The Great Pattern Review
Truly Victorian
Lorraine Carson
TV's skirt patterns are drafted for someone who is probably 5'5" or so. The patterns say a 1.5" hem is allowed. If you like a large hem (i.e. more than a 1/2 inch rolled one) and are taller than 5'6" or wear heels, you WILL have to add to the length to compensate. Overall, I adore TV's patterns and am happy to chat with you about constructing them or doing custom work.
#TV101 - Petticoat with Wire Bustle
Carmen Stone - Highly Recommended
I just finished bustle petticoat. It is very easy to follow the pattern. I ordered the boning from Truly Victorian. The bones arrived cut to size and tiped. If anything the pattern needs a few more pictures showing how to sew the last bone and how to secure it properly. I had to guess that part. Her bustle is pictured in the photos to the right.
Deborah Borlase - Highly Recommended
We needed a strong bustle to hold up very heavy velvet skirts and brocade overskirts. We used strong corset boning tape purchased online instead of the thin seam tape one can purchase from local sewing stores. We also used strong metal boning instead of plastic. The bustles went up very easily, and although she didn't suggest it, we finished the tops of the ruffles just to make it a bit prettier. We used very wide (14") wide eyelet ruffles so that we didn't need to hem all those ruffles. Yes!
Jessica Roberts - Recommended
This was a spectacularly simple pattern to make. Everything went together easily and well. I could have used more pictures in the instructions when it came to how one is supposed to insert and secure the bones, but I figured it out.
Lisa VandenBerghe - Highly Recommended
I went to a Truly Victorian workshop for this pattern They had some tips for handling the boning, which helped when I got home and finished putting it together. They had us put a loop of fabric or twill tape at the point where the top boning and the angled boning attach at the back. Having them pass through the loop keeps it together nicely and reinforces a stress-point. I made the ruffle overlay. It adds body nicely and softens the ridges of the boning. I added a bustle pad to get the look in the photos. Comfortable and manageable!
Marie Schnoor - Recommended
Not only is Heather, the owner, a really talented creator of patterns, she's also a very nice person, and is more than willing to provide help to any problem on her TV message board. However, with this pattern, it went together so quickly and so well that I hardly had any complaints at all. In fact, I was amazed that, being 5'11'', the pattern actually was too long on me, and I was able to put a nice deep hem into it. The only other problem was due to a choice of materials and not a pattern failing; I used cheap twill tape that shredded by the second day, and had to go back and replace it all. Instead of cutting the twill tape exactly the length of the back piece, I extended the tape further by a foot and a half on each side, brought them to the inside, sewed the side seams, and then just used the ends for ties. That way, I won't have to worry about one more stress point, where the ties normally would be sewn. Buying her pre-cut boning pieces really saved me a lot of time, and the whole effect of wearing the bustle is not only comfortable but very easy to sit in.
#TV108 - Grand Bustle
Trystan L. Bass - Highly Recommended
I I took the limited-attendance class taught by the Truly Victorian ladies on how to make this pattern. For a fee of $60, I got the pattern and a complete kit with all the pieces marked and cut to my size, everything included except thread, plus an excellent, patient teacher. Pretty good deal, IMO!
See, I've always been intimidated by the boned bustle. It's one of my favourite historical styles -- I love that big, hard shelf created by this style of bustle, I love the hugeness of it all, I love that big ol' butt. However, it looked too difficult to make for a perpetual beginner like me. The architecture of it seemed very complicated, something I'd never figure out on my own.
But man, this was dead easy! Ok, having everything cut out and pre-measured really helped. The sewing was basic straight lines, just sewing down rows of wide bias tape, then sewing side seams, and making a waistband. Even I could do that! And I did. Within the allotted class time of four hours even (not bad for the World's Slowest Sewer).
So there it is, my big bustle butt. Now the really hard part happens -- I need a dress to go with it! Also a ruffled petticoat, to hide the hard lines of the bustle. The class didn't include the ruffles because that would have been more time consuming.
Catherine Scholar - Not Recommended, but only for those with large waist-to-hip ratios.
I’ve made many Truly Victorian patterns, and this is the only one that hasn’t worked perfectly. The pattern goes together nicely and gives a great shape. I’m sure it would work fine on someone with a more proportionate figure. But I have, ahem, a lot of natural curve in my lower back – in at the waist, out over the fanny. And the interior stay that rests against my bottom is too tight, forcing the back of the bustle up and tilting the front hoops right down against my ankles. I’ve solved the problem as best I can by cutting the interior stay up the center and adding ties to the edges so I can adjust the tension. A lacing would work equally well or better, but I didn’t have any grommets in the house. This adjustment has made the shape acceptable, but has reduced the amount of “bustle effect”. It’s good enough but not quite what I was hoping for. I didn’t make the ruffles since I already have a flounced bustle petticoat.
#TV121 - 1879 Petticoat with Detachable Train
Lisa Swehla
It's nice to have a petticoat with a lot of fullness in the back. With a bustle it was just right under my wedding dress. I did make the detachable train. It looked pretty but, to date, it hasn't been useful for any of my trained dresses. It is either too small or too narrow in every case. Making the skirt to match the petticoat would be a must if it's to be useful.
Heidi Schultz - Highly Recommended
A dream to work with! The petticoat went together fast and easily, fitting was simple, and the end result looks just like it should. It fits perfectly and provides exactly the right line for the period. I thought there was not enough fullness in the back when I first cut the pieces, but it turned out to be just right.
#TV141 - 1858 Round Cage Crinoline
Amy Denisen - Recommended
This pattern was easy to work with, and the finished product had a very nice shape to it. However, I left the bottom 2 hoops off, since the bottom hoops should be 10-12" off the ground (the ones on this pattern were about 5" off the ground). I left the bottom of the bag hanging empty, which made an attractive little ruffle, and leaving off those 2 hoops also reduced the hoop steel yardage requirement to about 20-21 yards (depending on your size), so that cut the cost of supplies by quite a bit.
Roz Johnson - Highly Recommended
Easy to do, though I recommend having someone help when you cut the hoop wire. Not only is it quicker not have to fight with steel alone, it's also safer to not have the cut ends flailing about. The cage gives an attractive round shape and looks very nice under a skirt (see below). The only change I made was to buy a cheap leather belt at K-mart to substitute for the cotton webbing called for in the instructions. I couldn't find any webbing sturdy enough not to sag under the weight of the cage. I cut the buckle off the belt, and threaded lacing through the holes in the belt to fasten it.
#TV201 - 1870s Underskirt
Frannie Germeshausen - Recommended
This was very easy and turned out fine, though after gathering 8 yards of ruffle I'm ready to join Trystan L. Bass's I Hate Gathering Club (read Trystan's review of Past Patterns Late 1880's Polonaise with Walking Skirt #904 for the ruffle story).
As others have found, this skirt runs a little bit short. I may add a trim at the bottom to give it a little more length, but it wasn't a disaster. The pocket seems low, and others have commented, but I think that is so the pocket can be reached without having to reach up under your overskirt (at least that's how it seemed to work out for me). Pictured on the left.
