The Great Pattern Review

Past Patterns

Alessandra Kelley

Complaints I have seen about this company's patterns are mostly about their very early patterns, most of which are now out-of-print. They seem to have done a steady course of improvements, weeding out the poorer patterns and continuing to print the most excellent ones.

#001 - 1820s-1840s Corded Stays

Allison Rolls - Recommended

This corset takes a long time to make and is an enormous amount of work. I had to recut the gores several times. The instructions are clear and very well written. I was never frustrated by the instructions. I'm going to make it again and use coutil next time. The cording was really fun. I've never done it before. Getting the cord through the channels was a bit tricky and time-consuming. I used a tapestry needle; it worked well for the task. The difficulty level is about Medium; an Intermediate level sewer will be fine with this pattern. Pictured at right.

Sue Armstrong - Highly Recommended

This pattern is wonderful. I had no problems. I followed the directions to create the gussets and they turned out great. I was stumped by the busk though. I ordered the board and didn't realize I would have to complete it! Needless to say, I was in a hurry and needed the corset right away. I went to a hardware store and bought a scrap piece of Plexiglas slightly larger than the size I needed. At the store, I had it cut to the correct size and width. I was shown how to round the edges. I sanded the edges and it fit perfectly into the stay. The best part was that, after I wore the corset, the Plexiglas had "bend" as if it was a real busk. It really worked in a pinch.

Janet Canning - Recommended

What can I say about Past Patterns corset patterns? I do very well with their patterns. The first soft corset I made some ten years ago was worn out completely. This pattern is very similar, however it has gussets and a busk insert. I attempted the corset that was the bridal version, without the extra layer and embroidery, I simply don't have the hand control to do embroidery. I found there was a lot of historical data, and found that looking at the flat out diagram illustration of the boning placement better outlined it than the instructions. Now, I don't know if this happened because there was so much historical data and the instructions printed on a big sheet. When this happens, I sometimes have to photocopy and keep separate the instructions so I can check them off. I did not like the way that the back closure was done. In order to make the single piece of fabric, which is a non-curve cut corset, fit the back. You must make 3 triangle cuts to clip for the curve and since that makes it so you must try to no fray it Fray Check) and since that is a stress point for lacing, it may need to be re-enforced quite a bit (i.e. do some button hole stitching). I found this made the otherwise pretty straight forward pattern get complicated. This method also makes it difficult to make the runners for the 2nd set of back stays that a corset should have for lacing. I did figure out a way to make a facing and turn it to the inside to make this part better, but at this point, it is no longer period corded, I have modernized the stays.

If you follow the period construction and the corded stay, you may be able to find a way to make the back work better. I find that when lacing, you have got to have at least two ridged stays in the back. I would not recommend this pattern unless you want to redesign it. I think that either Pattern #708, an 1840's - 1880's Corset or Pattern #705, the Early-to Mid-Nineteenth Century Stays would be better choices to get the about the same shape.

#002 - Two Early Nineteenth Century Chemises

Kendra Van Cleave - Highly Recommended

A very simple, straightforward pattern that will get you a chemise in about one hour. The pattern pieces were printed on tissue and clearly marked. The instructions were very clear.

#003 - 1830s Full High Gown

Kendra van Cleave -
Highly Recommended

This is a beautiful and simple dress to make. The instructions were clear. The pattern was well put together. However, instead of using the pattern pieces for the bodice, waistband and skirt, I used them as a guide to draft my own pattern based on my measurements. I used the Past Pattern pieces for the sleeves which turned out to be really pretty. I made my own sleeve puffs to hold out the full sleeves by making short puffed sleeves lined with net. I added a Pelerine (cape) which I draped on my stand and a belt. Pictured at left.

Janet Canning - Highly Recommended

Easy. Good for beginners. Flattering to all body types. In the photo in the center, Katherine Hannan is shown wearing a version of the dress made by Janet Canning and Sally Norton. In the photo on the right, Janet (on the right) is wearing the 1830s-40s Full High Gown dress with a pelerine.

Bridget Conlogue - Recommended

I made the 1830's Full High Gown this winter (while watching the Olympics). It is a great pattern that I have been dying to make for years! The result is a lovely, flattering gown. It was very easy to make and fit. I sewed almost the entire dress by hand, as my machine was acting up. I made it in a red cotton paisley, and added my own sleeve pads to make the sleeves really stand out.

#031 - Circa 1796-1806 Lewis & Clark Era Front Closing Gown

Amy Denison - Highly Recommended

It's an expensive but, wonderful pattern. I purchased this pattern because I was looking for a dress that was a similar style to the simple day gowns worn by the Dashwood sisters in Sense and Sensibility (1995) and one that was front-opening. I got exactly what I was hoping for. The finished product also looks just like the picture on the pattern cover.

