ENGLISH ISSUE

Volume 26 / 26. Jahrgang
Autumn / Herbst 2009
No. 3-2009 / H 43430
E
3/2009
1
H
LIS
e
.d
0
,0 er
15 mak
i ll
do
w.
G
EN
U
ISS
ww
ISSUE 3/2009 – Volume 26 – Autumn 2009
Issue
The Winter be
published
CONTENTS
will
of the Gildebrief
ember
on the 19th Nov
IMPRESSUM
PROJECTS
A Walking Costume
for Madame Sidonie – 1871 published and printed in Germany by
Gildebrief International Verlags GmbH
Lange Straße 3, D-27412 Vorwerk (Germany)
Phone:
(+49)-4288-928453
Fax: (+49)-4288-928458
office@gildebrief.de • Online Shop: www.dollmaker.de
General Information
Body Measurements and Stockings
The Split Underpants
The Under-Body
The Corset
The Bustle
The Petticoat without Train
The Under-Skirt
The Upper-Skirt
Illustrations of antique Garments
The Basque-Bodice
The Shoes
The Wig
The Hat
Illustrations of antique Hats
The Chatelaine-Bag
6 – 51
7
8
9
10 – 12
14 – 18
19 – 22
22 – 23
24 – 26
28 – 29
30 – 31
32 – 37
39 – 41
42 – 44
44 – 47
48
50
My Fair Lady – A Walking Doll
57 – 72
Materials
The Walking Mechanism
The Body with Cardboard Skirt
The Chemise and Petticoat
The Ethnic Blouse
The Skirt
Bodice – Wig – Hat
The Wheelbarrow
The Beaded Flowers
58
58 – 59
59 – 60
61
62 – 63
63 – 64
65
65 – 66
67 – 70
Blue and Gold
Beaded Bag
73 – 75
Bead Chart
74
Postmaster: Send address changes to:
Gildebrief International, Lange Straße 3
D-27412 Vorwerk (Germany)
Publisher / Editor: Karin Buttigieg
Sub Editor:
Kate Webster
Single copy price:
Subscription per year:
Back copies each:
i 15.00
i 50.00
i 15.00
General Information: The Gildebrief is published in German
and in English and is only available by subscription or from
selected distributors. Gildebrief subscribers are entitled to a
10% discount on all goods purchased from the Reader’s Service
of the Gildebrief or the online shop: www.dollmaker.de
All subscriptions start with issue # 1 of any given year. There
are 4 issues of the Gildebrief published per year. Each
subscription is due at the same time each year.
You can start your subscription at any time of the year and
start with issue # 1 of that year. Your subscription will always
finish with issue # 4 of the year and will have to be renewed
at that time. If you have already purchased issues # 1 and
# 2, and wish to start your subscription with issue # 4, you
only pay for the issue remaining for that year’s subscription,
namely i 12.50. Your subscription will then be renewed for
the following year, the same as everyone else’s.
Important: Subscriptions are automatically renewed,
unless cancelled. Cancellations are due on or before
the 10th November of the current year, for the following
year. By subscribing to the Gildebrief, you authorize
the Gildebrief to automatically renew your Gildebrief
subscription and give permission for the use of your
credit card for renewal. You do not receive a separate
invoice for renewal. Your credit card slip for payment of the
renewal for the following year will be found in issue # 4 of
the current year.
Example: Your subscription is paid for 2004. You wish to
cancel the subscription. The cancellation means that your
subscription will not be renewed for 2005. Cancellations
should be done in writing: Letter, fax or email. You will always
receive a confirmation of the cancellation. Your cancellation
notice automatically cancels your permission for the use of
your credit card by the Gildebrief International.
Publishing Dates: End of February (Spring issue), end
of May (Summer issue), end of August (Falls issue), end of
November (Winter issue).
The Knitting Corner
A Pair of Hilda Babies
52 – 56
International distributors: Australia, Canada, New Zealand,
Norway, Sweden, United Kingdom and USA, Denmark
Pullover
Bonnet
Pants Shoes 53-54
54 – 55
55
55 – 56
All rights reserved. No part of this magazine may be reproduced
or utilized in any form or by any means, electronic, mechanical
or digital, including photocopying, recording, or by any information, storage and retrieval system, without written permission
from the publisher. Gildebrief International welcomes contributions from its readers - letters, articles photocraphs and patterns.
We reserve the right to edit any material to fit the format and
focus of the magazine and we assume no responsibility for the
return or loss of photographs, manuscripts or other material submitted for consideration.
Gildebrief is not responsible for issues not received due to an
address change. Call (49) 4288 928453 or fax (49) 4288 928458,
or email office@gildebrief.de to report address change.
Advertising rates:
i
Format
Width x Height (mm)
(b/w o. 4c)
1/1 page
182 x 262
550,00
1/2 page
262 x 89 or 182 x 129 300,00
1/3 page
182 x 85
212,50
1/4 page
89 x 129 or 43 x 262
165,00
1/8 page
43 x 129 or 89 x 63 82,50
Special price cover pages:
915,00
Googlies (for 4 Issues):
133,45
Layout for advertisement will be supplied free of charge, but
cannot be used by the customer for any other publication. For
an unaltered advertisement, published in one year: 4 times less
10 %, 8 times (2 years) less 20 %.
Layout: Grafikdesign Tobias Just / Print: Schmidt-Druck, Bremen
Copyright © 2009 Gildebrief International Verlags GmbH
PATTERNS
–
for Madame Sidonie
Complete Set of Garments
French Fashion Body
FFP 9 ½“ – 24.5 cm) Pattern Supplement
– for My Fair Lady
A Walking Doll – Garments (FGK 20 –
without legs) and Wheelbarrow
Pattern Supplement
OTHER
– Reader’s Forum
4–5
Cover Page: French Fashion Poupée Smiling Bru “Madame Sidonie“ – 32 cm tall. Reproduction
by Karin Buttigieg, Photo © Karin Buttigieg – Gildebrief International Verlags GmbH, 2009
3/2009
3
Reader’s Forum
Leserforum
I
n the Reader’s
Forum you can
express an opinion, ask a
question or make a commentary
on any aspect of doll making.
I shall try to answer any
questions you might have and
will publish as many of your
letters as possible. Since our
readers come from both German
and English-speaking countries,
we will publish the letters in the
language they are written. This
will give our German readers
a chance to brush up on their
English and our English readers
to have a go at learning German!
I hope you enjoy the column
and hope to hear from many
Gildebrief readers. You may write
your commentary to:
Reader’s Forum – Gildebrief
Lange Straße 3
D-27412 Vorwerk / Germany
or send an email:
office@gildebrief.de
Liebe Karin,
Ich möchte die Gelegenheit nehmen
und Dir noch einmal sagen wie
toll ich den Gildebrief finde. Ob es
Gertrud Wallis Automaten Projekte
sind, Deine Lederkörper und vor
allem die Schnitte, die 150%ig passen,
oder die Tipps und Tricks, oder
die Reisebeschreibungen von Frau
Röckseisen – ich kann gar nicht alles
aufzählen. Jedes Magazin ist von der
ersten bis zur letzten Seite spannend.
Der letzte Gildebrief hat mich förmlich
vom Hocker gerissen, als ich die
Vorstellung Deines neuen Ladykörpers
sah. Diesen überaus beweglichen
Körper habe ich in meinem BruBuch gesehen und versucht mir
vorzustellen, wie der aufgezogen
wurde. Daß Du es geschafft hast,
so einen Köroper zu kreieren – alle
Achtung! Die Puppenmacher werden
es Dir danken. Ich hoffe sehr, daß uns
der Gildebrief und Deine Kreativität
noch lange erhalten bleiben.
Herzliche Grüße,
Melitta Böse (D)
Dear Karin,
I just had to write to say how much I
enjoyed your latest Gildebrief issue.
And congratulations on the new lady
body - I am sure that you will do very
well with this as it will form the base
for many wonderful future projects
for the very keen dollmakers. And I
loved all the photos of the wonderful
antique lady dolls. What a treasure
trove of inspiration! Keep up the great
work, Sincerely yours,
Nan Hawkes (AUS)
Hello Karin and Werner,
The correct bodies arrived today.
I am extremely pleased with the
amazing lady body. She is just great.
I look forward to receiving the next
Gildebrief issue with more information
about this beautiful body. I‘ll be
looking at my stash of fabric and laces
for just the right blend of goodies.
Thanks for making this body available
so our ladies can look beautiful and
graceful.
Cathy Farrand (USA)
Hi Karin,
Thank you so much for sending this
preview out of the new issue I can get a
jump on listing it for my web page. I am
sorry for the delay in thanking you for
sending the 5/97 CDs I really appreciate
it so much. Your wonderful magazine is
selling very well. All the best,
Sheryl Wetenkamp
DollBooks & More (USA)
Dear Gildebrief,
I just wanted to say that I received my
first two issues only a week after they
were sent. I subscribed for the new
section on French Fashion dolls, but
I know there will be plenty of other
articles of interest as well!
Thank you,
Gillian Simpson (NZ)
Hello Gildebrief,
I received my order today with the
molds and fabrics. I am so pleased
with everything, especially the fabrics.
I make many small dolls and cannot
wait to sew up some of their costumes
using these wonderful materials. I also
am excited to use the flower decals for
my boxes and my tiny dolls.
Thank you, Dee
Dee‘s Dolls, Montana (USA)
Hallo Gildebrief,
Just wanted you to know I received
the French body I ordered recently
and absolutely love it! Nice quality
and you can be sure I will be ordering
more from you in the future. Thank
you for your prompt service.
Dolores Breuer (USA)
Hello Mr. Kesting
The parcel arrived this morning. The
doll bodies, as always, are in excellent
shape. Thank you very much!
Best regards,
Leila Martins (FIN)
3/2009
4
Dear Karin,
I was wondering if you could give me
a status on the delivery of the 3 French
fashion bodies. I know that you must
have received a deluge of orders as
the doll world is buzzing about this
wonderful body!
Thank you
Cristina de Graaf (USA)
Hi Karin,
Received my darling bodies today, as
usual they are wonderful. Thank you
so much for jumping on the 9.5“ Lady
body craze.
I love your quality.
Geri Santoro (USA)
Chère Karin,
J‘ ai découvert votre magazine
en faisant des stages de copie de
poupées anciennes avec Madeleine
Wuest dans son musée-galerie du
Beausset (France 83) et c‘ est une
mine d‘ informations, d‘ idées et de
conseils dont je ne saurai plus me
passer à présent ...à tel point que non
seulement je me suis abonnée en 2006
mais que je rachète petit à petit les anciens numéros ...
Je rêvais depuis longtemps de réaliser une Bru jeune ...
Je n‘ ai malheureusement pas pu faire celle de Gildebrief,
avec le corps en cuir, les fournitures nécessaires n‘ étant
plus disponibles apparemment, mais j‘ ai quand même pu
réaliser ma petite Bru de 38 cm avec un corps en papier
mâché attentivement guidée par Madeleine Wuest lors de
l‘ un de mes derniers stages et, séduite par le ravissant
modèle présenté pour Nathalie dans le 02/2002 (vol 21),
je me suis efforcée de l‘ adapter pour ma poupée, ce qui
n‘ était pas évident à première vue, car les corps en papier
mâché ont des petits ventres un peu ronds pour les
formes ajustées de ce corsage!
Par chance je disposais d‘ un coupon de coton Suisse fleuri
déniché dans un vieux magasin de Lyon et pratiquement
identique à celui du modèle, j‘ ai acheté pour la veste un
bout de taffetas de laine et soie rouge sombre doublé de
satin de même couleur, je possédais déjà les boutons un
peu trop gros mais exactement dans le ton et j‘ ai trouvé
chez vous la merveilleuse paille fine pour le chapeau.