Deborah Borlase - Highly Recommended
This was the simplest of all parts of an ambitious project. The skirt went up very well, and even our beginning seamstresses made it up without any issues. The biggest challenge I had was finding velvet and matching brocade. We eventually worked it out, but some fabrics were not perfect matches. Pictured on the right.
About this project: I had seen a photo on the Truly Victorian website that captured my imagination. I knew I wanted to do a formation dance team in these dresses. We started making our dresses in August, but the biggest challenge was finding fabrics which matched. Find your fabrics first before purchasing for such ambitious projects. I made the red dress. I sewed parts of the other ladies' bodices as time was running out and they needed help. This was an unbelievably ambitious project. If I ever suggest to do something like this again, I think I'll have a dozen people beating me with a stick. One of the ladies still had pins on her bodice trim for the show; it was never finished! To see more of the scrumptous gowns in this group project, scroll down to her #TV364 1886 Autumn Overskirt review.
Kendra van Cleave - Recommended
This is a great, simple pattern that I used for my Underskirt. I was going for the early 1870's look, but didn't want to make a Crinolette, so I used this skirt pattern to make a petticoat and added ruffles down the back and around the hem. I wore it over my standard back bustle. It created a nice silhouette and worked very well. Pictured on the left.
Annette E. Laprade - Recommended
This is another very versatile and easy to sew pattern. I've used it twice: in this garnet gown (pictured on the right) and in the plaid gown (shown below with the #TV301 1870's Tie-Apron Overskirt and #TV405 1872 Vest Basque reviews).
Lorraine Carson - Highly Recommended
This is a super simple pattern. It goes together like a dream. There are no issues at all. The picture on the Truly Victorian website shows it over Truly Victorian's Bustle pattern TV101; however, there is no reason you couldn't wear it over a smaller bustle. I added a fringe at the bottom to match the polonaise I wore over it. See her 1870s Underskirt with her #TV410 1873 Polonaise review.
#TV208 - 1870 Trained Skirt Ensemble
Lorraine Carson
I made View B, but bustled it with tapes, rather than just letting it fall, and skipped the apron, as it was to be used as an underskirt). Basically, this skirt looks great when you get it done. However, I would not recommend it to a non-indulgent beginner. There are markings to match some front and side pieces, but none on the back piece to indicate where to match side markings. There is a pocket piece, but no indication of where to put it. I guessed 7" inches down, which was way too far when I got it done; probably 5.5" is good for most people. It's got a nice deep pocket piece, though.
Actually, a beginner who wasn't caught up in making pattern markings match, would be fine, but potentially frustrated. It isn't a difficult pattern to figure out even without markings. If you are a beginner, make a muslin first; it will make fitting easier.
Trim Tip: Made up in size large, it required 8 yards of ruffle (i.e. post pleated) to go around the bottom of the skirt twice at 6" and at 12". Here you see her Trained Skirt pictured at the right.
Janet Canning - Recommended
I originally made this pattern up to go with the #TV410 1873 Polonaise (see review below). I found the underskirt very easy to put together. It's not hard to work with the pattern pieces and there is a generous waist band.
Of course I learned the hard way to really measure the lengths because it seems every Truly Victorian skirt pattern is drafted for someone 5'6". Once I determined that I had make a false hem, I learned it was a very correct way to hem in street length skirt in the 1870s. (It is very important to find out any period correct excuse to cover your 'fixes'.)
I found this is a very simple throw-together skirt. It does span a number of years and works well the 1870s bustle as well as the 1880s style. I have made up this pattern twice now. The placket side closures is a bit tricky but, if you have been sewing awhile and making plackets, you will be OK. You may find the placket technique used in this pattern to be useful in other projects. The side closure makes it hard to expand if one's size changes.
Cathy Raymond - Recommended for Advanced Beginners on up.
A Victorian skirt is a skirt is a skirt. There should be few issues with a skirt pattern. The only issue I had with this pattern is that the place marked for the pocket is about two inches too far down to be convenient. That can easily be fixed through experimentation or by eliminating the pocket.
#TV216 - 1875 Parisian Trained Skirt
Lorraine Carson -
Highly Recommended
This is a pattern that I would put in the "looks really complicated, but is actually very straightforward" category. Nice diagrams in the instructions and it goes together smoothly if you follow the step-by-step directions. Note that this does not fit over a big bustle - all the pouf is created with the draping. I have included a picture of the inside of the skirt, so you can see what it looks like with the ties and netting. I wear this skirt over a cotton version of TV255 (made up as a petticoat) and it works great. (Worn over small bustle pad.)
#TV221 - 1878 Tie-Back Underskirt
Heidi Schultz - Highly Recommended
Another wonderful pattern I can't recommend enough! I did add some length to the skirt, but the fit was perfect just following their directions. Even having a somewhat larger-than-average waist to hit ratio, the skirt worked up fitting perfectly without having to re cut the pattern! I used a fairly stiff satin to do the skirt, were I to do it again in something lighter I might add a bit of fullness to the back of the skirt, but it should work out fine just as it is.
Holly Messenger - Recommended
I had a small problem with the ruffle on the underskirt--there wasn't enough yardage for a proper gather after I'd cut it out and sewed it together, but that might have been because I mis-measured or forgot to put the pattern piece on the fold or something. See her Tie-Back Underskirt under her #TV324 1878 Long Draped Overskirt review.
#TV225 - 1878 Fantail Skirt
Lorraine Carson - Highly Recommended
Another super simple pattern - no issues at all. Few pieces to the pattern (I added another pocket, so I had one on each side) and they go together just fine. The way the skirt is pulled back, it holds away from your feet while dancing, but still gives you an elegant flowing look. I made it without the train. My only complaint is that when pulled in very tightly, the back section is a little shorter than the front. Since I plan to trim it, it isn't a big deal to drop the trim a little lower in the back to compensate. But keep this in mind if you do not plan to trim it. In fact, I liked the pattern so much that I made up a second one in white cotton and added a stuffed bustle to give me a great "small bustle that you can wear while driving or riding in a car" petticoat. (Just cut a half oval shape out of fabric and stuff it. The straight edge should be sewn into the waistband.) Much easier and faster to put together than the hooped ones - and more comfy to sit in by far! Pictured on the left.
Teresa Liao - Highly Recommended
I made the version with the train. I obviously made a few alterations to this skirt, but, the foundation is the Truly Victorian skirt strait from the pattern. The directions are easy to follow with very clear instructions for getting the best fit possible. With so few pattern pieces, the skirt goes together very quickly; I was able to do the mock-up and actual skirt all in the same sitting. The only surprise I had was that once I mounted my overskirt pieces onto the foundation skirt, the hem in front seemed a bit too full (this, of course, is simply a matter of taste and is more a result of my overskirt design than anything else). Pictured on the right.
