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The Scroop Patterns Summit Dress scrooppatterns.com

How to add a bust dart to the Scroop Summit Dress

I really love including multiple bust cup size options in Scroop Patterns.  I did it with the Ngaio Blouse and the Robin Dress, and there are multiple fit options in all my stay and corset patterns..  I also considered including cup options in the Summit Dress pattern too.

I was on the fence because I didn’t want the pattern to move too far from its source patterns: the 14th/15th century garments excavated at Herjolfsnes.  To help me decide, I did some quick calculations on how much extra paper it would take to include them.

It would have been over 100 A4/US Letter pages in Size Pack C.  Or 7 (!!!) A0 pages.  Oof.

The Summit is already a big pattern: nobody wants a pattern that big.

So instead, here’s a tutorial on how to add your own bust dart, and do your own FBA on the Summit Dress.  I think this is even more helpful, because you can use this method  on other garments with an interesting side-front not-a-princess-seam.

Yeah, these seams here?  Not a princess seam.  Not useful for anything remotely substantial in the way of bust fitting:

The Scroop Patterns Summit Dress scrooppatterns.com

They help create amazing swish in the dress, and are really cool design lines, but they don’t get close enough to the bust apex to be a princess seam.

So here’s how to add a bust dart that IS helpful in the way of substantial fitting.

The Scroop Patterns Summit Dress scrooppatterns.com

I did it for the sample dress that Dani models above, to demonstrate.

For this exercise we’re going to do this for an imaginary lady.  Let’s call her Mehitabel.

How to add a bust dart to the Summit Dress.

You’ll need two measurements:

  • Sewing Cup Size
  • Bust Apex

To find these accurately, make sure you’re wearing the type of bra you intend to wear under the Summit Dress while you take your measurements.

Find your cup size:

Your sewing cup size is the difference between your high bust measurement, and your full bust measurement.    This may be different than the bra cup size you wear.

It’s easiest to take and calculate in inches, so that’s what I’ll be using.

Take your full bust measure by wrapping a tape around your back and the fullest part of your bust.  The tape should be parallel to the floor.  Take a measure that is just tight enough to sit firmly around you without denting in to your bust.

Mehitabel’s full bust is 49”

 

 

Take your high bust measurement by wrapping your measuring tape around your back, under your arms, and across your chest above any bust flesh.

Mehitabel’s high bust measurement is 44”

Now, subtract your high bust measurement from your full bust measurement.

49 – 44 = 5”

Mehitabel’s difference is 5”, which means she has a sewing cup size of  DD/E

Difference                                            Sewing cup size

1 inch                                                    A
2 inch                                                   B
3 inch                                                   C
4 inch                                                   D
5 inch                                                   DD or E
6 inch                                                   DDD, EE or F

The Summit Dress was fitted on a body model with a C cup, and best fits a B or C.  We’re going to use a 2” B cup difference for making our adjustments.

So, with a 2” difference between high and full bust, you want to choose the pattern size that is 2” bigger than your high bust.

That means we’ll be working with a Size 46 for Mehitabel: 2” bigger than 44.

46 is 3” smaller than Mehitabel’s 49” bust measure, so we’ll be making a 3” adjustment to the pattern.

Figure out what what size is 2” bigger than your high bust, and how much of an adjustment you’ll be making to your pattern.

Keep that number in mind as we move to the next step.

Find your bust apex:

Your bust apex is the point of your bust bulge (yes, that’s the technical patternmaking term for it!): usually this means your nipple.  We need to mark it on the pattern, so you’re going to measure down from your shoulder, and across your chest from point to point:

Finding your bust apex point

Work with Piece A in the pattern size that is 2” bigger than your high bust.

Measure down your body from the your shoulder directly below your ear, to your bust point (aka, your bust apex, your nipple).

On Front A draw a line parallel to the centre front from the neck point, to the length you just measured:

Scroop Patterns Summit Dress Dart Adjustment

Now, measure across your bust from left bust point, to right bust point.

Divide this measurement in half.

Draw a line which just touches the bottom of the vertical line, at right angles to the CF, all the way across to your side-front seam.  Mark a point at your bust apex.