J‘ ai choisi de lui faire des bottines plutôt que les
chaussures du modèle et j‘ ai pris aussi quelques libertés
avec le chapeau pour lequel je me suis inspiré d‘ une
gravure de mode des années 1870.
Je ne peux résister à l‘ envie de vous envoyer les photos
de ma petite réalisation avec mes remerciements à tous
les rédacteurs et artistes qui participent à la réalisation
du magazine et en souhaitant un
Joyeux 25°Anniversaire et une
longue vie à Gildebrief.
Bien amicalement à vous.
Marie Suzanne Mésonnier (F)
was für den Zukunft. Aber vorlaufig bleibe ich
Mitglied zo wie es war und lese meine Gildebrief
aus Papier in meine Faule Stuhl.
Mit freundlichem Gruss
Wil Anemaet-Pieterse (NL)
Hallo Karin, Hallo Werner!
In den letzten Jahren seid Ihr diejenigen Lieferanten
gewesen, die mir die wichtigsten Materialien für die DAGSeminare geschickt haben – termingerecht.
Ohne Euren Service hätte ich so manches DAG-Seminar
canceln müssen. Ihr seid Partner der Puppenszene:
Puppenkörper, Formen und viele andere Materialien, die
ein Puppenmacher benötigt! Ihr habt es, Ihr liefert es und
ihr baut den Markt weiter aus.
Das tollste ist Euer neuer Körper! Der ist fantastisch.
Karin, Dein Newsletter mit der Smiling Bru ist eine
großartige Arbeit. Ich bin total begeistert.
Ich werde Deinen Newsletter an die Mitglieder meines
GDS-Chapters „Nordlichter“ – die sind wirklich vom
hohen Norden bis zum tiefen Süden – Austria – Schweiz! weitergeben.
Wir brauchen in unserer Szene enthusiastische Menschen,
die die Szene fördern.
Danke dafür, herzlichst
Annette Schlegel (D)
Annette Schlegel
PS. Je vous prie de bien vouloir
m‘ excuser pour cette lettre en
français, je peux lire l‘ anglais mais
ne le pratique pas assez bien pour
l‘ écrire. Mon mari qui pratique
l‘ allemand traduira ce petit mot
pour vous!
Patrice Mesonnier (France)
Institut für Puppendesign
Seminare – Reparaturen – alte Handarbeitstechniken – Arbeitsbooklets
3-Star-GDS-Teacher
Creativ-Trainer
Laureate of Dollmaking
Div. Inernat. Auszeichnungen
Zertifikat – Kurse
Seminare Porzellan-Akademie:
09. – 13.09.09 Asiatin Jumeau mit Stickerei
23. – 25.09.09 Maltechnik (Puppe Ihrer Wahl)
13. – 16.10.09 Mal- und Sticktechnik
Ihrer Wahl
23. – 26.10.09 Österreich: Jumeau Asiatin
mit Stickerei
31.10.09 GDS-Club Nordlichter-Treffen
im Stickerei-Museum Celle
01. – 02.11.09 Mal- und Sticktechnikseminar
Diese Seminare sind von der GDS und auch
allgemein anerkannte Fortbildungsseminare.
Nehmen Sie Kontakt mit mir auf.
Sehr geehrte Herr Kesting,
Vielen Dank für dass Probeexemplar des Gildebriefes,
die download war ganz schnell fertig. Alles steht deutlich
in meine Computer. Es wird sicher Leute geben, die ein
E-Abonnement schöner finden und vielleicht ist es auch
Lemsahler Puppenecke
Helma von Appen
Spezielle Unterlagen bitte anfordern:
Studio: Grüne Aue 11 • 38462 Grafhorst
Telefon 0 53 64 / 20 71 • Fax 0 53 64 / 85 65
Grand Master of Dollmaking • Seeley Doll Studio
Puppenkurse für Anfänger und Fortgeschrittene in kleiner Runde
Alles für Porzellanpuppen • Zubehör
Öffnungszeiten:
Mittwoch 14.30 – 18.30 Uhr u. n. Vereinbarung
eMail: Annette.Schlegel.Puppendesign@t-online.de
www.annette-schlegel.de
Ödenweg 75 • 22397 Hamburg
Telefon 0 40 - 6 08 39 56 • Fax 0 40 - 6 08 41 96 • Helmavonappen@gmx.de
3/2009
5
Reader’s Forum
Leserforum
French
Fashion
+
oupée
A Walking-Costume for
Ein Promenadenanzug für
Madame Sidonie – 1871
*
+
3/2009
6
by Karin Buttigieg
M
adame
Sidonie,
our
Smiling Bru from Paris,
is wearing a fashionable walkingcostume consisting of an underskirt, over-skirt and basque-bodice
made from the finest silk faille and
patterned taffeta.
The garments are made using original
patterns from a fashion journal of
1871. It was somewhat of a challenge to
achieve perfectly fitting, authentically
constructed clothing without ending
up with excessive bulk or an overdone
look. After all, the body of 9 ½ “(24.5
cm) is small when compared to a fullsized adult lady! I changed the size and
working procedure a little and hope
you will like the result. I have taken
countless photos (sometimes I had
to force myself to interrupt the flow
of work, get up and take a photo) so
that you can easily follow all steps and
make the outfit, even if you normally
don’t sew such intricate clothing. I
am sure you will be successful if you
follow the steps one by one without
short-cutting. I am all fire and flame
for these little ladies now (dressing
this lovely body is quite a pleasure)
and I think that the number of fashion
doll enthusiasts will continue to
increase rapidly. Who knows, maybe
I shall live to experience a real doll
revival! Come and join in and be
inspired and enthused! I think these
dolls are inspiring mainly because of
their intricate and incredibly varied
clothing and accessories. I hope the
garments presented here will get you
started on your “new” fashion doll
hobby. Just a single doll can have
the most extensive wardrobe made,
complete with numerous accessories
– enough to have your work cut out
for several years!
I thoroughly enjoyed this project and
already am making plans for the next
Gildebrief. Just wait to be surprised!
The outfit consists of the following
garments (and is worn in this
sequence):
Stockings, underpants, under-body,
corset, bustle, petticoat, under-skirt,
upper-skirt, bodice, shoes, hat and
Chatelaine purse. Furthermore:
description for the mohair wig.
The fashion of 1871 often comprised
an under-skirt (a first skirt) and an
upper-skirt (often in a contrast fabric,
shorter than the under-skirt and
draped in the front and back). The
look was still quite and loose, and still
fairly wide at the sides – a transition
from the wide skirt and tight top of
the 1860’s to the very narrow front
and side with billowing derrière of the
late 70’s. The upper-skirt (sometimes
called polonaise) is loosely draped
with the back part more intricate and
longer than the front drapery. The
sides are not very narrow and tight as
was the case in 1878, when the poor
ladies were restricted by their tight
garments to making only the tiniest
steps. Interesting for the fashion of
1871 is the pagoda-sleeve, with wide,
intricately trimmed lower sleeves
tapering to a narrow upper part and
set into jackets, paletots and bodices.
The Pagoda-sleeve was quite shortlived and was soon replaced by tightfitting sleeves.
of your machine. Using silk for both
top and bottom threads tend to pull
the seam. I mainly use cotton thread
throughout. The finer the thread, the
better the outfit will look.
Paletot – A short or medium-length,
coat-style jacket or demi-coat, worn
as an outer garment.
“Schosstaille” (German term) –
the closest in English to cover this
would be the “Basque-Bodice”: A
Bodice with an elongated hip panel,
similar to a peplum; a separate top
matching an under-skirt and upper
skirt – part of an ensemble.
g) Use very sharp scissors, no longer
than 20 cm, for doing all your cutting
out and use fine embroidery scissors
for all fine work.
2 General Information:
a) Paste all pattern pieces onto thin
cardboard or firm plastic sheeting
and cut out precisely. Position the
firm pattern templates onto the
wrong side of the fabric and transfer
the patterns lightly onto the fabric
using a very fine push-button pencil.
b) Very important! All marked
lines have to be stay-stitched
(normal stitch length, normal
tension) or basted (long stitch,
loose tension) accurately! Each
procedure must first be hand
basted before it is stitched.
Remove the basting threads after
the final stitching.
c) Use as fine a thread as you can
find – wherever possible use cotton
thread # 100. If you are using a silk
thread, use the silk on the top and
a fine cotton thread in the bobbin
3/2009
7
d) A machine needle # 70 ( # 12)
works well. # 12 sewing needles are a
great help for your fine hand sewing.
e) Snip well into the seam allowance
on all inward curves and corners.
f) It is recommended you use a
narrow straight-sewing foot for these
small items. It works a lot better
than the normal wide zigzag foot.
You can even work a tiny zigzag
with it, suitable for stitching on
fine lace or neatening seams. Also,
if you are unfamiliar with metric
measurements, please purchase a
dual imperial/metric tape measure
(available from craft stores).
The materials are listed with
the relevant garments. Since the
material quantities are mostly
very small, I mention the required
quantity only occasionally.
All pattern pieces are shown
without added seam allowance
except where specifically
mentioned otherwise.
All pattern pieces are numbered
(i.e.: Fig. 5). The list of the
required pattern pieces are
supplied at the start of each
description.
The term left/right is always as
seen from the doll.
2 The Doll
Smiling Bru „Sidonie“
Head Mold: GB-113
Shoulderplate Mold: GB-112 SP
Eyes: 6 mm pinched oval, light gray
Head circumference: 15 cm
Reproduction size with wig: 32 cm
Body: FFP 9½“ (French Fashion
24.5 cm)
2 Body Measurements:
Front waist length (neck edgewaist): 7.7 cm
Back waist length (neck edgewaist): 8.3 cm
Hip (widest part): 18 cm
Waist: 12.2 cm
Width of bust (from armhole to
armhole): 8.2 mm
Width of back (from armhole to
armhole): 7.5 cm
Upper arm circumference: 6.5 cm
Arm length (under arm to wrist): 8.7 cm
Arm length (upper arm to wrist):
10.5 cm
Wrist circumference: 4.1 cm
Hand circumference: 5 cm
Length of leg to sole: 13.2 cm
Foot length: 3.2 cm
Foot width: 1.3 cm
 The Stockings
Pattern: Fig 1 – Stocking (cut 2)
2 Material
•Fine silk knit
•„Fusible Web“ by Clover (or similar
item), 5 mm wide – iron-on web
for fusing two fabrics
(see also Photo 27)
•Cotton thread # 100 ecru
(# BNG-0046)
1. Cut the template from thin
cardboard. Iron the Fusible Web along
the top edge of the silk knit (paper
side up), fold the strip over (with
paper in place) and press. Cut the
strip down to about 3 mm, remove
the paper, press the silk knit along the
3/2009
8
fold to form a fused hem, preventing
any runs in the future. Secure the
hem with tiny zigzag stitches and fine
cotton thread.
2. Fold the silk knit around the
template without stretching the fabric,
pin the back seam and stitch it on the
machine with narrow zigzag stitches.
Remove the stocking from the
template and put it on the doll. Steam
the stocking with the iron from about
10 cm away, press the stocking around
the doll leg and let it cool down,
giving it a lovely shape. You can trim
the top with lace or crochet, threading
a narrow ribbon through the top.
 Split Underpants
Patterns:
Fig. 2: Underpants (cut 2)
Fig 3: Waistband (Cut 1)
2 Material:
•Fine batiste
•About 20 cm narrow Val edge lace
•About 53 cm narrow tape
•Finished leg length with lace = 8.5 cm
1
2
3/2009
9
3. Stitch the 3 mm pintucks and
stitch the lace to the legs. Hand-hem
the back and front seams (3-2 and
1-2). Work two buttonholes into the
waistband where marked and stitch
the waistband in place.