#TV240 - 1860's Ball Gown Skirt
Lisa Swehla - Recommended
This is a cute, easy design. I felt sad to have wasted the trees when I saw the pattern pieces were just 4 rectangles (ok, two are slightly trapezoidal). I'd skip the sweet packaging and ask for her clear instruction pages on assembly and box pleats. The Trimming Suggestions page briefly describes and encourages ruches, ruffles, fringe, and stripes.
#TV244 - 1859 Double Skirt
Roz Johnson - Highly Recommended
Simple to put together, and makes a lovely full skirt over the cage crinoline.
#TV247 - 1865 Elliptical Skirt
Caroline Brancq - Highly Recommended
The skirt was made to be worn with the elliptical crinoline that I had also purchased. I finally realized I didn't want such volume. I choose to wear the skirt with a normal bridal A-line petticoat. I altered the petticoat to be quite flat in front and have its volume protrud behind (which is a bit like the elliptical crinoline but, with less volume and more flexibility.
The pattern pieces are huge. Make sure you have enough space to put them flat on your floor. Everything went together very easily. The instructions are clear and easy to follow. The skirt can be made by a beginner.
I suggest lining the skirt but, that is a matter of personal taste. Heather at Truly Victorian is absolutely lovely. She answers email ultra quickly and is a great contact. I will definitley buy again from TV. See Caroline's skirt in the photo with the #TV361 1880s Butterfly Detatchable Train review.
#TV261 - 1885 Four-Gore Underskirt
Lisa VandenBerghe - Highly Recommended
Quick and easy. If you are over 5'5" tall, though, plan to add to the length. I skipped the optional ruffle at the hem and also the poufing for the back, but look forward to trying them next time.
Athene Kovacic - Highly Recommended
An easy pattern that goes together cleanly, resulting in a just-about-perfect bustle. I made a couple of changes to the original pattern--a full length front panel and layered knife pleats instead of a ruffle--but I don't think I've seen a better basic bustle underskirt. I would, however, double or triple the net underlining that's called for, for added body in the poofs. Netting is cheap and it really helps hold the shape and allows the bustle rest lightly on the underpinnings. See her #TV462 1883 Tail Bodice review for photo.
#TV294 - 1891 French Fan Skirt
Lorraine Carson
This pattern contained a warning that one should not try to cut it out of stripes; so, of course, I had to do so. I think it turned out OK and it looks exactly like the pictures of originals I have seen. However, because you have to cut it from 50+ inch wide fabric. Doing all the piecing that is necessary to get this ankle length on me was maddening. You can see the petticoat peeking out beneath the hem (sigh). Again, if I had followed the instructions and used wider fabric, I'd not have had this trouble. So, be aware before you buy that it is only suitable for very wide fabric. Pictured on the left.
Teresa Liao - Highly Recommended
There are very few pattern pieces to this skirt, but they are very large and unwieldy. Make sure that you have a wide cutting surface to work with. The pleats are the most complicated part of this pattern, but I didn't have a problem the second time around when I read the directions carefully and observed the markings on the pattern. I had a bit more trouble with the back pleats, which are not marked on the pattern. I never was able to get them even, but I'm sure that someone with more patience would have better luck. Pictured on the right.
#TV296 - 1895 Ripple Skirt
Annette E. Laprade - Recommended
It is a very easy pattern; however, at 5'6" I found it a tad bit long in back as a walking skirt. For indoor use it is great but if you want to use it outdoors and keep it off the ground you may want to shorten the back just a bit. This pattern uses a LOT of fabric. It can get a bit heavy but, it is very flattering with the rippling folds. See Annette's skirt in the photos with the #TV492 1890's Victorian Corselets and #TV498 1898 Eton Jacket reviews.
#TV297 - 1898 Flared Skirt
Deborah Borlase - Highly Recommended
I have always have great luck with the Truly Victorian skirts & petticoats, no issues at all. This went up easily, and looks absolutely fabulous. The photo makes the dress looks pink but it's really a dark red, black/red changeable taffeta with heavy black beaded lace. I lined the whole skirt in black muslin, but probably didn't really need to.
I should probably add that she doesn't tell HOW to finish a waistband...you need to already know those things, so it isn't for the brand new beginner unless they have access to someone nearby. So probably for the beg/intermediate sewer, not truly beginner.
#TV301 - 1870s Tie-Apron Overskirt
Annette E. Laprade - Recommended
It's very easy. This is a great early bustle overskirt for stiffer fabrics as it does not have any pleats or draping. It only has two pattern pieces and is very easy to make. I have used it twice so far, once with an upholstry weight plaid silk and once with an upholstry weight cotton with a burned out velvet overlay and both times the pattern came out great. Total sewing time is a day for a plain version or maybe two days if you get really fancy with the decorations. Pictured on the right.
Carmen Stone - Highly Recommended
I used this pattern for the overskirt of my bustle dinner gown. I am planning on wearing it for a Victorian/Edwardian Dinner party I am attending for Valentines Day, 2003. See phots of her 1870s Tie-Apron Overskirt under her #TV460 1885 Cuirass Bodice review.
#TV303 - 1872 Side Drape Overskirt
Lorraine Carson - Recommended
I can't seem to get the finished item to look like the sketched picture on the front of the pattern envelope - but I think it turned out cute anyhow. I emailed Heather that although the directions were very simple and straightforward, my finished product did not look to me like the sketch. She emailed back within hours (try that with Simplicity or Vogue; this lady is a sewer's best friend!) to offer help. I finally decided it must just be my weird way of seeing and put it together the way I thought it looked good; that worked fine. I have reversed the order of the long straight and pleated parts. So, if this pattern goes together for you easily, don't be surprised. It isn't difficult at all. (Just be glad you aren't crazy like me!) If you have trouble, I suggest you just make each piece up as instructed and sew them to the waistband in whatever order seems to look good to you. Remember that with bustles, getting them draped is really an art form; and everyone's idea of "art" is a little different. Pictured in the photos to the right.
Frannie Germeshausen - Highly Recommended
This was a piece of cake. I looked at the pleats and was initially concerned, but I just followed the markings and it went together like a dream. I trimmed it with some trimmings I'd bought in Florence, Italy, for just such an occasion. Pictured at right.
Cathy Raymond - Highly Recommended
Although the finished result looks a bit intimidating, the construction is simple. It has the additional advantage of looking very different with different weights of fabric. Use a heavy needle if you're making the overskirt out of a velvet. You'll be sewing through several layers when it comes time to unite the skirt with the waistband. The only real question in the directions is where you're told to baste the pleats, in the front apron, in place. There is no easy way to do it which will both hold the pleats in shape all the way across the width of the apron without letting parts of the basting stitches show. Fortunately, the apron looks fine even if you don't baste the pleats or if you only baste parts of them. I've tried it several different ways on the two Overskirts I've made so far.
#TV305 - Bustled Apron Overskirt
Janet Canning - Highly Recommended
Curtains away! This pattern is one of the easier bustles I have made. I had to think of Roman shades a bit while I was working with it. The directions are typical of Truly Victorian: some diagrams and lots of written steps. Really, these basic bustles are very easy to assemble.