Scroop Patterns Summit Dress Dart Adjustment

And now we can…

Add a bust dart

  1. Draw a diagonal line from your bust apex point to 1 1/4”/3cm up the armhole curve from the lower point of the armhole.
  2. Draw a vertical line which runs parallel to the centre front from your bust apex point all the way to the hem.
  3. Draw a horizontal line at right angles to the centre front and the Step 2 vertical line just above the pink rectangle marking the top of the godet insertion.
  4. Mark the 1.5cm seam allowance at the bottom of the armhole.
    Adding a bust dart to the Summit Dress scrooppatterns.com
  5. Cut across the horizontal line that intersects the bust apex point from the side-front seam to, but not through, the bust point.  You’re going to use the dot as a hinge point.
  6. Cut across the Step 3 horizontal line, and up the Step 2 vertical line, through the bust point (making sure that there’s still a bit of paper between this cut, and the one from Step 5), and out to, but not through, the seam allowance line.
  7. Cut in the seam allowance line to, but not through, leaving a little bit of paper to act as a hinge point.
    Your pattern will look like this, with hinge points at the bust apex point and armhole that you can use to spread the pattern pieces to add length and width for a bust dart:
    Adding a bust dart to the Summit Dress scrooppatterns.com
  8. Slip a large piece of paper (or several small pieces of paper) under all the slashes you have just made.  Make sure that the paper sticks out beyond the open triangle from Step 5 an inch or so just at the triangle.
  9. Go back to the cup size and the adjustment that you calculated you would need for your pattern.
    Mehitabel needs a 3” adjustment.  We’re going to add 1/2 that measurement to the pattern piece, because it’s 1/2 the front.
  10. Keeping the gap an even width, spread the vertical slash 1/2 the total adjustment needed (this is the difference between the pattern size you are working with and your full bust measure.).
    Mehitabel has spread hers 1 1/2”:
    Adding a bust dart to the Summit Dress scrooppatterns.com
  11. Tape the pattern pieces down, using small pieces of tape that just hold the pattern securely in place.  You still need to mark a dart, and don’t want it to be too hard to write on the tape!
  12. Measure the gap of the open triangle in the side seam, and mark the centre point.  Draw a line out from the angled inner corner of the upper bodice piece to marked centre point.  This will be the centre line of your dart.
    Adding a bust dart to the Summit Dress scrooppatterns.com
  13. Measure back along this line from the bust point to mark your dart tip.  You never want your dart tip to end right on the bust point.  The larger your size, the further back it should sit.  If know how far away from your bust point to your dart tip is attractive on you, use that.  If not, use this guide:
    • For bust sizes 30-38, measure back 1”.
    • For bust sizes 40-46, measure back 1.5”
    • For bust sizes 48-50, measure back 2”
    • For bust sizes 52-56, measure back 2.5”
  14. Mark your dart tip.
    Mehitabel has a 49” bust, so she’s be marking her dart tip 2” back from her bust point.
    Adding a bust dart to the Summit Dress scrooppatterns.com
  15. Draw lines from the marked dart tip, out to each end of the open triangle on the side seam.  This is your dart.  It’s probably going to look smaller than you expect a dart to look for your size.  That’s because it’s only going to a side-front seam: not all the way to a side seam.
    Adding a bust dart to the Summit Dress scrooppatterns.com
  16. Tape the dart and all other gaps in the pattern down securely.
  17. Tape a long strip of paper down the centre front edge of the pattern to re-establish the centre front line.
  18. Carefully fold the dart on the dart centre line, bring the two outer lines of the dart together, and press the dart down, as you will when its sewn in the dress.
  19. Cut along the side seam over the dart to smooth out the edge.
  20. When you open it up there should be a small triangle added to the side seam, which shows you where the dart goes:
    Adding a bust dart to the Summit Dress scrooppatterns.com

And that’s your bust dart added!  Just sew it in like you would any other dart.

Altering the godet height on the Summit Dress

Now, there’s just one more thing you should do.  If you are larger busted, the top point of the godet may sit too high on you to be flattering.  Let’s change that so that it sits at a point that’s right for your body.

The Scroop Patterns Summit Dress scrooppatterns.com

Hold the pattern piece up to your shoulder, and measure straight down your front, over your bust, to where you want the godet to start.

The pattern is designed to have fullness from the natural waist, but where it starts is entirely up to you.  Do you like fullness from just under your bust?  From a high waist?  From your natural waist?  Mark the point that corresponds to that.

For Dani’s dress, we moved the godet start point down 3”, so it started just below her natural waist.