Photo 1 and 2
4. Close the leg seams. Close the back
seam (including the waistband) from 3
to 4 by hand. Thread the tape through
buttonhole 1, then pass it 1 ½ times all
around (past buttonhole 2 and again
1), coming out at 2. Next, machine
stitch across the tape at point a on both
sides of the front waistband. When you
pull the tape, only the back will gather
and the front remains smooth. The
tape is then tied at the front.
(See also drawing in the pattern
Supplement)
 The Under-Waist
Patterns:
Fig. 4: Front (cut 2)
Fig. 5: Side Front (cut 2)
Fig. 6: Back (cut 1)
Fig. 7: Side Back (cut 2)
Fig. 8: Sleeves (cut 2)
2 Materials:
•Fine batiste
•3.5 cm wide fine lace (# 200 124)
•3 mm wide pink silk ribbon
•Crochet hook size 0.75 mm and silk
cordonnet yarn (antique white # 003)
•Cotton sewing thread ecru # 100
(BNG-0046)
•3 x 6 mm mother-of-pearl buttons
(PM-2)
5. Machine stitch Fig. 4 and Fig. 5
together, as well as Fig. 6 and Fig. 7
matching numbers (1-2 and 3-4).
Press the seams towards the side seam
and top stitch narrowly. Stay stitch
line A on the front panels. Position the
lace along this line and baste. Machine
stitch a casing about 5 mm wide and
pull the ribbon through. Baste the lace
smooth to the neck edge and armhole
edge and stitch down. Cut off the
excess lace. Fold the facing along the
fold line (c-d) to the right side and top
stitch down close to the edge. Work 3
buttonholes into the right-side facing.
Stitch the shoulder seams.
Photo 3, 4, 5
3/2009
10
3
4
5
6
6. On one long side of a 4 cm x 25 cm long piece of batiste,
fold down 5 mm to the wrong side and top stitch it down
close to the edge. Cut off the excess fabric close to the
stitching. Position the lace onto the fabric panel, wrong
sides together, with the scallops projecting over the fabric
edge. Topstich the lace down, forming a 5 mm casing for
the ribbon and thread the ribbon through. Mark the sleeves
on the wrong side of this lace panel, stay stitch all around
and cut out. Lightly gather the top of the sleeve and set it
into the armhole. Stitch the sleeve and side seams in one
go (6-5-7). Make a narrow hem along the bottom edge and
stitch by hand (or make one fold and machine stitch, cut
fabric close to the stitching).
Photo 6, 7, 8
7. Fold the neck edge to the wrong side, top stitch close
Zeichnung / Drawing
8
7
3/2009
11
to the edge and cut the excess fabric close to the stitching.
Work a chain with the silk cordonnet yarn or make a row of
double crochet as a chain (as used here) and hand-stitch
in place along the neck edge. Then crochet 1 row of dc, 1
row of trebles and 1 row of picots (3 ch, 1 dc into the 1st
ch, skip 1 stitch, 1 dc – repeat throughout). Stitch 3 buttons
on and pull a silk ribbon through the trebles.
If you don’t want to make the crocheted edge, use lace
instead and thread a ribbon through.
Photo 9, 10
Double crochet as a chain: Begin with 2 chain
stitches, put the hook in between the halves of the first
chain stitch, throw the thread over the hook and draw
it through in a loop, throw it over again and draw it
through the two loops; then put the hook into the left
part of the stitch just made, throw the thread over, draw
it through, throw it again over the hook, draw it through
the two loops, and so on.
See drawing
9
10
3/2009
12
3/2009
13
 The Corset
Patterns:
Fig. 9 – Front (cut 2 from outer fabric, 2 from lining)
Fig. 10 – Back (cut 2 from outer fabric, 2 from lining)
Fig. 11 – Bust gusset (cut 2 from outer fabric and lining placed together as one)
Fig. 12 – Front hip gusset (cut 2 from outer fabric and lining placed together as one)
Fig. 13 – Back hip gusset (cut 2 from outer fabric and lining placed together as one)
2 Materials
•Tightly woven (but not thick) cotton fabric (outer fabric)
•Firm cotton fabric (lining)
•Contrast cotton fabric (gussets) (Use fabrics with
minimum fray)
•5 hooks and eyes
•Narrow lace or trim
•About 1 meter narrow tape (1.5 mm cotton soutache
# TR-4007)
•“Boning” cut from thin plastic, 4 mm wide for the back
eyelet edges and 2 mm for the remaining casings
•14 eyelets, 2.5 mm (# 222 508)
•Contrast buttonhole silk for top stitching
•Cotton thread # 100, ecru
•Some lace (# BOB-303) or braid
8. Mark all panels, stay-stitch and cut out. Cut the openings
for the gussets at the front and back panels down to the
stitching and press them to the wrong side. Cut the double
layered gussets (lining and contrast fabric) and stay stitch.
Baste the gussets in place matching numbers and hand
stitch them down on the right side with small whip stitches.
There are no gussets put into the lining.
Photo 11, 12, 13
3/2009
14
11
13
12
3/2009
15
14
16
17
15
9. Stitch together one back panel Fig.
10 and one front panel Fig. 9 each (56), outer fabric and lining. Snip the
seam and press apart. Place each outer
fabric panel (corset) and lining panel
together (right sides together) and
machine stitch the back edges together
(14-15). Fold the panels right sides
out and press well. Place each corset
and lining panel accurately together
and baste along the back edge, side
seams and gussets. Topstitch around
the gussets with buttonhole thread.
Photo 14 and 15
10. Bend the eyes apart slightly. Fold
the facing of the right corset front and
lining to the wrong side and baste.
Stitch the hooks to the lining so they
project over the edge by about 2 mm
and hand stitch the lining and corset
front edges together with small whip
stitches.
Photo 16, 17, 18
11. Unfortunately, one cannot bend
the hooks apart successfully and they
have to be stitched in place as they
are (they are too long and in the way;
one cannot top stitch the casing over
them). Press the facing of the corset
18
19
and lining to the wrong side. Next,
with buttonhole thread, topstitch the
left front edge of the corset (not the
lining!) 5 mm from the edge for the
boning casing. Stitch the hooks to the
lining matching the position of the
eyes and whip stitch the front edges
together neatly. Use stab stitches
along the top stitching line to join the
corset and lining for a casing, working
a “stab” in between every machine
stitch.
Photo 19, 20
12. Topstitch the remaining casings
and lines where marked. The casing
“b” on the hook side of the corset is a
little tricky, because the machine foot
sits on top of the hooks at the start
of the seam. I turned the wheel by
hand for the first 3 or 4 stitches and
that worked well (start at the hooks).
Use the topstitching thread in the top
of the machine, fine cotton thread #
100 in the bobbin. Test the tension
and stitch length on scrap fabric first.
Fasten off the machine threads with
a hand sewing needle – not on the
machine Stay stitch the bottom edge
of the corset with normal thread
and cut the excess fabric close to the
20
3/2009
16
3/2009
17
21
23
22
stitching. Then insert the boning into the casings: 2 mm
wide for casing a, b, c, d, e and 4 mm wide for casing f.
Stay stitch the top edge and cut the fabric close to the
stitching.
Photo 21
13. Make 15 mm wide bias binding (finished size) from
corset or contrast fabric and bind the top and bottom
edges neatly by hand.
24
14. Punch the eyelets into the back edges (if you are
using an eyelet machine, don’t pre-punch the holes – the
machine does it automatically). Thread the fine soutache
into the eyelets and your wonderful authentic corset is
finished! Trim the top edge with lace or braid, if desired.
Photo 23, 24, 25,
25
3/2009
18
 The Bustle
26
Pattern:
Fig. 14: Bustle (add seam allowance along
the waist edge 1-d-1 only)
2 Material:
•Crinoline
•Cotton bias binding (about 170 cm)
•Bias Tape Maker 9 mm)
•“Fusible Web” (by Clover or similar make) 5 mm wide
•# 50 cotton thread
•White Val-lace
•About 150 cm of narrow cotton soutache (TR-4007)
•5 hooks
3/2009
19
Flounce from Crinoline cut on the bias:
•One strip 22 mm wide (seam allowance included) and
about 210 cm long (for 3 frills)
•One strip 25 mm wide and 32 mm long (top piece)
15. Make the bias binding first. Spray-starch the fabric well
and cut out 18 mm wide bias strips. Push one slanted end
through the Tape Maker with a needle (from the wide to
the narrow side), pin the end to the ironing board and
pin the other end down as well, slightly stretched. Slowly
move the Tape Maker along the fabric strip keeping it well
centered and press the binding as it emerges from the Tape
Maker. It is easy to do and there are also instructions with
the Tape Maker. When the binding is finished, fold it along
the centre lengthways and press. Then lay it flat again,
wrong side up, press the Fusible Web along the center of
the binding (where the folds are) and remove the paper.
30
27
28
31
29
32
3/2009
20
Press the binding along one edge of the crinoline strip,
press it so that the fusible the web secures the binding to
the crinoline, and carefully top stitch close to the edge.
Then mark the open edge of the strip alternating 10 mm
and 5 mm markings and form 10 mm wide box pleats
along the strip. Pin the box pleats then carefully topstitch
them in place on the machine over the pins.
Photo 26, 27, 28
33
16. Stitch the darts on the bustle, cut them open, press
apart and stay stitch all frill lines.
Photo 29
17. Bind the outside edge with binding as described for the
flounces (1-2-1). Stitch the first flounce along line 1 and
topstitch lace over the unfinished edge. Stitch the second
flounce along line 2 but don’t cover with lace – there is no
need, since you cannot see this edge.
Photo 30, 31, 32
34
36
35
18. Make a 15 mm wide double box pleat from the 25
mm deep and 32 mm wide piece of crinoline, with the
underneath pleat about 2 mm wider than the top pleat.
Use loose herringbones stitches to butt join the two cut
edges and fold the bottom edges over, stitching them
down. Hand stitch the pleat in place and topstitch along
the waist, securing the ends of the flounces.
Photo 34, 35, 36
19. Stitch the ties in place. Cut the waist to about 3 mm
from the stitching, bind it with bias as described and
topstitch close to the edge.
Photo 37, 38
38
37
3/2009
21
38
20. Stitch the hooks where marked
with a *, pull the soutache through
and tie it tighter or looser as desired.
Photo 39, 40
40
 The Petticoat
without Train
Patterns:
Fig. 15 – Front (cut 1)
Fig. 16 – Side (cut 2)
Fig. 17 – Back (cut 2)
Please observe the grain when
cutting the panels – an edge on the
bias will always be stitched to an
edge on the straight grain in order
to prevent sagging of the seam.
2 Materials:
•Cotton batiste
•1 m x 10 mm wide edge lace
•Ruffler for the sewing machine
(enter into Google – I saw that
Sears sells a Universal ruffler)
•25 mm beading with edge lace
(# 200 123BIS)
•ca. 6 mm wide pink silk ribbon
•6 mm wide cotton tape (COT-006)
Flounce: finished height with lace
= 4 cm
Add 2 cm extra fabric for the 3 x 3 mm
pin tucks.
Waistband: 22 cm long x 2 cm wide
plus seam allowance
21. Cut an 85 cm long by 8 cm wide
strip of batiste. Stitch 3 x 3 mm wide
pin tucks (10 mm apart from folded
edge to folded edge). The 1st tuck is
about 22 mm from the fabric edge,
the 2nd and 3rd are 10 mm from fold
to fold. Next, machine stitch the lace
(8 mm from the bottom tuck seam)
flat to the right side of the fabric with
finest zigzag, press the excess fabric
up on the wrong side and stitch again
over the lace edge as before. Cut the
excess fabric close to the stitching.