The tie system Truly Victorian uses gives very good results; however, I think I would have to add that using either small D rings or the Roman shade rings attached in strategic places on the skirt near the bustle top may help in keeping the fabric and shape from shifting. Bustle poufs tend to move around unless that are controlled through engineering.
The waistband is generous. I recommend securing the the apron to the skirt using snaps or hooks. This will help keep all the skirts in place and aligned (more or less). Pictured in the photos to the right with the #TV463 1884 French Vest Bodice.
Lorraine Carson - Recommended
I really like the way the pleats at the side fall on this bustle. It's worn here over Underskirt 201 and the bustle TV101 (yes, I am a confirmed TV devotee!) This went together with no issues at all, though I did add hook and eyes the full length of the side opening, to keep it from gapping. I also lined the back piece in netting, to help the puffs keep their shape. Note from the experienced: if you attach the skirt to the bustle tapes with small safety pins, you can remove them and launder the skirt more easily. Otherwise, it's really a chore to iron out any wrinkles (caused when you sit down), because you'll have to cut all the thread tacking that you painstakingly put in to hold its shape. Pictured on the left.
Kendra van Cleave - Recommended
Another beautiful, simple Truly Victorian skirt. It is very easy to put together. Because I lengthened the skirt (I'm 5'11" barefoot), I added more attachment points in the skirt back. This worked well. The only quibble I have is from a design perspective. The front and back pieces are pleated up the sides; the pleats don't match up. I think it would be prettier if they did. Pictured on the right.
#TV324 - 1878 Long Draped Overskirt
Holly Messenger - Highly Recommended
I'd recommend these patterns to anybody. The skirts were especially easy; I did up the overskirt one Saturday before lunch. This photo shows the overskirt with a front view of #TV422 1881 Dinner Bodice (scroll down for the review) and the #TV221 Tie-back underskirt (scroll up for the review).
#TV361 - 1880s Butterfly Detatchable Train
Caroline Brancq - Highly Recommended
I altered the Train a little bit. I cut it in two in the middle to make it look more like butterfly wings. I added some eyelets and lacing (as an echo of the corset) on the upper part of the middle cut. I lined the entire Train.
The is another pattern with huge pieces. You'll need plenty of floor space to lay them out flat. Everything went together very easily. The instructions are clear and easy to follow. The Train can be made by someone with a bit of experience.
#TV363 - 1887 Summer Overskirt
Dianne Lanning - Highly Recommended
I made a few changes because the pattern is so simple and allows you to do so much of the poufing at each wearing; you can keep your options open. I had very little fabric to work with but, I managed it.
First, I have to be able to dress myself unaided so I switched the closure to the front and used a skirt hook and a large snap. To make it more adjustable in size, I made the waistband really long and left the back partially detached so I can tie it in back like a sash. The hanging tails as a result of the sash are a pretty bonus.
I flat-lined the cotton with nylon net on the advice of the Truly Victorian staff. It does five an extra lift. Ther is also a strip of twill tape that goes down inside the back so you can pin it up to ge the poofiness you desire. I added a couple of little loops to the lower back seam so I not only know exactly where I want to pin it, it is reinforced. I also tacked the safety pins to the twill tape so they are always 'there'. I can still pin it in different locations but, when I am dressing in a hurry, I can always use these loops.
I played with the side pleating until I got the drape I wanted. I then hard-wired it to a piece of the dress fabric and sewed it to the waistband. This saves a lot of time when dressing. I made up contrast bows and then safety pinned them to the top of the draping. Then I added the ruffled and trimmed to my hearts content.
#TV364 - 1886 Autumn Overskirt
Deborah Borlase -
Highly Recommended
The following directions made this overskirt quite simple to create: decide BEFORE you sew up the back of the Overskirt how it's going to be decorated. Because the skirt folds over itself, you may prefer to have your trim sewn inside the seam rather than applying your trim on top, so that it looks good on both sides. This gives quite a stunning effect. Also, as the back of this overskirt falls quite low, you may want to keep this in mind and shorten the pattern before you cut. There aren't give clear instructions on how to accomplish this. We took the Overskirt up from the "tip". This worked well.
Editor's Note: Read about the making of the men's costumes on the Butterick review page.
Karolina Granath - Highly Recommended
This is one of those very easy Truly Victorian patterns, and I'm not a very experienced sewer. Made in dark brown silk dupioni and flat lined with black cotton broadcloth, this overskirt was very easy to make and it drapes beautifully. It is shown here over TV261 1885 Four-Gore Underskirt with three rows of pleats.
#TV368 - 1887 Waterfall Overskirt
Kendra van Cleave - Highly Recommended
I adore this overskirt pattern. The pleats at the side of the apron and the drape in the back is gorgeous.
#TV400 - 1871 Day Bodice
Lorraine Carson - Highly Recommended
Everything fit over my aggressive bustle, which no previous pattern has ever done. The bodice is a perfect fit for me. Unfortunately, in the photo on the right, Lorraine is sitting on her 'aggressive bustle' and we cannot see its' perfection.
Elizabeth Merritt - Highly Recommended
This is the best fitting Victorian bodice I have ever made. It is easily alterable with the front darts, and period. I love TV's method of sizing for each area of you body. It just makes so much sense I wonder why more people aren't doing it that way. The only snag I ran into with fitting was the slanted shoulder seams; they needed to be taken in a little bit to keep the back/armholes fitting snugly. I had this issue both fitting myself and someone else. Otherwise, I pretty much used it as is straight out of the envelope.
#TV401 - 1870 Blouse Waist
Cathy Raymond - Recommended with one caveat.
Truly Victorian recommends this pattern in particular for light summer fabrics. Take them at their word. The pattern require stitching gathers through several layers on the upper sleeve. You will go in sane attempting to make this bodice out of heavy cotton velvet as I did. On the other hand, the result are very charming. Unlike most Truly Victorian bodices, this one requires no boning.
#TV405 - 1872 Vest Basque
Frannie Germeshausen - Recommended
While this wasn't easy, the instructions (with one exception) were clear and the result was excellent. The fitting instructions are very detailed. I ended up fitting one pattern size almost perfectly. I only needed to make one simple adjustment: omitting the waist darts.
The instructions call for flat lining the fashion fabrics with a medium-weight fabric. Consider the strength of your sewing machine before you do this. I made the bodice out of cotton and lined and flat-lined it with the same weight because my poor old sewing machine is on its' last legs. It probably would have died outright if I had used a heavier fabric.
Due to time constraints I omitted the boning. Because the bodice fits so well, I don't feel I'm missing anything. It held its' shape nicely for the long hours I wore it. I didn't take all the steps for pleating the back tail. I just caught the fabric up with decorative buttons. I can go back later and redo the tail section. I opted for hooks and eyes for the front closure instead of buttons and button-holes. The pattern instructions include both options.
The only place the instructions were confusing was the section on attaching the cuffs. There is a drawing but, it doesn't clearly indicate whether it shows the right side or the wrong side of the sleeve. The instructions do not explain whether one edge of the cuff needs to be caught in the side seam or not. It took a little 'unsewing' before i got things to look lik ethe drawing. I still am not sure if I did it correctly but, it looks OK.
