical costumer and is very up front about these being for advanced seamstresses. We routinely work without patterns or instructions. Those who are not accustomed to draping or building a toile will become very frustrated with the minimal instructions and lack of pictorial guides. It is essential that a toile be made up before using fashion fabric. If this is not something you are willing to spend time on, I would suggest you use other pattern companies aimed at the part time, modern seamstress. There are plenty of good ones. For the most historically accurate, unique costumes around though, choose one of these patterns and plan to spend some time on it. Pattern #1306 is made up using a beautiful, medium weight, water-colored silk. The directoire jacket bodice is made of blue bengaline silk with a plastron of medium weight cotton.
#1308 - 1889 Pongee & Lace Princesse Dress
Sandy Chantry - Highly Recommended
Shown here is Pattern #1308, made of brown dupioni silk and lightweight cream-colored wool. The bodice and underskirt are trimmed in creamy dupioni, lace, and tortoise shell buttons.
#1318 - 1876 Corset for Cuirass Basques
Mina Coats - Recommended for experienced sewers.
See review under Pattern #1089.
#1320 - 1876 White Coutil Corset
Mina Coats - Recommended for experienced sewers.
See review under Pattern #1089.
#1339 - 1902 Modern Corset
Larissa Boiwka
I have to agree with many of the other reviewers of this company's patterns. When I first opened up the pattern, I couldn't believe that it was sold commercially. What a mess! I was completely shocked with what I encountered. The pattern appeared to be hand drawn with a sharpie marker! The word "Oops" was written in one of the seam allowances where the "pattern drafter" (and I use this term loosely) had over drawn a line! I would be embarrassed to give this to a friend for free, let alone charge money for it. Little did I know that this was just the beginning of the drama. The pattern stated the measurements as 35 inch bust and 24 inch waist. The waist in the first muslin exceeded 26 inches laced completely closed and the bust was so gaping that I couldn't even get an accurate measurement. Two inches is a big deal in the waist measurement of a corset! Thank god I didn't have a deadline! I ended up making 16 rounds of alterations and three muslin mock-ups! Even now, I'm still not completely satisfied with the finished product. I have to lace it much tighter than my other corsets to get it to lay close to the body. I certainly wouldn't attempt this unless you're an extremely experienced and skilled corsetiere or unless you absolutely thrive on adversity, because this pattern will drive you insane.
#1562 - 1877 Coutil Spoonbill Corset
Karolina Granath - Recommended
If you have made a corset before and are familiar with how to put one together without instructions, then this one is very easy to make. My natural waist is 28" and the corset says to be 24" waist so I believed that the waist would come out almost perfect but it actually came out a "couple of sizes" to big. Except from decreasing the seam allowance on all seams to make it smaller, it fitted perfectly without any other alternations. Made in a beige upholstery fabric with cotton lining and a spoon busk.