After pressing the fabric panel, either
gather with 2 rows of stitching or use
the Ruffler to form tiny pleats.
Photo 41
3/2009
22
41
42
22. Stitch all the skirt seams with a
French seam, except for the back seam,
matching numbers. Stitch a narrow
hem along the bottom edge. Stitch
the flounce to the marked line and
cut the fabric to 3 mm from the seam.
Stitch the straight edge of the lace over
the unfinished flounce edge, stitch a
second seam along the beading-edge
lace line, forming a casing. Pull the
ribbon through the casing and baste
and stitch the lace to the skirt just
below the scallops.
Close the back seam 5 to 6 and neaten
the opening by hand. Stitch the small
pleat at the waist. Stitch the waistband to the waist, pull the tape
through the casing and stitch through the casing and tape along
point 1 on both side. When the tie is pulled, only the back will
gather while the front remains smooth.
Photo 42
3/2009
23
3/2009
24
 The Under-Skirt
43
Patterns:
Fig. 18 – Front ( cut 1 )
Fig. 19 – Side Front (cut 2)
Fig. 20 – Side Back (cut 2)
Fig. 21 – Back (cut 2)
2 Materials:
•1 meter x 90 cm wide finest silk faille (with fine ribs),
– this one a wonderful old silk faille, mulberry
color (# FAI-5002). A more light-weight fabric like
taffeta would also be suitable and might even be easier
to handle. I particularly liked this old faille and felt it
was worth the extra effort.
Caution: The ribs on the faille run across and since
they have to run vertically in the garment, you should
keep this in mind when cutting the patterns out!
•About 3.50 to 4 meters silk satin ribbon, 9 mm wide,
color 117
•Ruffler (see information for petticoat)
•Perfect Pleater (fabric pleater) (# 223 200)
•Matching sewing thread
•About 60 cm coffee colored narrow Val- lace (# 2-02-033)
•About 60 cm x 6 mm cotton tape, dyed ecru (COT-006)
•About 1 meter x 20 mm wide fine lace (# 200 303)
•1 mother-of-pearl button (PN-2)
44
45
Bottom pleated flounce: finished size = 35 mm deep
x about 50 cm finished width, pleated on the Perfect
Pleater.
23. Cut the pattern pieces out, observing the grain and rib
direction. Neaten the side seams of the panels first with
a row of straight stitching, then stitch over the edge with
very tiny zigzag stitches. Cut any fluff off with fine scissors.
Stitch all panels together matching numbers, except for
the back seam 7-8. Stitch the coffee-colored lace to the
hem and close the back seam up to the opening. Fold the
hem of the skirt up along the marked line and hand stitch
the hem in place along the lace. Carefully press the seams
apart avoiding making an impression of the seam on the
right side. By the way, just thought I would show you one
of the absolute essential for precise measuring of hems etc!
Photo 43, 44, 45
24. Cut a 55 m wide and 1 meter long strip along the selvedge
of the fabric (cut off the selvedge – it is too hard). Press a 10
mm fold (use the tool in Photo 43 to measure) on one long
side to the wrong side, top stitch close to the edge and cut the
excess fabric close to the stitching. Then pleat the strip using
the Perfect Pleater. Top stitch the pleats in place 3.5 cm up from
the sewn edge. Cut the excess seam allowance down to 6 mm.
Pin the pleats along line a, then hand stitch the pleats into a
round at the back, keeping the seam invisible under a pleat.
Baste and top stitch the pleats to the skirt. Photo 46 und 47
46
47
25. Pleat the silk satin ribbon on the machine with the
Ruffler (instructions come with the attachment) – the
seam should run through about the center of the ribbon.
Otherwise, hand pleat the ribbon into 5 mm pleats. About
1 meter of pleated ribbon is required. Photo 48
3/2009
25
48
49
50
51
26. Facing Strip 1: Using the wrong (matte) side as the right
side, cut a 52 cm long bias strip from the faille, finished width
13 mm, both long edges folded over. For this, press the fabric
along the bias, measure off 13 mm from the fold, press the
second fold over and cut on the wrong side 4 mm from each
edge. Facing strip 2: Cut a 52 cm long bias strip, with a fold
along 1 side only (the other side remains flat), finished width
20 mm. For this, fold the fabric on the bias (matte side on
the right side) and cut the fabric at the back 4 mm from the
fold. Measure 20 mm from this fold and cut along this line.
The pleated panel is stitched to the respective folded edge
(add ribbon only to one edge of strip 1) with small hand
stitches, with about 5 mm of the pleated ribbon showing on
the right side. First, baste facing strip 2 along line 2 (edge of
facing along line), then hand stitch it in place invisibly along
the fold. The open edge is loosely secured to the skirt with
herringbone stitches. Strip 1 is basted in place with the lower
edge covering the open edge of the pleated flounce and the
top edge (with ribbon) covering the open edge of strip 2.
After basting, hand stitch in place along both folded edges
(not too tight – it would pull the fabric). Do not press the
panels! The folds on the wrong side would press through to
the right side. Photo 49, 50, 51
27. Gather the waist from point 9 to 10 along the back on both
sides. For the waistband (finished length 15 cm plus 1 cm each
side allowance), cut a 17 cm long piece of the 9 mm wide silk
satin ribbon. Fold the piece in half (center front), then adjust
the skirt width to the ribbon. Baste the ribbon to the skirt waist
and hand stitch it in place with small stitches. A ribbon of the
same size is basted and then hand stitched to the first ribbon all
around on the wrong side of the skirt, enclosing the raw edge
of the waist in between. This reduces bulk. I did not stitch the
opening edges down since the stitches might show on the right
side. The edges are already neatened with the zigzag. Close the
skirt with a flat mother-of-pearl button or a hook and thread
loop. Photo 52
28. The skirt is also fitted with a dust flounce which is
stitched to the inside. Gather the 20 mm lace, hand stitch it
to the cotton tape and stitch it into a round. Loosely stitch
this under the skirt so that about 5 mm of the lace peek out
from under the skirt. Photo 53
52
53
3/2009
26
3/2009
27
The Upper-Skirt
Patterns:
Fig. 22 – Front part (cut 1)
Fig. 23 – Back part (cut 1 on
the fold)
Materials:
•About 50 cm x 75 cm silk taffeta
(like # 2046-17-1 – it is a little
lighter than the fabric I used)
•About 120 cm x 12 mm wide rayon
or silk fringe (this is enough also
for the basque-bodice)
•About 120 cm loop trim (TR-4001,
color leather over-dyed to match)
•About 40 cm x 12 mm wide silk
ribbon, dyed to match.
•About 1 meter cotton soutache
(TR-4007)
•1 eye, 1 mother-of-pearl button
29. Cut out the front part Fig. 22
with a 10 mm seam allowance. Run
a gathering stitch about 2 mm from
the cut edge and press the seam
allowance of the bottom edge (6-7-6)
to the wrong side, pulling the thread
to fit, and baste the hem by hand.
Loosely hand stitch the fringe trim to
the folded edge. Measure about 8 mm
up and hand stitch the loop trim in
place, loops facing up. Pleat the sides,
placing marking x on top of o (pleats
face up on the right side). Baste and
then stay stitch the pleats. Cut the
seam allowance to 3 mm and bind
both side edges by hand with the 12
mm silk ribbon. Snip into the waistline
down to the stay stitching line.
Photo 54, see also Photo 57 and 58
30. Cut out the back part Fig. 23 with
a 10 mm seam allowance. Stitch the
back seam 1-2 and snip down to the
stitching at point 1. Press the seam
open. Place the pleat x1 on top of
o1 on the side edge. Baste and stay
stitch. Fold the bottom edge 5-2-5 to
the wrong side as described for Fig.
22 and trim with fringe and loop trim.
Then fold the remaining pleats along
the waist 5-3-5 placing x on top of o,
basting and stitching the pleats. The
waist edge should measure 7.5 cm.
Photo 55, 56
54
3/2009
28
55
56
3/2009
29
3/2009
30
3/2009
31
57
58
31. Baste point 5 of the back part
over point 5 of the front part. Bind
the waist edge with 12 mm silk
ribbon and close the upper-skirt with
a button and thread loop. Stitch a
length of soutache to both sides of the
front Fig. 22 at point 6 which will be
tied under the back part. Fold a 40 cm
length of soutache in half and stitch
it to the waistband of Fig. 23 at the
center back. Stitch an eye to point * of
Fig. 23. Pull the tape through the eye
and drape the skirt attractively. Use a
shot of steam to set the drape. When
the upper-skirt is worn, the sides of
the back part should cover the sides
of the front part.
Photo 57, 58
 The Basque-Bodice
Patterns:
Fig. 24 – Left Front = Button side
(cut 1 from outer fabric silk
faille, and 1 from
underlining)
Fig. 25 – Right Front = Buttonhole
side (cut 1 from outer
fabric silk faille, and
1 from underlining)
Fig. 26 – Back (cut 1 from silk
faille, 1 from underlining)
Fig. 27 – Side Back (cut 2 from silk
faille, 2 from underlining)
Fig. 28 – Sleeve (cut 2 from silk
faille – please mark the
front of the sleeve – even
though it might look wrong,
the marking is correct!)
Fig. 29 – Facing Bodice Edge
(cut 2 from taffeta)
Fig. 30 – Sleeve Facing (cut 2 from
taffeta)
3/2009
32
2 Materials:
•Outer fabric as used for under-skirt
•Taffeta as used for upper-skirt
•Ecru Mousseline – underlining (BWL-0053)
•Loop trim, fringe trim
•Piece of thick wool for piping
•6 x 5 mm buttons (KNO-003, color 2)
•About 40 cm x 3 cm strip of cotton tulle
59
Cutting the silk faille pieces: Position the fine cotton
mousseline fabric matching the grain of the silk faille and
pin both panels together – better still, baste them together.
Mark the pattern pieces onto the mousseline with fine
pencil, making sure you have the ribs of the faille running
vertically along the basque panels, and making sure you
position the right and left front panels correctly. First cut
each pattern piece out roughly, then baste and then stay
stitch all lines. Cut the underlining off about 3 mm from
the seam (not too close or the fabric will pull from the
seam). You can also cut the underlining off after you have
stitched the seams. The sleeve is not underlined.
Photo 59
32. Stay stitch the area of the slit at the back (use a short
stitch length) but do not cut the slit apart yet. Baste and
stitch the darts. Snip into the fabric at the widest part. Baste
and stitch all panels together, matching numbers, snip into
the seams and neaten the front edges with fine zigzag as
described for the under-skirt. Cut the underlining off to
the front fold lines. Carefully press the seams open without
having them show on the right side.
Photo 60, 61
33. Fold the front facing to the wrong side (both sides)
and baste. Stay stitch the bottom edge and cut close to the
stitching. Bind the bottom edge with the tulle and then cut
the slit apart.
Photo 62, 63
60
62
61
63
3/2009
33
Photo 64: I made a mistake here – the slit is not bound
with the tulle, but this was the only photo I made – this is
just to show how to bind the edge with tulle. So, bind the
bottom edge all across with tulle, baste, machine stitch
with tiny zigzag (to avoid pull), cut off excess tulle and
only then cut the slit open.
34. Spray starch the taffeta lightly on the wrong side and press
well after the starch has dried. Mark the bodice facing Fig. 29
onto the wrong side of the fabric, stay stitch along that line
and cut out close to the stitching. Neaten the edges all around
with tiny zigzag stitches. Press the piece well. Press the fold
c-g to the wrong side. Insert this part into the slit, where the
fold c-g binds the slit. Baste the facing along the basque edge
fittingly and hand stitch both edges down with loose stitches.
On the buttonhole side, fold the facing to the wrong side at
point 7 and hand stitch the edge down with herringbone
stitches. On the button side, fold the facing under and hand
stitch it flush with the edge of the basque front (see also
Photo 75). Stitch the slit closed down to point d.