I'm going to all trim to the lower edge of the bodice before I wear this ensemble again.
Annette E. Laprade - Highly Recommended
This is a very flattering pattern. It goes together quite easily and looks a lot more complicated than it is to sew. For the plaid fabric I split the back down the center into two pieces (in the original pattern the center back piece is cut on the fold) to get the mirror effect. That was the only modification I made to this pattern. Pictured in the photos on the right.
Izzy Merritt - Highly Recommended
I recently made up 1872 Vest Basque in brown and blue wool brocade with a blue raw silk vest and brown velvet collar and cuffs. Everything went together perfectly. It looks like the picture. The instructions were easy to follow. I had absolutely no fitting problems. Truly Victorian's method of sizing each part of the body separately makes fitting any of their patterns a walk in the park.
Jennifer A. Brownell - Highly Recommended
This pattern was a lot easier to make than I had feared (all TV patterns seem to be that way). I made the bodice from pin tucked red taffeta, and used a red taffeta with velvet design for the cuffs, collar, and vest. In all, I can say that I encountered few problems, except for the tail pieces in the back. In spite of what the pattern says, I recommend sewing completely around the darts between the tail pieces; otherwise they look scrappy and pull the seam apart. Also, I recommend putting some kind of decoration centered at the small of the back. It helps to cover up the seam ends and draws focus to the center (for a smaller waist).
NOTE ON THE CUFFS: The cuffs are like "façade" cuffs, in that they attack just to one point of the sleeve and are only part of the front. If you don't attach them to sleeve all the way around, they flop over constantly.
#TV410 - 1873 Polonaise
Lorraine Carson - Highly Recommended
I seem to be one of the few people who don't like the Past Patterns' Polonaise. In place of it, I love this pattern. This is a bit more complicated; intermediate level experience is needed. The back of this polonaise is very attractive and it works for a large bustle. This pattern is available for larger bust sizes. I did add netting as interlining to the back bustle piece, which really helped my lightweight fabric to keep it's shape. Instead of creating a free-form facing per the instructions, I lined all the front and bodice pieces with self fabric to hide the interlining and keep seams from showing when the wind lifts the lower front pieces. I thought the free-form facing idea was really annoying. Why not just add pattern pieces for this? I found that although markings were given to indicate where the back should be tacked to the inner ties, there were not enough "connections" to create the look I wanted. This was my preference; not an error in the pattern. I tacked the back and inner ties in a few more places and it was fine. Trim Tip: Made in size H, it took 10 yards of fringe to re-create the look of the picture with trim added to the sleeves & neck.
Janet Canning - Recommended
I agree with most of Lorraine Carson's comments (see above). I recommend this pattern to anyone trying to do a Polonaise. I had thought of doing the Past Patterns version (Late 1880's Polonaise with Walking Skirt 904), but had read mixed reviews. Since the event where I was planning to wear this garment was an oriental theme (Japonesque, Oct. 5, 2003), I kind of wanted the feeling of a coat.
The lining of the bustle was pretty easy and the use of ties to adjust the bustle is great, but I find I am still adjusting it on an almost daily basis. I also wish that the seam allowances were more than 1/2 ". The size of the seam allowances caused a lot of heavy bunching at the side tucks. On the inside it didn't leave enough overhang (where the seams joined at the sides) to flatten and tack it. It created a ridge inside. I had to do a lot of fidgeting on the underside. I do like the effect of the side tucks. The garment took a few weekends of sewing and slowly doing hand work. I found that the shoulders seemed a bit wide, even though I followed the pattern adjustment sections. I did look at some books with the transitional lines. I was doing 1870's. The Civil War/Victorian 1860's still have that off the shoulder look. So, I wasn't sure if it was just my body or the shoulders are meant to be wide. One pattern improvement I would suggest, is to indicate where the boning would best be placed. Much of the instructions are written out in detail. Hints on pros and cons of boning placement would help. I enjoyed making this and hope to make another in a lighter fabric. I feel that once you get to know the pattern, it will be easier the second time.
Carmen Stone - Recommended
I love the way this pattern goes together. I made it in a combination of navy blue and burgundy linen. I used TV 201 for the skirt and added a small ruffle at the hem (I did not have enough fabric left for a larger ruffle). I think it turned out well. Pictured on the right.
Judith Hollenberger - Highly Recommended
I like the bell sleeves, drape of the side pleats and the Basque back. I also like the sizing scheme used in the Truly Victorian patterns. I agree with other reviewers that using a front lacing may not be the best option for this garment. I recommend cutting four fronts instead of two with an additional half inch allowance where needed and sewing the front and front facing right sides together along the center front edge, neck, hem and side up to the armhole. Turn and press and you have a nicely finished edge. If the front flips up for some reason, it matches the outer fabric. This also solves the issue of a nice seam finish where the pleated portion of the front is seamed to the back. As always make a muslin firts and fit it carefully. I needed approximately 10 yards of trim to go around the front, neck, hem, back hem, Basque and sleeve hem.
Hannah Phillips-Ryan - Highly Recommended
I used the 1873 Polonaise (TV410) to make the 1882-3 Dinner Dress from Patterns of Fashion 2. I had used the bodice section of the Polonaise before to create a basic block, so I knew how it fit. When I noticed the patten pieces were very similar, I knew I could whip one out in no time. I extended the center back and side back pieces of the Polonaise to create the fitted hips. The hem of the polonaise was tucked up and attached to the side front panel where it goes under the train section. The train section of the dinner dress is almost exactly the same size and shape as the bustle section of the polonaise. I shortened the sleeves to elbow length. Then I trimmed the whole with lace and ribbons, as in PoF. I made the dress with a black cut velvet flatlined with royal blue cotton broadcloth that I'd been saving for the polonaise. I trimmed it with royal blue and black laces, and royal blue grosgrain ribbon. It went together in three weeks of evening sewing. The skirt worn with it is one I already had from another outfit. I highly recommend this pattern, as it is very clear and goes together with minimum fuss. And, as you can see, it's very flexible. Her dress is in the photos to the right.
#TV416 - 1875 Ball Gown Basque Bodice
Lorraine Carson - Recommended
This fits great. Just like all TV Patterns, it has all sizes, is printed on heavy paper and is easily customized. I still recommend that you do a muslin mock-up, because with such closely fitted garments you need to get the neckline "just right" for your shoulders/chest in order to avoid "gaposis". The pleat in the back is really cute and accommodates even large bustles. Advice from the experienced: Cut the back (or at least the lower back) parts of your lining from the same material as the outer fabric, because it will show when you move. I never seem to remember to do this and show flashes of lining fabric all the time. Imade up this bodice a second time and I still really like it and highly recommend it - even for the inexperienced. Using Heather's special measuring, you can get an almost perfect fit. However, you should always do a muslin, because there's no way to predict with a paper pattern where your neckline or bust point will be in a corset. Just use the muslin afterwards as your lining, and you'll not have any waste. This is (to my mind) a base bodice that always needs something to trim it. So, I added a pleated bertha (just two lengths of fabric, pleated and sewn to the top edge) to give it some trim. Lorraine is wearing her second bodice in this photo on the right.
