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How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Tutorial: how to add a petersham waistband to the Scroop Fantail Skirt

The Fantail Skirt has been an absolute cornerstone of my wardrobe all spring.  It’s so perfect for transitional weather.  I throw on tights and a cardigan when it’s cool, and have been wearing lighter blouses with it as it gets warmer.

The Scroop Patterns Fantail Skirt, scrooppatterns.com

I don’t always want to wear something with a really fitted waistband, so I’ve been mixing things up with my Fantails by making some with a petersham waistband, instead of the classic band waistband that is included in the pattern.

It just adds a nice twist to the skirt’s look, and what you can wear it with.

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Here’s how to add your own!

You can add a petersham waistband to any version of the Modern Fantail, including ones with the added pocket hack.  I’ll be demonstrating this on a version with added pockets.

You can also add a one to a mash-up of the Historical & Modern Fantails in lighter weight fabrics: with the full length of the Historical, and the zip of the Modern, with either style of pleats.

I don’t recommend petersham waistbands for full-length Fantails in heavier fabrics, or Historical Fantails with placket fastenings.

You’ll need:

  • A Scroop Fantail skirt, completed except for the waistband and hemming
  • A length of 1″ / 2.5cm wide petersham the same length as the skirt waistband pattern.

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Make sure that you’re working with true petersham, with tiny scalloped edges, NOT grosgrain, which has sealed, straight edges.

See the tiny scallops:

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

I recommend a viscose/rayon or cotton petersham, rather than a polyester petersham.  A cellulose based fibre with mould better as you work with it, and will continue to shape to your body with wear – making for a more accurate, comfortable fit.

You can add a waist stay before you sew the petersham, but I prefer this style to be a more relaxed fit.

Part 1: Shaping your petersham:

The scalloped edges of petersham allow it to be shaped with heat and steam.

Use an iron set at at the right temperature to match the fibre makeup of your petersham, and lots of steam, to shape your petersham into a curve by pulling it towards you as your press.

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.comYour shaped petersham should look like this:

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

With the petersham curved like so: ( press down the top end 5/8″ / 1.5cm as shown.

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Part 2:  Sewing the petersham waistband:

Sew a line of stay stitching around the top of your skirt, 4/8″ / 1.2cm from the top edge:

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Optional: finish the top edge of the skirt as desired.

Place the petersham waistband like so:

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

The edge of the petersham should just cover the staystitching.   The curve of the skirt and the petersham should face each other as shown.

Sew, stitching as close to the edge of the petersham as you can, while still securely catching it.

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

When you reach the end of the skirt, trim your petersham so there is only a 1.5cm overhang. Fold under, and sew down.

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Here is what it should look like at this point:

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Part 3:  Pressing & finishing the petersham waistband:

Press under the petersham, pressing so you create a tiny lip of skirt above the top of the petersham:

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Sew the folded ends of the petersham waistband down to the zip, and hand tack the waistband at each seam allowance:

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Note that I have stabilised my zip with interfacing, because the extremely lightweight denim is prone to warping.

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

And there is your skirt!

Add your hem and you’re done!

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Enjoy!

How to add a petersham waistband to the Scroop Fantail Skirt thedreamstress.com

Queen Charlotte by Zoffany, 1765

Queen Charlotte in detail by Zoffany

Don’t you love it when you find a large version of a wonderful historical artwork that you’ve only ever seen in very small versions?

Like this fantastic Zoffany portrait of Queen Charlotte of Mecklenburg-Strelitz:

It’s full of the most glorious details.

There are her sons, with George IV in Roman inspired armour:

Queen Charlotte by Zoffany, 1765

Queen Charlotte with her Two Eldest Sons, Johan Zoffany, 1765

Prinny looks a wee bit petulant, possibly because the dog clearly loves mummy more than him!   (and honestly, who wouldn’t be jealous over that dog’s look of adoration?  I’m not even a dog person and I want to hug it!)

The whole outfit is fantastic, but oh, his boots!  Aren’t they just the most adorable things ever?

If he isn’t mad about the dog, perhaps Prinny is glaring at his little brother, wishing he were wearing Prince Frederick’s Orientalist attire.  It is rather fabulous isn’t it?  And the turban is doing a cunning job of doubling as a pudding cap – the padded caps worn by small children in the 18th century to keep them from injury when they toppled over.

Queen Charlotte by Zoffany, 1765

Queen Charlotte with her Two Eldest Sons, Johan Zoffany, 1765

It’s not quite as exciting/unusual as royal children’s fancy dress, but the portrait also provides lovely details of Charlotte’s dress: the glimpse of her shoe, the punched hem of her skirt ruffle, the triple layers of lace engageants, and finely roll-pleated trim.

Charlotte is sitting by her dressing table, giving us a wonderful look at a mid-18th century dressing table.  We can see each pot and pouf.  The dressing table is draped in a literal fortune in handmade lace, emphasising Charlotte’s wealth and status.  Even more fabulously, the mirror reflects Charlotte’s profile, giving us a simultaneous front and side view of her hair – and her fantastically over-the-top earrings.

Queen Charlotte by Zoffany, 1765

Queen Charlotte with her Two Eldest Sons, Johan Zoffany, 1765

There are more wonderful details hidden in the painting. Glimpses of the other artwork in the room, showing scenes from Greek & Roman mythology.  And two Chinese figures, which frame Charlotte, reinforcing the themes of worldly knowledge and wealth.

Queen Charlotte by Zoffany, 1765

Queen Charlotte with her Two Eldest Sons, Johan Zoffany, 1765 (detail)

My absolute favourite detail is this one though:

Queen Charlotte by Zoffany, 1765

Queen Charlotte with her Two Eldest Sons, Johan Zoffany, 1765 (detail)

A tiny glimpse of another portrait in the hall off the main room.  I wonder who it is?

1890s dress

Rate the Dress: an 1890s dress in floral wool

Last week:

Last week’s Doucet-does-Cubism ensemble brought a resounding affirmation of Doucet’s ability to adapt to the post-Edwardian fashion world.  The only major quibbles were whether the cape and beading added or detracted from the outfit.  Some of you were extremely pro cape, and thought it made the outfit.  Some of you were…not.  Same thing with the beading.

The Total: 9.7 out of 10!

No wonder so many of you have added it to your sewing inspiration list!

This week:

For this week’s Rate the Dress we’re going back to the 1890s, with this ca. 1893 dress in floral printed wool muslin:

Muelle designed costumes for the Paris Opera, so it’s possible that this dress was a stage costume – though costumers also designed clothes, and major stars went to known couturiers (including last week’s Doucet, who designed for the Divine Sarah, among others) for their stage and everyday clothes.

The dress, with asymmetrical draping pulled over a very fitted bodice, A-line skirt, and smocked sleeves, combines typical elements of 1890s fashion.  Combined with the light floral fabric and lace cuffs and collar (and flower, which may be a museum addition), the overall effect is very feminine.

What do you think?  Is this a dress for a sweet young ingenue onstage, or a diva on her day off?  Or is it too boring for either?

Rate the Dress on a Scale of 1 to 10

(as usual, nothing more complicated than a .5.  I also hugely appreciate it if you only do one rating, and set it on a line at the very end of your comment, so I can find it!  Thanks in advance!)