Photo 65 und 66
65
35. Neaten the side seams of the sleeves with straight
stitching and zigzag. Mark the facing onto the back of the
66
64
3/2009
34
69
70
taffeta, stay stitch and cut out the
bottom edge with seam allowance.
Place the facing and sleeve together,
wrong sides out and stitch the bottom
edges together. Snip and turn right
side out, press and then cut the top
edge close to the stay stitching. Baste
the facing to the sleeve and stitch it to
the sleeve with tiny zigzag stitches.
Photo 67, 68, 69
67
36. Hand stitch the fringe to the
bottom edge and the loop trim to the
top edge as shown in the photo.
Photo 70, 71, 72
37. Stitch the sleeve seam matching
markings and press the seam apart.
Fold the seam allowance at the top
of the sleeve to the wrong side and
ease with tiny running stitches. Make
a piece of piping for the top of the
71
68
72
3/2009
35
73
76
77
74
78
75
79
3/2009
36
80
sleeves from a length of bias taffeta hand stitched around
a length of thick yarn. Baste the piping to the top of the
sleeves, the joint falling at the back (overlap the ends and
fold inwards, don’t stitch them against each other)
Photo 73, 74
38. Snip into the armhole several times, down to the stay
stitching. Hand stitch the sleeve into the bodice. Fit the
garment on the doll before you stitch the sleeve down. The
seam is placed at point X of the armhole front. Please don’t
mix up the sleeves! Hand stitch the sleeve in place through
all layers. Then cut the excess fabric on the wrong side
carefully and neaten the raw edge with overcast stitches.
Neaten the seams throughout with herringbone stitches
caught only to the underlining and stitch the front facings
to the underlining loosely.
Photo 75, 76, 77
81
39. Stitch the fringe and loop trim in place.
Photo 78 and 79
40. Stay stitch the neckline and cut the fabric down to 6
mm from the seam. Bind the neck with bias cut from taffeta
(finished width 12 mm), stitched by hand. Stitch loop trim
to the bottom edge. Cut the trim flush with the jacket
edges and secure the cut edges with a dab of Tacky Glue,
to prevent fraying.
Photo 80
81a
41. Stitch the buttons on. Make thread loops about 3 mm
in from the front edge on the wrong side. This ensures the
buttons sit exactly in the center front and the thread loops
are not visible. I did not want to risk hand made fabric
buttonholes and I think this looks very neat and becoming.
The small bow brooch is available (BR-001).
I made the hook for the top of the neckline from an eye pin
(used for making earrings). Just cut the pin short, bend it
into a hook and stitch it on through the eye.
Photo 81, 81a, 81b, 81c
81b
81c
3/2009
37
3/2009
38
 The Shoes
Patterns:
Fig: 31 – Upper Shoe (for shoe
with heel)
Fig. 32 – Inner Sole
Fig. 33 – Sole
Fig. 34 – Upper Shoe (for shoe
without heel)
Fig. 35 – Template for Heel
2 Materials
•Thin, firm leather with little stretch
(like goat skin) (999 999-22-1)
•Thin sole leather (# 999 999 02)
•Skive Eze (# 8015)- thins down
leather
•Thin cardboard
•Balsa wood, Fimo or Doll Putty for
the heels
•Buckles (# Schn-0538 and
# Schn-0003)
•Silk ribbon for trim
•Contact glue
•Decorative paper for the inner sole
•Leather dye TAN (# 140 01)
•Fine 0.5 mm felt-tip pen, small
hammer, machine needle # 90
(# 14)
•Vaseline
•Some transparent paper
•Contrast buttonhole silk and
matching thread
42. Mark the upper shoes on the
wrong side of the leather. Thin down
the seam allowance (front edge,
side seam/back seam) with the Skive
Eze. This tool is very useful for these
tiny shoes since it is difficult to find
leather thin enough for their tiny feet.
Hold the Skive Eze (with razor blade
inserted) flat to the leather and pull
across the wrong side of the leather
thinning it down (practice first).
Photo 82
43. The upper edge of Fig. 34 is first
overstitched with small zigzag stitches,
then straight stitched just along the
bottom edge of the zigzag stitches,
simulating the well-known “overlock”
stitch used commonly for doll shoes
in the 19th century. With Fig. 31, first
top stitch about 2 mm inside the top
edge marking (use buttonhole thread
in the bobbin, plain cotton in the
top) and then cut the upper out. Run
a loose seam (longer stitch length,
loose tension) along the front cap,
just outside the marking. The bobbin
thread (right side of leather) must be
3/2009
39
easy to pull. Test it first on some scrap leather. Overlap the
side seam of Fig. 34 and glue it down with contact glue (glue
the back seam of Fig. 31 together with contact glue). Stitch
the seams with tissue paper underneath and then pull the
tissue off. Cut off the back seam allowance of Fig. 31 to about
2 mm and hammer it flat gently. Glue the cardboard inner
sole Fig. 32 onto decorative paper and cut out flush with the
cardboard. Cut out the leather soles smoothly and dye with
TAN leather dye. After they are dry, rub a little Vaseline into
your hands and rigorously rub the edge of the sole over your
palms, giving the sole edge a nicely “greasy” and smooth look.
Photo 83
82
44. Shape the heels from Balsa or Fimo etc., working each
step simultaneously on both heels. Mine have been carved
from Balsa with a Stanley knife, sanded and then painted
with brown enamel paint. I stuck old machine needles into
them – otherwise I would have lost them for sure. The
circle denotes the heel. The heels are about 9 mm high at
the back and 7 mm at the inside. Photo 84, 85
45. Spread contact glue to the wrong side of the seam
allowance of the upper shoe, the cardboard (marked) side
of the inner soles and the leather soles. Let the glue dry off
a little. Put a stocking onto the doll (secure with a rubber
band), put the upper shoe in place, position the inner sole
matching front and back marking, and line the edge of the
sole up with the marked line of the upper shoe. Use an old
machine needle to first glue the back down, then the sides
along the heel area, then pull the flat front over the cardboard
sole and press it down, then pull the pull thread holding both
ends at the same time and gently press the remaining area of
the seam allowance over the inner sole. There should be a
small pleat formed on both sides of the flat front. Photo 86
83
46. Cut across the pleats (I use nail clippers) and gently
hammer the pleats flat. Normally, you would glue a filler into
the cardboard space under the shoe, to level the surface.
However, if you have thinned the seam allowance with the
Skive Eze this will probably not be necessary.
Otherwise, place transparent paper over the
underside, draw the filler shape and cut it
out from cardboard or leather. Glue it in
place with contact glue. Gently sand the
86
sole where the heel is to go and glue it
down with contact glue. Spread another
coat of contact glue over the wrong side
of the leather sole and the underside of
the upper shoes and press the sole (with
84
85
3/2009
40
or without heels) in place. Decorate
the shoes as desired. The shoe trim
in the year 1871 was high rather than
wide. To help put the shoes on, glue a
small strip of leather to the back with
2-part epoxy.
Photo 87, 88, 89, 90
87
88
89
90
3/2009
41
 The Wig
Pattern:
Fig. 36 – Wig Cap
2 Materials
• Wet´N Shape or Crinoline
(dyed with strong tea)
• 1 length of roped mohair
(color # 784)
• Matching sewing thread
• Plastic wrap
• 3 mm silk ribbon ecru
• Spray glue
• Spray can with water
• Piece of pantyhose
• Skewers
91
92
47. Cover the head of the doll with plastic wrap and tie it at
the neck. Cut the cap Fig. 36 from crinoline without added
seam allowance. Cut into the slits as marked. Spray the cap
with water and place it on top of the head, pressing it into
shape (the slits will overlap). Tie the pantyhose over the
cap securely and let it dry. Remove the cap carefully and bind the inner edge
with silk ribbon, spray glued on one side (white glue makes the fabric go soft).
Let the glue dry. You could still baste the ribbon to the cap for extra security.
Photo 91
48. Carefully separate the roped mohair and remove a small rope (the roped mohair
consists of many shorter mohair strands). Take a length and wet it thoroughly with
water. Wind it onto a long wooden skewer, winding it around itself like a rope and
at the same time around the skewer. This method is also described in Gildebrief
1/1994. Fasten the mohair to the skewer at both ends with a rubber band and dry
it in the microwave in 30 second surges at 700 Watt, letting it rest for about 10
minutes in between each surge. Always check the mohair, you don’t want it to
shrivel and burn. Then let it dry for another few hours before
you remove it from the skewer. After the mohair is removed,
pull a section apart and you will have gorgeous wavy hair.
Photo 92, 93, 94
93
94
3/2009
42
3/2009
43
95
96
49. Take a 30 cm length of mohair, bind both ends with thread
and twist into a loose rope. Push the middle of the rope up so
both sides will twist together and the ends join in the middle.
Stitch the ends together and form a loose chignon. Make a
braid long enough to fit around the chignon. Loosely stitch
everything together. Spray the cap with glue and lay the wavy
hair around it. Bind the ends and sew them down at the back
(will be under the chignon). Stitch the chignon in place; you
might also want to glue a couple of small curls under the edge
of the cap as well. Glue the wig to the doll with white glue.
Photo 95, 96, 97, 98, 99
 The Hat
97
Patterns:
Fig. 37: Hat crown (cut 1 from buckram without seam
allowance, 1 from silk lining with seam allowance)
Fig. 38: Brim (cut 1 from buckram: without seam
allowance along 2-3-2 and with seam
allowance along 2-1-2)
Fig. 39: Brim cover (cut 1 from silk faille without seam
allowance)
Fig. 40: Crown cover (cut 1 from silk faille with seam
allowance)
98
99
3/2009
44
100
101
2 Materials:
•Medium buckram or crinoline
•Outer fabric (silk faille)
•Silk taffeta for lining
•Trim as desired: 10 mm and 15 mm
lace, flowers, Organza, 12 mm silk
ribbon, buckle (Sch-8616)
•Thin hat wire, 1 length of covered
thin floral wire (or similar)
50. Cut out the crown and brim from
crinoline or buckram. Hand stitch the
small pleat at point B. Machine stitch
the small floral wire along line A with
zigzag using a cording foot (pass the
wire through the hole in the foot
– works really well). Stay stitch the
inside edge 2-1-2 of the brim. Snip
into the seam allowance.
Photo 100
102
103
105
104
3/2009
45
51. Cut into the darts and glue the
overlaps with white glue.
Photo 101
52. Stitch the thin bonnet wire to the
outer brim edge with zigzag stitches,
leaving about 10 cm loose on both
sides. Center the brim onto the wrong
side of the brim cover Fig. 39 and
pin small pleats, starting at the center
front (the fabric at the back remains
smooth). Baste across the pleats (you
can feel the seam 2-1-2 of the brim
with your fingers), then machine
stitch through all layers.
Photo 102, 103, 104, 105, 106
106
53. Stitch the brim to the crown
(pleats facing out).
Photo 107 (Outside view)
Photo 108 (Inside view)
54. Fold the seam allowance of the
crown cover Fig. 40 to the wrong
side along 2-3-2 and stitch down with
small running stitches. Stitch the cover
to the crown matching markings. The
seam allowance of the back (2-4-2) is
folded over the wire to the inside and
secured with stab stitches close to the
wire. Stitch gathered lace in place, add
flowers in the space between the lace,
drape a length of silk organza cut on the
bias over the back of the crown, stitch
the ends to the sides near the wire and
cut off fabric. Cover the edge with lightly
gathered 12 mm silk ribbon, dyed to
match. Make a pretty bow and stitch it
behind the lace. Photo 109, 110, 111
55. Gather narrow lace and stitch it to
the inside along 2-4-2. For the back
drape, stitch 15 mm lace together and
stitch it to the inside at the center back
(finished length about 11 cm, it should
be a touch longer than the Chignon).