Lisa Swehla - Not Recommended
I found this fit me better than the Custom pattern I ordered at the same time. The sleeve and the back pleats are delightful and easy. As in the TV 462 Tail Bodice, I had to rework the chest/neck. Three inches needed to be removed. Despite a trim cover-up, the front just couldn't pass quality control and I threw it out. It seems the whole bodice front should be redrawn. Otherwise expect to pile trim on at the front closure. Luckily, more trim is rarely a bad thing.
#TV420 - 1879 Cuirass Bodice with Evening Options
Teresa Liao - Highly Recommended
The directions are very clear and easy to follow. The most complicated part is the fitting but, by following the fitting instructions step-by-step I was able to get an excellent fit with just two mock-ups. The only reason why I even needed two was because I wasn't pleased with the armscye placement. The armscye on this pattern is dropped (at least on me), and I wanted it to be just at the edge of my shoulder; it was a fairly simple alteration to raise the armscye and extend the sleeve head.
#TV422 - 1881 Dinner Bodice
Holly Messenger - Recommended
The bodice was interesting. After reading everyone else's comments about how the TV patterns tend to gap in the chest I was maybe too cautious; the first muslin I did was an inch too small and wouldn't close in the front. Le sigh. I did a second front piece for the muslin and all was good.
One thing I didn't like about this pattern was the use of a bag lining. When I sewed the lining in, of course it showed all around the edges, especially at the tails. I ended up making a facing to go along all the outer edges, hem and neckline. If I use this again, I'll flat-line and roll the edges with piping or cord or something, but that wasn't a good solution with this heavy velveteen. This picture was taken before I put the final trims on the overskirt and bodice, but you can see the lines clearly. They all came out very nice. Pictured on the left.
Carmen Stone - Highly Recommended
I just finished my beautiful natural form ballgown for the Spring Victorian Ball in Cape May, New Jersey. I added the small puff sleeve from the #TV460 pattern to the Dinner Bodice. The underskirt is #TV225 1878 Fantail Skirt cut for the walking length. The overskirt is #TV326 1880 Hermione Overskirt. Pictured above in the center and on the right.
#TV432 - 1882 Tea gown
Lorraine Carson -
Recommended,
but with caveats.
The pattern pieces went together very smoothly however, a beginning sewer may be frustrated by the very small number of notches that help ensure proper match up. If you are familiar with Truly Victorian patterns, please be aware that this is drafted to fit VERY LOOSELY to the body.
I've made up countless Truly Victorian patterns. They are generally very well fitted. I rarely bother with a muslin anymore because I know how to make TV patterns fit me.
I assumed (my error) this gown had the same standard TV fit. I just whipped it out of the fashion fabric. I ended up taking it in on all the seams and darts to achieve what I liked in a fitted line. If you want a loose tea gown --- this is it. If you want a more fitted gown, make a muslin first and plan ahead to make alterations. Other than tailoring the fit, the only changes I made were to opt for the 3/4 sleeves and add several layers of lace trim. Incidently, because it is so loosely fitted, you can put a small bustle pad (about the size of a tiny pillow) underneath and it still lays flat across the back.
I have a few construction comments. These are not flaws in the pattern but, rather flaws between the chair, cutting table and sewing machine. I wanted a loose flowing look for this gown so I selected a very floppy, lightweight silk/rayon. It was a great idea. It was also impossible to work with. I think we often forget that ilk in the 1880s was very tightly woven and had a stiffer hand than any silk we have today (except maybe Dupioni which is a modern weave and not appropriate for the 19th century).
What I selected required a stiff interlining to keep enough shape in the top part of the gown to recall even a hint of the pattern piece's shape.
My construction advice to other sewers is to cut your lining and interlining without the Watteau back. This will eliminate bunching. With three layers of fabric, double pleated, the end result looked like I'd developed a hunchback. The flowing nature of the fabric was completely lost. And, it was agony to sew through all those layers. I resorted to hand sewing most of the pleats down to the waist.
I would use this pattern again but, would select a medium weight fabric.
#TV440 - 1859 Pagoda Bodice
Katherine Caron-Greig - Recommended
This pattern was wonderful to work with. I made a few changes to make it more authentic. Since I was making my dress out of cotton I gathered the bodice instead of darting it, added a waistband and switched the pagoda sleeves to bishop sleeves (which I drafted using Elizabeth Stewart Clark's Dressmaker's Guide). I also dropped the shoulder seams little, cut the front piece on the straight of grain, added piping to the arms eye seams and flat lined it instead of fully lining it like the pattern suggested. The fitting was accurate, I made size A and only had to adjust the shoulder area and the back of the neck. This may sound like a lot of changes, but for the most part they're just cosmetic, the bodice went together easily and I'm sure I'll be using it again. Pictured on the left.
Judith Hollenberger - Recommended
As with all of TV's patterns you should make a muslin first and pay careful attention to the fit around the neckline. I made this version as a modern interpretation and pretty much stuck to the directions, although I did bias bind the neckline. Those beautiful sleeves just cry out for embellishment. I agree with the other reviewer that if you're doing a historical costume you should flat line instead of bag line although I do like the exceptionally clean finish of the bag lining. The directions are simple and the bodice makes up quickly. Pictured above-right.
#TV442 - 1860s Ballgown Bodice
Katherine Caron-Greig - Recommended
I made the ballgown out of a changeable pink/green silk taffeta. The only difficulty I had with the pattern was I tried it when I had only been sewing for a few months. The tight fit is somewhat difficult! I picked it up a year later and it went together with no problems. It turned out I only needed to do minor alterations to the fit. I did make a few changes to the pattern, I flat lined it instead of fully lining it, and cut the front piece on the center fold instead of in two pieces (a beginner's mistake!), added piping to the armcyes, neckline and waistline, and a tucker to fill in the neckline. I haven't made a bertha yet, but eventually plan to do so out of the same silk used for the rest of the dress. For the skirt, as usual, I used the free instructions on Elizabeth Stewart Clark's site.
Lisa Swehla
This is a brand new design from Truly Victorian, and a nice one. Still, it needs to be adapted above the bust but, since it's off the shoulder and low, it works much better. This is the best of the three TV bodices I've tried. It has tidy packaging and directions. Is it me or do all TV bodices have the same 1870's front piece? I started this time by cutting off center front with a straight edge which helped. There is no grain arrow on the front piece. The size lines and darts are a zoo of tiny identical lines that make cutting a guessing game. This is mostly a problem at the bottom which isn't critical. I used a different sleeve and boned both center backs to keep closure from buckling. The Trimming Suggestions page is fun.