The construction was also simpler than I thought it would be, though I would not necessarily recommend it for beginners (maybe a very patient beginner). There are some unusual construction techniques; this is not your typical "sew front to back, gather sleeves into armscye" type of pattern... the sleeves are sort of square-shaped with gussets, and form part of the back and shoulder. The center back piece is very narrow but very flattering, and the shoulder straps form a V-shape (which can be seen in the photo).

The front closes with a drawstring at the neckline and waist, and is gathered to fit. There is a bodice lining is separated from the main bodice piece at front, and overlaps (I fasten it with a safety pin, though the original was fastened with a straight pin). The skirt on this dress is supposed to be pleated in back with box pleats that gradually increase/decrease in size, but I was in a hurry so I gathered it across the back, which still looks very nice. This is a very flattering dress, even made in a size 20D. And very comfortable to wear.

Susan de Guardiola - Recommended

Recommended for sewers with some experience. I made this gown and the stays (from Hunisett's "corset bodice" pattern) to go under it for my friend Sandy in one day for an event the next day. I was cutting down my size 16-18-20 pattern to Sandy's petite size 4 (but very curvy) figure on the fly, so I tossed out period construction techniques and assembled the bodice and lining separately. As a result I ignored the instructions, but was able to assemble a very good-looking gown very quickly. I did pleat the back, though I ignored the official template and just eyeballed the pleats.

The picture shows Sandy in her gown; the skirt normally looks very graceful, but there was a stiff breeze blowing when we took the picture. The fabric is a reproduction print from Old Sturbridge Village. The fichu was made following the somewhat confusing directions that came with the dress pattern.

#100 - 1905 Muslin Gown (Out of Print)

Victoria Meyn - Recommended,
for experienced, determined sewer.

This gown was fun for me to make, coming from a quilting background (tedious work does not bother me). There are 100 vertical pleats, 24 waist darts, 9 curved hip darts and 4 bottom hem pleats. This was a marvelous challenge. The pattern worked like a dream puzzle with eight yards of fabric. The pleats were actually quite easy. The rhythm of the madness goes like this: All pleat lines are marked on the wrong side of the fabric; you take the piece to the ironing board and iron on the right side a fold onto the marked pleat line. You can stand there and do all the layers at once, then take it to the sewing machine and sew 3/8ths from the fold. And sew and sew and sew and sew until you are done. I did not alter the length as it fit me perfectly (I am 5'6"). The waist fitting comes together when you sew the hooks on the back. The instructions tell you to have a friend come over and help. My dress form is my sewing buddy, so I was able to do the waist fitting by myself. I started on Sunday morning cutting and marking (2 hours) and sewed about four hours a day for four days to complete the major sewing, fitting and attaching the hooks. The pattern instructions do not include any photos of how the back is supposed to look. I found an illustration of the skirt back in the catalog from which I ordered the pattern.

#101 - Edwardian Dainty Gown (Out of Print)

Sue Toorans - Not Recommended

There are 39 pieces in this pattern. The fabric requirement is incorrect; it does not include the 3 yards needed for the skirt ruffles. Sue's dress was made of a pale peach colored fabric and thus, has been dubbed The Peach Melba. Pictured on left.

Patricia Cannata

WARNING. This pattern is for Advanced Sewers Only! The instructions were complete and in order but, this is a very complicated historical pattern. Some of the terminology is difficult to decipher. There are a lot of pattern pieces to keep track of. They fit well, but it was not an easy assembly.

Be sure before you cut out your skirt to measure the length and adjust the pattern accordingly; otherwise, the ruffles will be placed too far down the skirt and have to be moved up. Very painful process. Be prepared to sew miles and miles of ruffles. Use 60" wide fabric; 45" is not wide enough. You'll have to add more pieces. Christine James (Patricia's daughter) is wearing the dress in the photo on the right.

Lorraine Carson - Recommended

This one will just about finish you off. There's just so much of it. You'll get very sick of looking at your fabric and you get tired of lifting and moving so much fabric. Emily Cikovsky is wearing the dress made by Lorraine in the photo on the left.

Lisa Prindle - Recommended
for the experienced Past Patterns seamstress.

A friend gave me this pattern, and I chose to use it for my wedding gown. I was aware of the other pattern reviews, so I purchased enough fabric and lengthened the skirt for my height.