Photo 112
56. Since I didn’t have a silk ribbon that
was as dainty and filmy as I wanted, I cut
silk Organza on the bias and stitched 2
rows of contrast thread (tiny zigzag so
the thread doesn’t tear when the organza
ribbon is tied). Although the cut sides do
fray a little, they still look attractive, like it
was meant to be. Each tie is 24 cm long
and 2.5 cm wide. Stitch the tie to the
inside at point 2. I used a left-over piece
from the ties to pull through a buckle
and stitch to the back. Cut the lining
from Fig. 37, gather the edge lightly and
stitch the lining to the inside of the hat.
Photo 113, 114, 115
112
109
107
110
108
111
113
3/2009
46
114
115
3/2009
47
3/2009
48
3/2009
49
116
 The Chatelaine-Bag
Patterns:
Fig. 41 – Bag with flap (cut 1)
Fig. 42 – Bag front (cut 1)
2 Materials:
•Silk faille
•Binding ribbon (I used ribbon yarn from Lana Grossa
called „Bora Lux“)
•Iron-on, paper-backed webbing – to fuse two fabrics
together
•Silk lining
•Button (KN-003, color 2)
•Gold beads size 14/0 (# 827 14) und 3 mm beads
(# PL-041), brass ornament (PL-041 would work)
•Chain, safety pin
117
57. Fuse a 10 x 10 cm piece of silk faille with the silk lining
using the iron-on webbing. Mark the pieces, stay stitch
along the marked lines and cut out close to the stitching.
Bind all edges with the ribbon yarn
(or another fine and pliable tape)
and stitch on by hand (some ribbon
yarns are really wonderful to use as
trims, braids, edgings etc. for small
dolls. They are pliable and work much
better than many stiff braids on the
market). Stitch the button to Fig. 42
where marked and whip stitch the two
panels together neatly.
Photo 116
58. Cut the brass ornament apart,
sand the edge and stitch it to the flap,
in line with the button. Whip stitch
gold beads in place all around the
edge, leaving the space along the brass
ornament free of beads (they would
interfere with the button). Pass the
thread through all the beads to make
them sit straight. Work the beaded
fringe from 14/0 gold beads and
3 mm beads. Pass the short chain
through the eye of the safety pin
and stitch each side of the chain
onto the bag. Fill the bag with
coins for daily use and fasten it to
the waistband of the upper-skirt.
Photo 117, 118
118
Well, dear readers – this really
was a mammoth project and I
do hope you like it!
Till next time,
Your KB
If you wish to make this project, you will find
more Infos see 
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 3-09
or by telephone (49) 42 88 - 92 84 53
3/2009
50
*
+
*
+
3/2009
51
es:
Seri
The
er
n
r
o
gC
ittin
n
K
A Pair of Hilda-Babies
Hilda-Babies im Doppelpack
by Heiderose Thies • Photos: Karin Buttigieg
F
or this issue, I chose to make
a knitted outfit for a small
Hilda-Baby. Initially, I only planned
to dress one baby but I liked the
result so much, I decided to make a
second one, so now I have a pair of
Hilda-Babies.
The girl comes on a straight-leg baby
body 18 cam tall, finished size 25
cm. The boy comes on a 16 cm bentleg baby body, finished size 23 cm.
One body is 2 cm shorter than the
other one due to the bent legs, but
the knitting pattern fits both dolls.
The head circumference of both
dolls is 17 cm.
3/2009
52
The pullover for the girl is longer by
one pattern sequence than the boy’s
because I wanted it to look like a
pinny. The boy’s outfit is knitted in
antique white with pale blue, the
girl’s in antique white with pink.
I hope you like and enjoy the project.
2 Materials for the Girl:
•About 21 grams silk cordonnet
yarn # 003 (antique white)
•About 5 grams silk cordonnet yarn
# 006, (pink)
1
2 Materials for the Boy:
•About 21 grams silk cordonnet
yarn # 003 (antique white)
•About 5 grams silk cordonnet yarn
# 010 (pale blue)
•6 buttons
•32 silk roses
•Some 3 mm silk ribbon
•Narrow lace
•2 knitting needles size 1 mm
(firm knitters, use 1.25)
•Crochet hook size 1 mm
2 Abbreviations:
e.st = edge stitch
st = stitch
p = purl
k = knit
yo = yarn over
k2tog = knit 2 together
sl = slip a stitch
dc = double crochet
ch = chain
2 x 1 st. = two times 1 stitch – the
x means “times”
Head mold: S 237
Eyes: 10 mm round hollow
Head circumference: 17 cm
 Pullover
Photo 1 and 2
Caston 167 sts. with blue (pink) and
k. 2 rows (garter st.).
Continue with antique white
in Pattern 1:
R. 1, 5 and 9 = 1 k., * k2tog ,
k2tog, 1 yo, 1 k, 1 yo, 1 k, 1 yo, 1 k.,
1 yo, k2tog, 2 k2tog*, repeat from
* to * throughout - row ends with
k2tog, 2k.
Row 2, 6 and 10 = 1 purl, * 2
k, 7 p, 2 k*, repeat from * to *
throughout – row ends with 1 purl.
Row 3, 7 and 11 = knit (garter st.)
2
3/2009
53
Row 4, 8 and 12 = purl
Row 13 to 16 with blue = k (garter
st.)
Repeat these 16 rows once (for the
girl twice).
Then 16 rows stocking st = right
side knit, wrong side purl.
Then 4 rows pale blue garter st and
another 12 rows in pattern 1.
Divide the work in the last row as
follows:
37 p., cast off 12 sts,
69 p, cast off 12 sts,
37 p, put the work aside.
 Bonnet
 Sleeves
Photo 3 and 4
Cast on 57 sts pale blue and knit 60 rows in Pattern 1.
Cast off 5 sts on each side in the last row = 47 sts.
Let the work rest and knit the second sleeve in the same
manner.
Place all parts onto one needle =
37 sts for the 1st back panel, 47 sts for the 1st sleeve,
69 sts for the front, 47 sts for the 2nd sleeve and 37 sts
for the 2nd back panel = 237 sts.
In pale blue, knit 4 rows (garter st) and increase 15 sts in
the 1st row, evenly spaced throughout the row = 222 sts.
Work another 2 rows garter stitch with antique white.
Cast on 90 sts. with pale blue and k. 2 rows. Continue
with antique white in Pattern 1.
Work the 16 rows 3 times = work 48 rows, increasing
6 sts. (cast on) in the last row on both sides = 102 sts.
Continue with antique white for 11 rows in Pattern 2
and 9 rows 1 k., 1 p. (rib stitch).
In the following row: * k2tog., inserting the needle into
the knit st, 1 yo.*, repeat from * to * throughout.
In the following row, drop the yarn overs, pull the sts.
3
Continue in Pattern 2:
Row 1 = right side = 5 k., * k2tog, 1 yo., 1 k., 1 yo.,
decrease 1 slip-over fashion = (slip 1 st., 1 k., pull the
slipped st over the knit st), 7 k. *, repeat from * to *
throughout, row ends with 5 k.
Row 2 = wrong side – purl throughout.
Row 3 = 4 k. * k2tog., 1 yo., 3 k., 1 yo., decrease 1
slip-over fashion = (slip 1 st., 1 k., pull the slipped st
over the knit st), 5 k. *, repeat from * to * throughout,
row ends with 4 k.
Row 4 = p.
Row 5 = 3 k., * k2tog., 1 yo., 5 k., 1 yo., decrease
1 slip-over fashion, 3 k. *,
Repeat from * to * throughout, row ends with 3 k.
Row 6 = p.
Row 7 = 2 k., * k2tog., 1 yo., 7 k., 1 yo., decrease 1 slipover fashion, 1 k.*, repeat from * to* throughout, row
ends with 2 k.
Row 8 = p.
Row 9 = 1 k. * k2tog., 1 yo., 9 k., 1 yo., 1 double
decrease = (slip 1 st., k2tog., pull the slipped st. over
the k2tog. sts.), 1 yo. *, repeat from * to* throughout,
row ends with 1 k.
Row 10 = wrong side = 4 p., * 1 p., 1 yo., 1 p., 1 yo.
1 p., 1 yo., 1 p., 1 yo., 1 p., 1 yo., 1 p., 1 yo., 1 p., 1 yo.,
5 p. *, repeat from * to * throughout, row ends with 4 p.
Row 11 = 1 k., 1 p., 1 k., 1 p., knit the following 7 sts.
together in one go, dropping the yarn overs in between,
1 p.,
1 k. 1 p., 1 k., 1 p.*, repeat from * to * throughout.
Row ends with 1 p., 1 k., 1 p., 1 k.
From row 12 on = 12 rows of 1 p., 1 k. (rib st).
Row 25 = K2tog. throughout.
Knit one row, then cast off loosely.
Close the seams.
Crochet one row of dc along the back opening, working
3 chain loop buttonholes on one side. Stitch 3 buttons
on.
Trim the pullover with lace as shown in the photos.
4
I have added 12 tiny silk roses linked with a twisted silk
ribbon for added decoration. Thread silk ribbon through
the neck and sleeves and tie with a bow.
3/2009
54
longer and thread the yarn though
all sts, pull tight and stitch the seam
closed.
Work 3 rows dc. along the bottom
edge, 1 row trebles, 1 row double
crochet.
Thread a ribbon through the trebles.
Stitch lace on and trim the bonnet
with silk roses and ribbon.
 Pants
Photo 5
Cast on 68 sts. with pale blue and
k. 2 rows.
Work 16 rows in Pattern 1 with
antique white. Continue in stocking
stitch for about 4 cm, increasing for
the slant 1 st. 5 times on both sides
= 78 sts.
For the gusset decrease on both
sides in every 2nd row: 1 x 4 sts, 1 x
3 sts, 1 x 1 st. = 62 sts. Set the work
aside. Knit the second leg in the
same manner.
Place the stitches of both legs onto
1 needle = 124 sts.
Work about 4.5 cm in stocking st.
and knit 2 sts together twice in the
following 2 rows (where the legs
meet in the center) = 122 sts.
Work 2 cm up 1 k., 1 p. and divide
the work:
23 sts. for the first back, cast off 15
5
sts., 46 sts. for the front, cast off 15
sts., 23 sts. for the 2nd back.
Work each panel separately.
Work the 1st back panel for about 3
cm, decreasing 1 x 1 st at the sleeve
edge. Cast sts. off loosely. Work the
2nd back panel in the same manner.
Work the front for about 2 cm and
decrease on each side 1 x 2 sts for
the armhole = 42 sts.
Divide the work for the shoulders =
11 sts. for 1 shoulder, cast off 20 sts.,
11 sts. for the 2nd shoulder.
Finish both sides separately,
decreasing 1 x 1 st for the neck edge.
Continue knitting until the work
measures about 3 cm in all (check
on the doll) and loosely cast off sts.
Close the seam. Work 2 rows dc
around the armholes and neckline.
Work 2 rows dc along the back
opening, incorporating 4 chain st.
buttonholes. Stitch buttons on.
Photo 6
 Bootees
Photo 7
Cast on 27 sts. with antique white.
Row 1 = 1 k., 1 yo., 12 k., 1 yo., 1
k., 1 yo., 12 k., 1 yo., 1 k.,
Row 2 = Knit all sts, including the
yo. = 31 sts.
Row 3 = 2 k., 1 yo., 12 k., 1 yo., 3
k., 1 yo., 12 k., 1 yo., 2 k.,
Row 4 = k. all sts. = 35 sts.
Row 5 = 3 k., 1 yo., 12 k., 1 yo., 5
k., 1 yo., 12 k., 1 yo., 3 k.,
Row 6 = k. = 39 sts.