Once you’ve picked a new top point that you like, alter the godet to match.  If you don’t want a lot of extra fullness you can simply take the amount you moved the godet start point off the bottom of the godet piece.

If you do want maximum fullness, use the lengthen-shorten lines to change the pattern, re-draw the angled side seams of the godet piece, and then check them against the length of the piece A centre front hem-to-godet-top point.  Adjust as needed.

The Scroop Patterns Summit Dress scrooppatterns.com

Enjoy your customised Summit Dress pattern!

 

 

Introducing the Summit Dress!

What do you do when you make a dress for yourself based on a crazy idea, and literally every time you wear the dress people comment on it and ask where you got it and wish they could have one?

You turn it into a pattern!  Meet the Scroop Patterns Summit Dress!

The Scroop Patterns Summit Dress scrooppatterns.com
The Summit Dress is inspired by the Medieval garments excavated at Herjolfsnes in Greenland, but with a modern update that includes roomy pockets, fully machine-sewn instructions, thoughtful finishing details, two necklines, two lengths and two sleeve options.

(but if you are in to historical there are tips for making the pattern in to an accurate version too!)

The Scroop Patterns Summit Dress scrooppatterns.com

Plus, the Summit Dress is on sale!

To celebrate the launch, the digital PDF Summit Dress pattern is 15% off at ScroopPatterns.com for the next week. No need for a code: the discount is applied automatically at checkout.

The Scroop Patterns Summit Dress scrooppatterns.com

Or, if you are in the US, you can pre-order the paper version at VirgilsFineGoods.com and get 15% off there was well!

View A of the Summit pattern is the most historically based version, with a long skirt,  high scooped neckline and very medieval elbow length sleeves with side-back seam and inset gusset.

The Scroop Patterns Summit Dress scrooppatterns.com

View B ends at mid-calf, has a lower scooped neckline, and below-elbow length lantern sleeves which echo the structural fullness of the dress.

The Scroop Patterns Summit Dress scrooppatterns.com

Mix and match the views for a range of options.  Grace is modelling the View B length and sleeves with the higher View A neckline:

The Scroop Patterns Summit Dress scrooppatterns.com

But wait, there’s more!  Tomorrow I’ll be showing you how to add a dart for a Full Bust Adjustment.

The Scroop Patterns Summit Dress scrooppatterns.com

I hope you enjoy making and wearing the pattern just as much as I have!

The Scroop Patterns Summit Dress scrooppatterns.com

Get the Summit Dress now!

Woman's dolman mantle, front & back views. Harper's Bazaar, November 1871

Terminology: What is a Dolman? (the Victorian kind)

The bodice of the current Rate the Dress has caused some commentary.  What’s with the fitted back and loose front?  What’s with those tassel-y things?  Is it an indoor or outdoor garment?  And most of all, what’s with those sleeves?

Visiting outfit, ca 1885, silk velvet & silk ottoman, sold by Tessier-Sarrou-et-Associes

Visiting outfit, ca 1885, silk velvet & silk ottoman, sold by Tessier-Sarrou-et-Associes

Let’s dig into this peculiar garment.  It’s called a dolman.  If a tea gown is the most elegant possible variation of a bathrobe, a dolman is the most elegant possible variation of a poncho.

Visiting outfit, ca 1885, silk velvet & silk ottoman, sold by Tessier-Sarrou-et-Associes

Visiting outfit, ca 1885, silk velvet & silk ottoman, sold by Tessier-Sarrou-et-Associes

What is a dolman?

A dolman was a coat-cape hybrid fashionable from the 1860s to the 1880s. The defining feature of the dolman is the wide cape-sleeves which are sewn into the side seams of the jacket at front and back, and the loose fit of the front of the jacket, even as the back sits snuggly against the waist, highlighting the shape of the bustle. ⁠ ⁠

Dolman mantle of velvet, Redmayne and Co., London, ca. 1885, V&A T.653-1996

Dolman mantle of velvet, Redmayne and Co., London, ca. 1885, V&A T.653-1996

Dolman Origins:

Dolmans had their origins in two of Western fashions favourite sources of inspiration: the military, and the ‘Orient’ (in this case, Turkey & the Ottoman Empire).

Dolmans came to Europe via the Hussars: light cavalry from Hungary and other countries bordering the Ottoman Empire.  They were known for their uniforms of tightly fitted, heavily decorated jackets, with loose pelisse-over-jackets thrown across the shoulders.