I altered the bodice front as it poofed out too much for my use. I didn't use the bodice overlay pattern, but instead cut the bodice lining pattern larger at the center front and didn't sew the darts. I lay this over the fitted bodice lining and shirred the front bodice at the waist and neckline to fit. Hooks and eyes, hidden in the shirred front, close the top bodice layer. As you can see in the photo, I shortened the sleeves slightly and used the lower neckline version, replacing the large collar with a small ruffle. The belt in the pattern is just a plain sash, so I drafted a bias belt based on an original.

The skirt ruffles proved surprisingly easy using a technique familiar to quilters called "continuous bias", (available online or in quilt books); this avoided cutting the ruffle pattern piece out repeatedly and sewing each piece together. This technique produces a large tube of fabric that you cut into the width of your ruffle, so I used my serger (hey, they had them in the 1880's!) which helped finish the edges. Do invest in a ruffler attachment as it will save loads of time. Be sure you mark the ruffle placement lines on the skirt.

I didn't find this pattern any more difficult than any other Past Pattern gown I've assembled, so don't hesitate to use it. Just learn how to make continuous bias! Pictured in the photo on the right.

#104 - 1905 Street Costume (Out of Print)

Rita Jean Strauss - Not Recommended

The instructions are difficult to follow and make too many assumptions. I swore a lot while working on this costume. The front and back tucks do not match. The gathering at the waist cannot be gathered; it must be pleated. If you follow the instructions for the cummerbund, you will have a raw edge. The final garment DOES NOT match the illustration.

#105 - Gibson Girl Ball Gown (Out of Print)

Carmen Stone - Recommended

Recommended for an experienced sewer and an intermediate level sewer with a lot of patience. I made Views A and C, the sleeves ball gown bodice and the skirt. The results are very pretty. The instructions are not entirely clear. It is worth the effort to work with the pattern because the final gown is very nice. It took me a couple of days to make, working off and on. My mom was a big help putting the bodice together.

#106 - 1901-1908 "Straight-Fronted" Edwardian Corset

Gladys Campbell - Highly Recommended

Go slowly. Be careful. Check each pattern piece. It can get confusing what is the top and what is the bottom of each piece. If you order the full kit, you won't want to use the grommets provided. They are only one side and will not support lacing a corset; they will tear out. The finished corset is attractive and comfortable and creates the perfect Edwardian shape. Pictured at left.

Teresa Liao - Recommended for those who have some familiarity with making a corset.

While I absolutely love the end result, this corset was the most challenging one I've made. The directions are fairly clear but, the real issues were with the fitting. I had never finished seams the way described in this pattern. For my mock-up, I assumed a half-inch seam allowance; it turns out that the allowance is closer to 3/4". This made a big difference in my finished garment. I was also frustrated that the pattern does not allow for different bust sizes, other than enlarging the entire corset. Even after enlarging the bust gores a 'tad', I had some problems with spillage when I laced tight enough to be supportive. My final challenge with this corset was boning placement. The channels are not marked on the pattern, and the illustrations in the directions are less than helpful. I managed to place them well but, it would have helped to mark the placement on my mock-up while I was trying it on. Pictured at right.

Sheri Jurnecka - Highly Recommended

I used this pattern to teach a corset making class. All of the sizes were accurate. I studied her instructions and compared them to other research material and vintage corsets I own. Her instructions are historically accurate. I made two changes based on my preferences: I slightly changed the placement and length of the bones. All of the students completed their corsets and all of them fit very well.

Lesley Spittles - Recommended, but not as a first corset you've made.

You need some experience with corset construction to make this successfully. The pattern itself was well drafted and the sizing is accurate. I was pleased with the finished result. However, the instructions left a lot to be desired. I made the mistake of buying the steel bones as per the pattern packet and then found that I needed several longer bones. I would also recommend delaying purchasing the busk until you have the centre front measurement. The 12" busk recommended was too short by at least one inch. If you are very small, you may only need an 11" busk. The placement of the boning channels was not explained well and the illustration was not clear.

#108 - Four Edwardian Corset Covers

Sheri Jurnecka - Recommended

It's simple pattern with clear, detailed instructions.

#109 - Edwardian Petticoat (Out of Print)

Patricia Cannata - Recommended

The instructions were easy to follow. Easy to assemble. Rather fun. Best for intermediate levels because the ruffles and trim are a bit tricky.

#202 - 1890's Practical Suit (Out of Print)

Sally Norton

It's hard to know whether or not to recommend this pattern. The instructions are confusing but, it wasn't too difficult to determine how it was supposed to work. When finished, it does look just like the illustration. Shari is wearing the suit made by Sally in the photo on the right.

Linda Roy - Not Recommended

I found it impossible to figure out how to put the pieces together. I assembled the garment by fitting, basting, re-fitting, and basting until I got it right. It went together simply once I figured out what to do.