Row 7 = 4 k., 1 yo., 12 k., 1 yo., 7
k., 1 yo., 12 k., 1 yo., 4 k.,
Row 8 = k. all sts. = 43 sts.
Row 9 = 5 k., 1 yo., 12 k., 1 yo., 9
k., 1 yo., 12 k., 1 yo., 5 k.,
Row 10 = k. all sts. = 47 sts.
Row 11 = 6 k., 1 yo., 12 k., 1 yo.,
11 k., 1 yo., 12 k., 1 yo., 6 k.,
Row 12 = k. all sts. = 51 sts.
Row 13 = knit
Row 14 = purl
Row 15 with pale blue (pink) = 2 k.
* 3 k. and pull the first st. over the
2nd and 3rd., 1 yo. *, repeat from *
to * throughout. Row ends with 1 k.
Row 16 = purl with pale blue.
Row 17 with pale blue = 3 k., *
1 yo., 3 k., pull the first st. over the
2nd and 3rd st. *, repeat from * to *
throughout.
Row 18 with pale blue = purl
3/2009
55
Row 19 with antique white = knit
Row 20 = purl
Row 21 with pale blue = as row 15.
Row 22 with pale blue = as row 16.
Row 23 with antique white = knit
Row 24 = purl
Row 25 = the middle 16 sts. always
k2tog. = 17 knit, 8 x k2tog, 18 k.,
Row 26 = purl
Row 27 = 15 k., 6 x k2tog, 16 k.
Row 28 = purl
Row 29 = cast off loosely.
6
I purled another 4 rows for the
girl’s bootees at the start, working
the first row = 1 p., 1 yo., 1 k., etc.
= the edge will be a little looser.
Stitch the bootees together and pull
a ribbon through the top.
FINISHED!
I hope you enjoyed this work and
like the result. Until the next time,
I wish you happy and healthy times!
Your Heiderose Thies
If you wish to make this project, you will find
more Infos see 
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 3-09
or by telephone (49) 42 88 - 92 84 53
7
3/2009
56
„My Fair Lady“
Eine Laufpuppe • A Walking Doll
3/2009
57
Photos and Text: Gertrud Wallis
T
he first simple walking dolls
were produced by the “Max
Oscar Arnulf ” and “Johann Fischer”
companies of Thuringia in the years
1903 – 1904. They were between
30 and 50 cm tall porcelain dolls
dressed in ethnic-style garments. The
dolls moved along on wheels driven
by a simple key-wound mechanism
with a coiled spring. These dolls
became a sales hit and were further
refined with a mama-voice, pushing a
simple wheelbarrow or doll carriage.
When a girlfriend gave me a fat windup metal ladybird as a present, I was
inspired to create such a walking doll
using this toy.
2 Materials for the doll
Head mold: JDK 178 (S330), head
circumference about 14.5 cm – or
use a different but similar-sized head
Body: DGK 20 (without legs)
•Mohair wig – flat baby wig 5 mm
diameter, mohair cut and curled
to fit
•Cardboard pate – 4 cm
•Cardboard, about 30 cm x 20 cm
piece
•Fabric for garments, 5 small
buttons, brass findings for front
of bodice
•Small straw hat, feathers, ribbons,
flowers for decoration
•2-part epoxy, tools (pliers, scissors
etc.)
•Ladybird metal wind-up toy with
key (can be ordered online from
www.blechfrosch.de, article
# 962 – they have a huge selection
of inexpensive metal wind-up toys)
2 Materials for the
beaded flowers:
Pupils/lid line: Black Satin,
Eye highlight: White Satin,
•Thin beading wire, a variety of
different sized and colored beads
•Wire cutter, small paper doilies
•Silk ribbons
 The Walking
2 Casting and Painting
the Doll Head:
(It is recommended you use a
picture of the old doll to paint from)
Photo 1
Cast the head from white porcelain,
clean the greenware and fire it to
maturity.
All firings to Junior Orton
Cone 018
Overall Wash: Skin Tone # 2 (Deep
Rose). Remove the paint from the
eyeball using a moist brush.
Iris: Puppeneyes # 2 (Forget-menot- blue), GBI-Brush 0,
Brows: Puppenbrow # 8 (Warm
Brown),
Lips, nose dots, eye dots: Yellow Red,
Cheeks: Cheek Tone # 2
(Persimmon)
1
Reproduction size of walking
doll: about 27 cm
2 Materials for the
wheelbarrow:
•Plywood, 4 mm thick (about 30 cm
x 20 cm)
•Dowel, 6.7 cm long (diameter
5 mm) for the handle
•Strong wire, length of about 4 cm
plus 2 beads to fit the wire (axle)
•Gold paper trim, white glue, brush
•Fret saw, sandpaper, primer for
wood, green enamel paint
3/2009
58
Mechanism
(the Ladybird)
1. There is a small wheel fitted
underneath the ladybug which causes
it to change direction when it moves
too close to the edge of a table and is
in danger of falling down. This would
be too risky for a porcelain doll and
would not work anyway with a
wheelbarrow attached, so the small
wheel has to be removed. When the
doll is finished, just let her “walk”
along a smooth floor, or if you let her
walk on a table, stop her before she
falls off the edge!
Photo 2, 3
The feelers will have to remain in
place since those affect the direction
of the movement and help to
balance the doll, but they will need
shortening. Cut both feelers down
to a length of 1.5 cm and bend them
slightly inwards. They should glide
2
over the surface in an almost vertical position, yet still
with a slight forward bend. Bend the ends of the feelers
as evenly as possible. If they are of uneven length, the
doll will walk in circles instead of straight ahead. So,
before you continue, wind up the ladybird and test its
movement.
Photo 4, 5
 The Body with Cardboard Skirt
Remove the legs from the body. String the body so the
elastic passes from one leg hole over to the other and is
secured at the neck with the neck hook.
Photo 6, 7
3
Cut the skirt from cardboard (such as the back of a
drawing pad) using pattern A, cut the keyhole out and
carefully bend the cardboard skirt into a round, observing
the position of the keyhole. Measure 5 cm down from
the edge of the neck socket and mark this position with
pencil around the torso.
Photo 8, 9
Glue the cardboard skirt with Tacky Glue around the torso
along the marked line and tape it together at the back.
Make sure that the skirt stays on the marked line at the
6
4
5
3/2009
59
back and does not slide up. A small dent is pressed into
the cardboard along the butt area since the body should
have a slight bend forward. The skirt should drop almost
straight down at the front while it should have a slightly
slanted “train” at the back. This ensures that the ladybug
is more stable and prevents it from tilting backwards.
First test that the ladybug fits snugly (not too loose nor
too tight) underneath the cardboard skirt and that the
keyhole is in the correct position, before you finally glue
the bottom of the skirt seam at the back.
Photo 10, 11
7
Use 2-part epoxy to glue the ladybug under the cardboard
skirt and check the position of the keyhole once more.
After the glue is hardened, string the head onto the body
and check if the doll “walks” properly.
Photo 12
10
8
11
9
3/2009
60
12
 The Garments
The clothes are not meant to be taken off.
 The Chemise
Cut the chemise from batiste (pattern B + C), press the
facings at the back opening to the wrong side and machine
stitch them in place with a French seam. Bind the neck
edge and armhole edges with lace. Put the chemise on the
doll and whip stitch the back opening closed.
Photo 13
 The Petticoat
I found the batiste too see-through, so I used linen
instead. Cut the petticoat from patterns D + E + F. Close
the side seams and the back seam up to the opening
with French seams and stitch the waistband on. Pull the
petticoat over the cardboard skirt and pin the skirt hem
so that it covers the cardboard skirt exactly. Stitch the
hem, mark the position for the keyhole, cut a hole and
bind it with buttonhole stitches. Put the petticoat back
onto the doll and hand stitch the skirt closed at the back,
so that it fits snugly over the cardboard. Glue the hem of
the petticoat to the bottom edge of the cardboard, since
13
14
3/2009
61
the conical shape of the petticoat could cause it to slide
up and cover the keyhole.
Photo 14
 The Ethnic Blouse
(Made from batiste and red piping tape)
Cut the blouse panels from fine batiste using pattern
pieces G, H, I, J, K. Baste a length of piping tape along the
bottom edge of the upper sleeve (pattern L and wrong
sides out) in such a way that the edge of the white tape
part is flush with the edge of the upper sleeve.
Photo 15
Neaten the slit at the lower sleeve (pattern K) and gather
the top edge (the longer edge) matching the width of the
upper sleeve. Place the gathered edge of the lower sleeve
on top of the piping tape (wrong sides out) and machine
stitch them together close to the red piping which is
visible through the fine fabric. Neaten the seam and turn
the sleeve right side out.
Photo 16, 17
Baste a length of piping tape to the cuff (pattern I).
Gather the bottom edge of the sleeve (pattern K) a little
shorter than the cuff and pin the gathered edge to the
cuff, leaving 2 mm on each side free for the cuff side
seam. Machine stitch the pieces together close to the red
15
17
18
16
3/2009
62
19
piping as described above. Close the side seams of the
cuffs, turn them right side out and hand stitch them down
on the wrong side of the sleeve. Work the second sleeve
in the same manner.
Photo 18, 19
On the back (pattern H), press the facings to the wrong
side and stitch them down. Stitch the shoulders with
a French seam. Stitch the standing collar (pattern J) in
place on the right side, turn over to the wrong side and
hand stitch the edge down. Hem the bottom edge of the
blouse. Work small thread loops and stitch red buttons to
the bottom of the sleeves. Stitch red buttons to the back
opening.
Photo 20
 The Skirt
20
The skirt, made from red and black checked silk, is
stitched in the same manner as the petticoat, the only
difference being that it is a little wider than the petticoat
and has a ruffle sewn to the hem. After cutting the
patterns M (front panel), N (back
panel) and F (waistband), stitch the
side seams and back seam with a
French seam. Stitch the waistband
on. Put the skirt on the doll, mark the
length with pins and mark the exact
position of the keyhole. Remove the
skirt, hand stitch a 1 cm wide hem
and work buttonhole stitches around
the keyhole. Cut a 5 cm wide bias
strip of skirt fabric for the frill. Press
a small fold along both long edges
and machine stitch close to the edge
(finished width is 3.5 cm). Stitch two
21
22
3/2009
63
23
rows of running stitches 10 and 12 mm from the top edge
of the strip, gather to fit the skirt and hand stitch it to the
skirt in between the two rows of running stitches. The
bottom of the frill should nearly touch the ground and
cover the two bent feelers of the ladybug. Put the skirt on
the doll and hand stitch the skirt closed on the doll.
Photo 21, 22, 23, 24, 25
24
25
3/2009
64
 The Bodice
26
The bodice (pattern O) is made from
dark blue fine wool fabric and is
lined throughout. Stitch the bodice
and lining together first (leave an
opening for turning) and only then
cut it out. After turning right side out
and pressing, topstitch the bodice
close to the edge all around. Make
two narrow, 8.5 cm long straps from
suitable ribbons and stitch them to
the front and back. Stitch the brass
findings for the fake closure to the
front and tie the crossed red ribbon
or cord as shown in the photo.
Photo 26, 27
27
 The Wig
The wig is made from a 5 cm diameter
flat baby cap. The mohair was cut
shorter and curled around the edge.
 The Hat
Trim a suitably sized straw hat with
red feathers, flowers and ribbons.
Photo 28
 The Wheelbarrow
Cut the pieces from 4 mm thick
plywood (1 x floor panel, 2 x side
walls, 1 x back wall, 2 x handle bar
holders, 1 wheel) using a fret saw.
