I don’t have the luxury of being picky (what with time constraints and whatnot), so I think I’m more or less done with the major construction bits.
Here’s a picture of the bodice on Bertha, and on me – I certainly fill it out a bit more!
The pins are holding the lining seams in place – so you can kind of see what I did with them. Here’s a better diagram:
This is the “pattern” folded in half, going from front to back/A to D.
“A” panel is the front two panels of skirts. I used my angle method I talked about a little while ago to find the correct curve. (Yellow line) Because the back is straight across, I only needed to figure out the front 2/3. I didn’t cut the curve until after constructing the skirt.
“B” panel is a full width of fabric as well. I used the diagonal cut out of “B” panel to create the “C” panel gore. In modern sewing, this’d be a “no-no”, since I’m using a velvet, and turning that piece upside down would put the nap of the velvet running the opposite direction, but since it’s all about historic re-creation, I decided to go for it and conserve some fabric. I waffled about which seam to line up with my side-back slit, but ended up deciding that it would probably be best to go with the two selvedges as the slit. So far, so good.
“D” panel is the ‘train’ bit of the gown. I had some drama with my velvet being warped off-grain, so one of the “B” gores is a bit wonky, but I’m hoping with all the fabric all over the place, it won’t be that bad. The yellow line is my final cut line of the hem.
I’m really kind of bummed out that I didn’t felt pad the bodice. I honestly don’t know why I didn’t, I certainly meant to. If it still bugs me, I can open up the neckline seam and finagle some felt in there.
Next up: I’m going to move onto the felt stiffened hem while Bertha hangs out in her new duds.