Roz Johnson - Highly Recommended
I made it with the bertha collar. I was pleased with the fit, and Heather was very helpful via e-mail with some of my questions. I did add the optional "tucker" to the bodice neckline to take out a slight residual "gaposis". I also changed the sleeves from the puffed version by just cutting the sleeve out as drawn, but not gathering the bottom and attaching it to the lining. I lined it with self fabric and gathered it at the shoulder. It made a nice cap sleeve that came down further over the upper arm.
#TV443 - 1861 Dress Bodice
Marie Schnoor - Recommended
This pattern is one of many of the new ones that Truly Victorian is producing for the Civil War era. I am very pleased with it. Her sizing is a bit unusual but the benefits from it, vs. the traditional "Oh hey I'm a size 16 I better cut it a 22 if it's Simplicity sizing," are just great. The pattern lends itself to many varieties of fabrics, formal to casual. I ended up making it, and a matching pleated skirt, out of a simple homespun, flat lined (it really does look better; take the time and do it) with muslin. I also hand-sewed the entire garment because, well, I'm a little bit crazy. The sleeves ended up fitting me a bit strange. I think it's because I should have extended the shoulder width a bit more. I wanted a touch more of the slope I saw in pictures of the time. But the sleeves fit up on my arm just perfectly for working in the kitchen, so no complaints here. This is a very versatile, very well-drafted pattern. Pictured on the left.
Amy Denison - Highly Recommended
I loved this pattern! The pieces went together very well and the construction was simple and went fairly quickly. The only problem I had at all was trying to pipe around the points on the front & back bodice waistline... but that was due to my lack of skills with piping rather than anything else. The bodice fit very well and the shape is very flattering. I paired the bodice up with a simple pleated skirt, hand-basting the skirt waistband to the bodice lining. I received dozens of compliments on the completed garment! Pictured above-right.
#TV455 - 1830s Romantic Era Dress
Teresa Liao - Recommended for intermediate to advanced sewers.
This pattern was so easy to work with and to fit. The directions were clear. It only took four or five evenings to put together. The finished dress is very lovely. The only problem I ran into was that the directions said the gigot sleeve could be gathered into the armscye if the fabric was lightweight. While I used a lightweight fabric and a lightweight lining, there was no way all the fabric at the head of the sleeve could be gathered tightly enough to fit the armscye. It was a fairly simple adjustment to pleat the fabric instead, but it took a bit more time, especially since I had already spent quite a bit of time figuring out that the gathering method would not work. (Photos of Teresa's gown below).
#TV456 - 1856 Gathered Dress
Lisa Prindle - Highly Recommended
I love this pattern! I made it for a friend from a floral-printed 100% cotton voile, and she received so many compliments! The directions are very clear and the pattern itself is easy. I changed the sleeves from the open sleeve to a cuffed style. But you don't even have to cut the armscye larger like one usually does on historic costume patterns - it was perfect. The shirring on the bodice is not time consuming at all, so don't hesitate to add this one to your summer costume wardrobe. You will have to provide your own chemisette pattern, though.
#TV460 - 1885 Cuirass Bodice
Lorraine Carson - Highly Recommended
Very good pattern with much more detail in the instructions that those that come with the custom patterns she makes. I especially liked the way each pattern comes in ALL SIZES on heavy paper stock that doesn't tear easily like tissue patterns do. She uses her traditional 19th century measuring system to help you get an almost custom fit from the pattern pieces enclosed. By analyzing your measurements, you combine various sizes' pattern pieces to get a closer match to YOUR actual shape. And, an added bonus, modifications for bust cup size alterations are ON THE PATTERN - yeah! The only problem I had with this pattern was that I tend to make rather aggressive bustles. Although this Cuirass was supposed to fit over a bustle, it did not fit over the one I had made for Kim. It fit perfectly to the waist, but I had to add to the flare from the waist past the hip. Not a big deal, but thank heavens I made a muslin! Kim Burnham is shown wearing the bodice Lorraine made in the photo on the right. The skirt of this gown was made from Old Worlde Enterprises 1880's Bustle Ballgown 882. Pictured on the left.
Trystan L. Bass - Highly Recommended
Custom TV460 1885 Cuirass Bodice: This pattern is incredibly worth the higher cost! It's custom-drafted to fit the measurements you mail in. Heather McNaughton, the woman who runs Truly Victorian, emailed me as soon as she received my order. She suggested I re-measure, because a few of the measurements looked off. All these measurements are done according to authentic Victorian tailoring methods, so they're not the typical bust-waist-hip measurements (& I was having my husband do them on me, which further added to the confusion). But Heather included additional directions in her email for measuring everything, and we finally got it right. She also did a rush order (the bodice was for my wedding dress & I was really running late), and got the pattern to me in just a few weeks. Heather was really wonderful to do business with! I did a muslin mock-up of the bodice as soon as I received the pattern, and was very impressed. It fit beautifully, even in hastily sewn muslin. When my stepmom-in-law was working on the final bodice, she did quite a few adjustments to the sleeves (the leg o' mutton style was a bit too poufy for my taste; although it was very authentic). But this was so much less fussing than I've ever seen in any other historical pattern, and overall, the Truly Victorian custom pattern was a dream to work with. Pictured above-right.
Note: Truly Victorian is no longer offering custom-made patterns.
Kendra Van Cleave - Highly Recommended
I made the high square neck and curved V hemline. The pattern pieces are printed on heavy paper and the instructions were clear. I forgot when fitting to leave an additional 1-2" to be taken up by boning, and ended up having to add a placket to cover the front closure. I didn't have any problems fitting the back over my bustle. I didn't want any puffiness to the sleeves and so recut them as straight sleeves. I originally thought it was my fault that the bodice was too small around the bust, but after attending a workshop put on by the creators of these patterns at Costume College, I've found that they expect you to measure your bust not parallel to the floor all the way around, but angling up about 1" across the shoulder blades. Now, who would know this I'm not sure. They women mentioned they often get the comment that this is consistent problem of the bust fit being too small. Hopefully, they will revise future patterns. The moral is: always make a muslin. Pictured in the photos on the right.
Lisa VandenBerghe - Recommended
This took a bit of work to alter to fit and I am going to take up the shoulders more. I traced the size I wanted onto tracing paper and made the initial alterations there. I made a muslin and used it as interlining when I was done. I made the sleeves a little smaller, but otherwise followed the pattern. The back came together nicely, after I shortened the back length; it was the front I had to adjust dramatically. I made an aggressive late-period bustle, but the bodice fit over it ok. I didn't have spiral boning, so I skipped the boning in the back curved seams, but it seems to lay fine. The instructions are pretty basic, so having a knowledge of dressmaking techniques helps. I hand-stitched the button holes and made the Victorian Star needle-lace buttons in the book 50 Heirloom Buttons to Make.
Dianne Lanning - Highly Recommended
This pattern has become my basic for-all-periods-start-with-this-one pattern. I have sketched in neck and waist lines from Regency to 1900 on this pattern.
I am not easy to fit but, the size 28 needs little adjustment to fit me like a glove. I have yet to deal with one thing. I am narrow-shouldered and there tends to be a gap or buldge just back of the top of the shoulder on the arm hole. When I use a sleeve (that is, move my arm) it is not noticeable.