Uniform of Hussar Grodno Regiment, 1895

Uniform of Hussar Grodno Regiment, 1895

The Hussars, in their turn, had adapted their uniform from garments worn in Ottoman Empire: loose over-jackets heavily trimmed with horizontal braiding and tassels, and squared brimless hats with sprays of feathers.

Hieronymus Joachims, Portrait of Johann Rudolph Schmid, Baron of Schwarzemhorn, at the Sultan of Jahre in 1651

Hieronymus Joachims, Portrait of Johann Rudolph Schmid, Baron of Schwarzemhorn, at the Sultan of Jahre’s court in 1651

For the Ottomans, the loose outer jacket was the dolaman.

Portrait of Sultan Ahmed III (1703-1730). Part of a series of paintings sent to the Netherlands in 1817

Portrait of Sultan Ahmed III (1703-1730). Part of a series of paintings sent to the Netherlands by the Dutch ambassador to the Ottoman Empire in 1817

Hussars acquired a reputation for being especially courageous and dashing, adding cachet to the term and the uniform.  The word, the idea, and the uniform of Hussars was borrowed by countries across Europe (and even further abroad) in the 18th and early 19th century, until almost every army had some version of its own light cavalry with a uniform that included a hanging over-jacket.

Archduke Stephen of Austria, Palatine of Hungary, in 19th-century Hungarian general's hussar style gala uniform;[1] with characteristic tight dolman jacket, loose-hanging pelisse over-jacket, and busby

Archduke Stephen of Austria, Palatine of Hungary, in 19th-century Hungarian general’s hussar style gala uniform

With the Hussar uniform so widespread, and the Hussars romantic reputation, it was inevitable that elements of their uniform ended up in fashionable dress.  The shako hat horizontal trim, and pelisse as an outer garment became part of fashionable dress in the first decades of the 19th century.  In the 1860s it was the dolmans turn.

Well, kind of.  For the Hussar, the dolman was the fitted jacket – the element that linked it to the Ottoman original was the horizontal braid.  The loose outer jacket was the pelisse.

NPG 313; Henry William Paget, 1st Marquess of Anglesey by Henry Edridge

Henry William Paget, 1st Marquess of Anglesey wearing a Hussar’s uniform, by Henry Edridge, pencil and watercolour, 1808, NPG 313

The Dolman in European fashion:

When women began wearing dolmans in the 1860s, they were inspired by the loose over-jacket, and so a dolman became a mantle with very wide, almost cape-like sleeves attached to the body all the way down.  This may have been because there was general confusion over which part of the costume was the dolman: this 1864 news article (warning, racism, quote about dolman is at the very end of the article) is definitely under the impression that it is the hanging part.

Woman's dolman mantle, front & back views. Harper's Bazaar, November 1871

Woman’s dolman mantle, front & back views. Harper’s Bazaar, November 1871

Dolman, 1860s, British, wool, Metropolitan Museum of Art, C.I.40.84

Dolman, 1860s, British, wool, Metropolitan Museum of Art, C.I.40.84

The earliest fashion plates and fashion articles I can find about dolmans are from the early 1870.  Some imply that the dolman was well established “The Dolman cloak – always comfortable and becoming – is in favour, and the prevailing colours are bottle green, cronza, marine blue…“, or mention “The dolman form of mantelet with wide pointed sleeves or imitation sleeves will still be seen – of course made in silks or other thin materials”.  Other advertisements from the same year describe it as new, suggesting that the dolman only became widespread in the very late 1860s.

Dolman, 1860s, British, wool, Metropolitan Museum of Art, C.I.40.84

Dolman, 1860s, British, wool, Metropolitan Museum of Art, C.I.40.84

Early dolmans almost look like sleeved versions of burnous (read the terminology post about them here):

Seaside burnouse, The Queen Magazine, August 30, 1873, via Koshka the Cat

Burnous, Journal des Demoiselles, December 1858

Burnous, Journal des Demoiselles, December 1858

Both were loose, and frequently featured elaborate tassel and fringe trim.  It’s a classic example of different styles blurring together, particularly when they both came from sources considered ‘exotic’ in Europe.