#203 - 1890's Fancy Suit (Out of Print)

Denisen Hartlove - Recommended for experienced sewers.

The instructions for the bodice are unclear and incomplete. You have to struggle and figure out how it all goes together. I had to seek help from a costumer with years of experience. He was able to figure it out, but this is one of those patterns that seem to be much more difficult that it should be.

#206 - 1890's Tea or Dinner Gown (Out of Print)

Lisa Dyrke - Recommended

This is a very good pattern that is easy to fit. The directions suggest shortening the pointed hem of the bodice for a more flattering fit, as shown in this photo, and I recommend it. I had a slight problem forming the tail on the back of the bodice, but was happy with the result. As stated in other reviews, the pattern calls for the bodice and skirt to have three layers (lining, fabric and overlay) but don't let that deter you; you can easily skip that and use only the two layers.

In the gown pictured, I adapted the bodice and skirt to fit the design of a famous Worth ensemble, using hooks and eyes up the center front. I do not care for the sleeve of this pattern, if you can call it that; it is merely a piece of lace caught at the shoulder. I drafted my own with a little more structure.

Kendra Van Cleave - Recommended

I made this up in a hurry, so skipped most of the time-consuming and difficult parts: you're supposed to cover each pattern piece with a lace piece cut in the same shape, and you're also supposed to make lots of rows of ruffles to cover the bottom part of the skirt. Skipping these steps, this was a relatively straightforward pattern. I love the fit of the bodice - the tails in back are great! I left off their lace sleeves and added the large puffed sleeves from Hunnisett's Period Patterns for Stage & Screen 1800-1909.

#208 - 1897 Circular Skirt

Jennifer Brownell - Highly Recommended

This skirt is exceptionally well designed and easy to do because it is not based on triangular gores. Instead, it is five pieces that attach to form a massive half circle that is then connecting on the last seam (the center back seam). Complexity is no problem here, but man power is. It simply takes a lot of work! The skirt is fully lined because the hem is interfaced with either a 6" or 12" band of buckram. (Because the hem is a dramatic curve, you can't cheat by using drapery interfacing). I know…I wanted to do it too.

I only encountered one problem, which really wasn't a problem. For some reason, the marking lines for the buckram interfacing are about 2" shorter on the center from piece than any other piece, which means that they end up not meeting on the top. Just extend the buckram in the front to make sure it is the same height as the other pieces. Also, be certain to cut your pieces very carefully. If the lining is even a little bit narrower or shorter than the fashion fabric, the end result is a balloon skirt that looks like a sack that won't lay right. If you're scared, cut the lining an inch longer than the fashion fabric, just to be sure.

Jennifer's skirt is in the left-hand photo.

Danine Cozzens - Recommended

Easy. Fits well. Looks good. A reliable pattern.

Danine used this pattern to make the ball gown skirt in the right-hand photo.

Sheri Jurnecka - Recommended

This is a very attractive walking skirt. The pattern is very easy and good for beginners.

Cathy Raymond - Highly Recommended

Even though I did not have quite enough fabric, and had to piece together part of the lining, this pattern went together well for me. It gives a good period appearance.

#210 - 1899-1900 Double Breasted Dress Jacket

Janice Jones - Recommended

It took one day to cut it out and four days of sewing. Fairly easy pattern, but time-consuming. Take care you clearly and carefully mark all the notches and dots. A beginner might want to label all the pieces with chalk to keep track of which pieces go together. There is a considerable amount of hand sewing required. This is a rewarding pattern for the seamstress who has patience and enjoys hand sewing. Janice is wearing the jacket in the photo on the right.

Sheri Jurnecka

Very fussy pattern. I choose velvet and that probably added to the problem. The pattern is a lot of work and may not be worth the effort just to get a little fitted jacket.

Maggie Herlensky

I would recommend this for seamstresses with a little more experience. I consider myself intermediate and had trouble with getting the collar pieces together and laying correctly. It came out really nice, though. I've made this for two different ladies. It looks nicer done in a heavier fabric. Adding the trim is time-consuming, but worth it for the final effect.

#211 - 1894 Butterick Pattern Company Tea Gown or Wrapper

Greta de Groat - Recommended

I love this pattern so much that I made it up twice. I omitted the Bertha and added a standing collar and cuffs. With full petticoats this is so warm and comfy it's like being wrapped in a comforter. I tacked the Watteau pleats to the lining rather than the belt.

The cotton print version has the pointed waist belt that hooks in the front and hangs down quite low. This version is not as easy to fit as the one with the sash, if you want a snug fit. I omitted the yoke entirely and shortened the sleeves.

As you can see in the photo on the right, on limp fabric such as mine, you should add something to prop up the sleeves or line them with something stiff.