I made up the fashion fabric allowing extra inches in front to give a hefty turn under and made an identical lining. This allowed me choices later in construction since I couldn't make up my mind about anything. Hence, all the trim piled on top of this gown.
If it was my first time out on this pattern, I would have done the lining first and basted it, then used it as a pattern. But it is now tried-and-true so I cutit out with the high neck and then tried it on and sketched in the neckline I wanted. Because of the number of seams, it is easy to make modifications. I added a deep box pleast onto the center back seam down at the 'tail'.
Lastly I crocheted LOTS of trim and put almost all of it on the gown. I have since removed all but the yellow. I will next try a little soft green trim here and there.
Carmen Stone - Highly Recommended
I am a fan of the Truly Victorian patterns. I started this bustle dinner suit last summer (2002). I got the last 7 yards of this beautiful pale yellow stripe batiste on sale. I wanted to make this suit but got busy with other projects. I cut the suit out and put it away until now. I used the Cuirass Bodice #460 pattern for the bodice. I had to adjust the neck-line a bit but, that was minor. Other than the neck-line, the pattern was perfect. Pictured in the photos on the right.
Deborah Borlase
The difficulties we had with our ambitious group dance team project were in this bodice pattern. I have always found TV bodice patterns to be challenging in spite of the careful measurements. I always need to add to the bust area in addition to other modifications. In fact, all of our ladies needed to have adjustments made. As we wanted to use these for dancing, the shoulders were re-set in the modern fashion to prevent the bodice from rising to the ears as the ladies raised their arms, and the side seams were raised up into the armpits. This is not period, but looking good while dancing was the primary goal. Once we took our bodices to a professional for review and fit, we were able to complete them without further issues. I do recommend that you follow her directions regarding placement of the boning. I failed to do so, and had lumpies at the hemline. The gal who followed said directions, has a nice even hemline. At least the fur trim hid any errors we made. See her #TV201 1870s Underskirt and #TV364 1886 Autumn Overskirt reviews for photos.
Catherine Raymond - Highly Recommended
I was pleasantly surprised at how well this pattern went together. I made it up in a single weekend, and I am not a particularly expert seamstress. The fit was much better than the previous Victorian bodice patterns I have tried, and I feel that if I had had more time to make adjustments, I could have gotten the fit perfect even though I was fitting the bodice on myself without assistance.
#TV462 - 1883 Tail Bodice
Athene Kovacic - Recommended
I'm not an easy fit in bodices. I'm broad-shouldered, small waisted, and full busted. Because I usually draft my bodices from period patterns, I'm accustomed to three muslins at least before I get anything to fit. In contrast, the sizing methodology outlined in in the TV patterns gave me an almost perfect fit the first time around. The instructions were clear, and easy to follow. The bodice went together like a dream. I have heard that a number of people have had trouble with fitting the upper chest area using TV patterns but, since I cut the neckline for an evening décolletage, the chest area wasn't a problem. I did have to pull up the shoulders; this seems to be a common complaint with TV bodices in general. Pictured at right.
Lisa Swehla - Not Recommended,
unless you rework the chest/neck area and disregard grain line indications.
I made a mock up in stripes and I fear it showed the Achilles heel of Truly Victorian patterns: the plane of the chest. I cut out about 6" in order to fit get the correct it and now I have an arrow of stripes pointing upwards. It is unattractive enough that I shan't be finishing the bodice. I saw Lorraine Carson also had this problem. I called Heather at Truly Victorian and was told I should have stay stitched the neckline. Heather couldn't account for the extra 6" but, said she would look into it. She offered no solution for the stripes. Many moons later I emailed to see if she'd straightened out the problem (literally) and she suggested heavily trimming necklines since it's period to do so and would cover up the problem. Heather has been pleasant, professional, and prompt in all transactions and did admit that her patterns have this chest trouble. I worked out a solution to the stripes issue: use straight grain stripes at the shoulder and let them reduce flatteringly at the waist. TV patterns arrive in neat packaging in zip lock bags with easy to read instructions. The designs are nice, the website is easy to use, and prompt emails and shipping are pleasant.
#TV463 - 1884 French Vest Bodice
Janet Canning - Recommended
This pattern was very well fitted but, I did have some issues. Some of the issues were due to me not paying close attention to the instructions. I started this bodice when it came out. I had to set it aside for about 3 months and then pick it up again. The Truly Victorian sizing system was great for me when I first started on this project but, during the 3 month interval I had ..... expansion.
I wanted the center vest part to be made up for this beautiful Oriental silk (which frayed and frayed and frayed). I decided to do the center section last. That turned out to be a good decision because I had to recheck the fit when I got to the center vest section. That's when I discovered my .... expansion. I had to size up the bodice front a bit. I forgot to size up the collar as well. (A bit of self-mutilation in the form of hitting myself in the head followed.)
When sizing the bodice, I had made measurements over the skirt and petticoats in order to get a correct hip measurement but, I did not allow enough for the front hip area. Be sure to check the front measurement.
I have been working a lot with hook and eye tape because, well, it saves time. I just don't have time for all the fine sewing details anymore. I had a front pouf problem because the Oriental brocade is very thick and it just insisted on poufing when I forced it closed. I had to add a second set of individually sewn hooks and eyes (so much for making it easier on myself). If you have a strong, sturdy sewing machine, you could do buttonholes.
#TV490 - 1892 Ball Gown Bodice
Teresa Liao - Highly Recommended
Yet another very easy to fit bodice from Truly Victorian. I made just one muslin mock-up and only had to make a few adjustments to the front darts to pull the waist in a bit more. I eliminated the sleeves altogether, finishing the armscye by hand. Pictured at right.
Deborah Borlase
Made this bodice, using the ballroom sleeves and spring metal stays (do follow the pattern instructions & not bone all the way to the armpit. I can tell you from personal experience it's uncomfortable otherwise). I put netting in the sleeves to make sure they had lots of body. The only issue I have with TV patterns is the bodice, as I end up with gaposis, and sometimes end up flashing my dance partners. I understand that this problem can be solved using a drawstring, extra dart, and other methods. I need to make such adjustments on all of these bodices. See her bodice under her #TV297 1898 Flared Skirt review.
#TV492 - 1890's Victorian Corselets
Annette E. Laprade - Recommended
I made the View 2, the short version. I combined the 1890s Victorian Corselet with #TV296 Ripple Skirt.
#TV498 - 1898 Eton Jacket
Annette E. Laprade - Recommended
I used the Gigot sleeves from the #TV495 1890's Sleeves instead of the smaller sleeves included in the Eton Jacket pattern. This is another easy pattern that can be used to achieve a variety of looks depending on the collar variation and sleeve treatment. I have combined the Eton Jacket with the #TV296 Ripple Skirt.
#TV500 - Talma Wrap
Annette E. Laprade - Highly Recommended
This is another very easy and user friendly pattern from Truly Victorian. I interlined the velvet with flannel for warmth and added antique jet beading for decoration.