Dolman, probably American; Dolman; 1885–90, silk, Metropolitan Museum of Art, 1979.339.1

Dolman, probably American; Dolman; 1885–90, silk, Metropolitan Museum of Art, 1979.339.1

Dolman, probably American; Dolman; 1885–90, silk, Metropolitan Museum of Art, 1979.339.1

Dolman, probably American; Dolman; 1885–90, silk, Metropolitan Museum of Art, 1979.339.1

In another crossover of Eastern-fashion-in-Western-Dress, dolmans were frequently made from Kashmiri shawls, turning the now-unfashionable unfitted squares into a new garment which took advantage of their warmth and colours while sporting a silhouette that was much more a la modé.

Woman's mantle or dolman, British, 1878-82; made of Indian wool shawl, V&A T.44-1957

Woman’s mantle or dolman, British, 1878-82; made of Indian wool shawl, V&A T.44-1957

Not everyone was a fan of dolmans.  An 1877 fashion article includes a man’s impression of a dolman

“A sort of a cross between the ancient’s long double-barrelled basque, with pointed haversack, and the Martha Washington nightgown, cut goring and elaborate trimmed with old style ball fringe.  It gives a careless air to the figure, about as pleasing as might be formed by drawing a meal-bag on a pump.”

Ouch.

As bustles became more fashionable, dolman became more fitted and tailored at the back, to show off the increasingly prominent posterior.

Dolman, American; Dolman; circa 1883 wool, silk, Metropolitan Museum of Art, 1982.348.2

Dolman, American; Dolman; circa 1883 wool, silk, Metropolitan Museum of Art, 1982.348.2

They also lengthened at the front, to lengthen the front silhouette, and provide visual interest.  The loose almost-cape shape became more tailored, with the sleeves becoming smaller at the cuffs, rather than having a wide pagoda shape.

Dolman, American; Dolman; circa 1883, wool, silk, Metropolitan Museum of Art, 1982.348.2

Dolman, American; Dolman; circa 1883, wool, silk, Metropolitan Museum of Art, 1982.348.2

The dolman did retain its essential cape-like feature of sleeves attached to the body from shoulder to waist, which, combined with the narrower cuffs, resulted in a coat-cape hybrid that significantly restricted the wearer’s movements.  Fine for a wealthy lady of leisure who could expect maids and footmen to fulfil her every whim, not so much for anyone needing to do anything practical!

Dolman, silk velvet, c.1880s. Metropolitan Museum of Art Costume Institute- C.I.39.29.

Dolman, silk velvet, c.1880s. Metropolitan Museum of Art Costume Institute- C.I.39.29.

As well as being a cross between a coat and a cape, dolmans were a cross between an indoor and outdoor garment.

Dolman, ca. 1871, American, silk, Metropolitan Museum of Art, 1979.346.96

Dolman, ca. 1871, American, silk, Metropolitan Museum of Art, 1979.346.96

They were frequently made from lush, expensive indoor fabrics, like the example above, but their cut signified that the wearer was moving from indoors to out and back again, and did not intend to settle indoors. This made them ideal for ‘visiting’ costume, when a society lady would visit each of her friends in turn, leaving a card or staying for a brief cup of tea before moving on.⁠

And that’s what the dolman that started this whole post was for!  It’s just exciting and interesting because it has a matching skirt, so is a full ensemble:

Visiting outfit, ca 1885, silk velvet & silk ottoman, sold by Tessier-Sarrou-et-Associes

Visiting outfit, ca 1885, silk velvet & silk ottoman, sold by Tessier-Sarrou-et-Associes

Dolmans became less fashionable as the bustle fell out of fashion at the beginning of the 1890s, and all but disappeared with the extraordinarily full sleeves of 1894-96.

There are scattered examples of dolman inspired garments throughout the 1910s and 20s:

Draped dolman wrap, 1919

Draped dolman wrap, 1919

Dolman-inspired items re-entered fashion in a big way in the 1930s, and stayed there throughout the 40s and 50s, when designers like Vionnet and Claire McCardell used dolman sleeves: sleeves cut in one with the body, very wide where they join the body of the garment, and tapering to be fitted at the cuffs.

Sources:

Johnston, Lucy.  Nineteenth-Century Fashion in Detail.  London: V&A Publishig, 2005

O’Hara, Georgina,  The Encyclopedia of Fashion: From 1840 to the 1980s.  London: Thames and Hudson Ltd.  1986