Sand all the panels smooth. Glue
the back wall and side walls to the
floor panel with wood glue. Glue the
handle bar holders to the bottom of
the floor panel. Glue a 6.7 cm length
of 5 mm thick dowel (some skewers
are 5 mm diameter) in between the
top of the handle bar holders.
Photo 29, 30
28
Fit the purchased (4 cm diameter)
or sawn wheel with the firm wire to
the front of the wheelbarrow, drilling
holes for the wire and placing a
suitable bead on each side of the
wheel.
Photo 31, 32
Paint the entire wheelbarrow with
primer, let it dry and sand the wood
down lightly. Paint the wheelbarrow
with green enamel paint (i.e. enamel
paint from Revell). Trim the sides
3/2009
65
29
30
31
32
33
3/2009
66
with gold paper braid and glue a small wood shavings
box for the bunches of beaded flowers inside the barrow.
Photo 33
34
 The Beaded Flowers
The flowers and leaves were made from a variety of beads
in various colors and sizes. The beads are strung onto fine
wire that is twisted and bent into different shapes.
There are bead spinners on the market that help pick up
many beads onto the wire in one go but you can also just
place a good quantity of beads into a small flat bowel,
pass the slightly bent wire through the beads and you
will always pick up several beads with each pass through
the beads. After the required number of beads ar on the
wire, twist each end so the beads cannot slip off. Once
the flowers have been shaped, cut off the excess wire (the
stem) with wire cutters.
Photo 34 , 35
 The Lilacs
(Made with very small lilac and white beads)
35
Thread about 90 beads onto a 60 cm length of thin
wire and twist the wire ends into loops so the beads
cannot slip off. Leave about 10 cm of wire free of beads
on one end and twist the wire every 3 beads, forming a
loop (single flower) and keeping the bead loops closely
spaced. Continue in this manner until the loop-flower
chain is about 12 cm long and then bend the loop chain
in half twice, forming 4 pieces of approximately equal
length. Scrunch the 4 pieces together until it looks like a
lilac flower. Twist the two wire ends together to form the
stem. Make a bunch of lilac and white flowers with leaves,
and gather them into a pretty bouquet with a small round
doily cut in half.
Photo 36, 37, 38, 39, 40
36
37
38
39
3/2009
67
40
41
43
42
44
47
45
46
48a
49a
51
49
50
3/2009
68
 Small Leaves
Thread about 30 green beads onto
a 25 cm length of wire. Twist a bead
loop from about 8 to 10 beads. Make
a second bead loop close to the first
one, twist the wire and make a third
bead loop close to loop 2. Twist the
wire ends, cut the wire and the leaf
is finished.
Photo 41, 42, 43, 44
 Spanish Broom
Bend a 40 cm length of wire in the
middle and pick up 3 yellow beads with
one wire and twist with the 2nd wire
into a small loop flower; then pick up
1 to 2 green beads and twist with the
2nd wire. Keep on picking up yellow
and green beads in turn and work into
a long branch of Spanish Broom. When
it is long enough, twist the wire ends
together and cut them off.
Photo 45, 46
along the other side of the leaf center
and twist both wire ends (at the stem).
The number of beads that have to be
picked up each time depends on the
size and evenness of the beads. So,
pick up 10 to 11 beads next and pull
the wire through the top bead again,
so the beads lie smoothly against the
previous row. On the other side, pick
up about 9 to 10 beads and smoothly
lay them against the previous row.
Pull the wire firmly and twist the
ends together to form the stem.
Photos 52, 53, 54, 55, 56
55
56
 Small Bunch
of Pink Flowers
Make single blooms with 9 to 10
beads and single leaves with 5 to 6
beads. Twist the leaves and blooms
together to form a pretty bunch.
Photo 57, 58, 58a
52
 A Blue Flower Garland
Thread 6 blue and 1 yellow bead onto
a 50 cm length of wire (for a 12-flower
garland = 12 times). Make a loop of
the wire at one end and start twisting
flower loops with 6 blue and 1 yellow
bead. Push another 6 blue and 1
yellow bead up and form another
bead flower. Twist a little wire for a
stem between the flowers along the
way. Bend the finished flower strand
into a decorative garland.
Photo 47, 48
57
58
53
 A red Flower with Leaves
Always twist 7 beads into a petal. Work
the next petal close to the one before.
6 petals form one flower. Take an
extra short length of wire and make
a pistil from 5 smaller beads. Shape
the red petals around the pistil. Make
4 green leaves (in the same manner
as the petals) and position them
around the flower. Twist all wire ends
together for the stem.
Photo 49, 50,51
58a
54
 Big Green leaves
Thread 13 beads for the center of the
leaf onto a 40 cm long wire, twist the
wire, thread another 7 beads and pull
the wire end through the 7th bead of
the leaf center. Thread 9 beads, place
3/2009
69
59
60
 Three Roses
61
63
Form eight to nine continuous rose
petals using 6 to 7 beads for each
petal loop, and then working them
together. Coil the petals around each
other like a rose, adding leaves to the
stem. Wrap a bunch of roses into a
doily, cut to size.
Photo 59, 60, 61
62
 The Wheelbarrow filled
with Bunches of Flowers
Fill the small wood shavings box
that you glued into the barrow,
with bunches of flowers. Fasten the
flowers by gluing the paper doilies
invisibly to the wooden box and to
the sides of the wheel barrow.
Photo 62
Finally, glue the doll’s hands securely
to the handle bar with 2-part epoxy
(clamp the hands with clothes
pegs while the glue is hardening).
Roughen the inside area of the hands
to ensure the epoxy adheres well and
make sure the wheelbarrow stands
straight.
Photo 63
Wind up the doll and let her push
her wheelbarrow along (on a level
and smooth surface), peddling her
flowers.
Photo 64
I was listening to the music of “My
Fair Lady“ while I was making the
beaded flowers. Perhaps the music
will also put you in the mood for this
project! Have fun!
Your Gertud Wallis
3/2009
70
64
3/2009
71
If you wish to make this project, you will find
more Infos see 
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 3-09
or by telephone (49) 42 88 - 92 84 53
3/2009
72
Perlentasche
in blau-gold
by Karin Buttigieg
T
he beaded part of this bag has
been worked on a “FingerWeaver“ as described in Gildebrief
4/2008; a crocheted base and top
with pull-string complete the pretty
bag. Since the technique for fingerweaving has been described in detail
in issue 4/2008, I shall not repeat
those instructions now.
You can enlarge (more rows and
thicker tube) or decrease (less rows,
thinner tube) as desired. The design
can be repeated and rows can be
added or deleted at will and, of
course, you can use your own colour
combination! This is a most versatile
bag indeed!
I worked on this the bag during
the Christmas holidays whenever I
needed some calm and quiet after
spending time romping around with
my grandsons. The finger-weaver fits
into a small box together with all
Blue
and gold
Beaded Bag
other required materials and barely
takes up any space.
The finger-weaver has the same
size as the one described in
4/2008 and is strung in the same
manner. Please use the detailed
3/2009
73
instructions from that issue if you
have never worked with it before.
(6.5 cm long x 40 mm diameter piece
plastic drainpipe – circumference
about 13 cm, with a slit for weaving).
See Photo
 The Bag
Length: 8 cm + 1 cm fringe = 9 cm
Width: 5.3 cm
Beaded Panel: 3.8 cm long x 5.3 cm wide
2 Materials:
•1 x 10 grams 14/0 beads blue # 610-70
•1 x 10 grams 14/0 beads gold # 437-14
•1 Nymo 0 thread, dark beige
•1 beading needle # 12, 7.5 cm long (PLN 12XL)
•1 beading needle # 13 (short)
•Silk cordonnet yarn (cornflower)
•Crochet hook 0.75 mm
•Darning needle
The design is very simple and can easily be read from the
color chart. The design can be mixed, more rows added in
between the design panels – use your own discretion. The
first and last row will join the panel into a round.
Each row is 35 beads wide (wind 36 warp threads) and the
panel is composed of 72 rows (this depends on the size
– circumference – of the finger-weaver). When you get to
the end and are about to join the panel into a round, it is
better to omit a row rather than try to squeeze in an extra
one. The bag will drape better if it is not too tight.
2 Chart
Colour 1 = blue (about 1140 beads)
Colour 2 = gold (about 1380 beads)
(see Ill. right)
Do not fasten the warp threads off at this stage. Remove
the panel from the finger-weaver. Next, the lower and upper panels are crocheted onto the beaded panel using only
double crochet and treble stitches.
2 Abbreviations:
dc tr ch pc sl.st dec1dc = double crochet (USA: single crochet)
= treble (USA: double crochet)
= chain
= picot
= slip stitch
= decrease one dc = Pull loop through stitch,
starting a normal dc (2 loops on the hook),
pull another loop through the following stitch
(3 loops on the hook), work off the 3 loops in
one go to finish the stitch like a normal dc.
 Bottom of Bag
Round 1 – crochet a dc around the edge warp thread
between every bead.
I worked in continuous rounds since I did not want a
seam, so do not join the rounds with a slip stitch.
3/2009
74
Round 2 and 3 – 1 dc into every dc of the previous
round, picking up only the back part of the dc of the
previous round.
Round 4, 5 and 6 – *10 x 1 dc into the
next 10 dc of the previous round,
dec1dc *, repeat from *to *
throughout.
Round 7, 8, 9, 10 – * 8 dc,
dec1dc* - repeat from * to
* throughout.
Round 11 and 12 – * 6
dc, dec1dc* - repeat from
* to * throughout.
Round 13 and 14 –
dec1dc – repeat until 6
stitches remain. Cut the
thread; pull it through the
loop, thread it through the
remaining stitches to close
the hole and fasten off.
 Top Panel
Round 1 – Work 1 dc around the edge warp thread in
between every bead and join the round with a slip stitch.
Round 2 to 6 – 3 ch * skip 1 dc of the previous round,
1 treble (through both parts of the dc of the previous
round) 1 ch, * - repeat from * to * to end of round.
Close into a round with a sl.st. Work a couple of slip
stitches to get to the middle of the „hole“ of the previous
round. The holes are offset in every round.
After working 6 rounds, measure off about 2.5 meters of
the working yarn and cut it off. Thread the yarn through
beading needle # 13 (a bit tricky but it can be done) and
pick up 40 gold beads.
erfüllt ihre Puppenträume
Round 7 – Picots with beads: Work 1 sl.st to the middle
of next hole, 1 dc, * 1 ch, 1 ch - at the same time push
1 bead to the loop and work it into the stitch (do not
pull it through the loop), 1 ch, 1 dc into the front part
of the dc , 1 dc* (work 1 picot into every hole). Repeat
from * to *, throughout, then work a sl.st into the first
dc and fasten off thread.
Now pull the end of the warp edge threads so the first
row of dc stitches and the beads are straight and firm,
but not too tight. Weave the threads through the beaded
panel and fasten it off. Make a beaded tassel with the
Nymo thread at the bottom of the bag, working 5 loops
of 21 beads each (3 gold, 3 blue alternating). Thread two
cords through the top of the bag from opposite ends and
your pretty beaded bag is finished!
Suggestion: The top of the bag could be crocheted with
double crochet stitches only and a 5 cm wide bag handle
could be stitched on instead.
If you wish to make this project, you will find
more Infos see 
Puppentraumwelt
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 3-09
or by telephone (49) 42 88 - 92 84 53
3/2009
•Repros antiker Puppen und Figurinen
aus 900 Formen
•Viele Raritäten, seltene Kewpies und
Heubachfigurinen, große Parianauswahl
•Versand von Rohlingen und
gebrannten Köpfen
•Monatliche Sonderangebote per Newsletter
— Fordern Sie unsere Liste an! —
Puppentraumwelt
Bahnhofstraße 34 • 36364 Bad Salzschlirf
Tel. 0 66 48 - 91 67 07 (Mo u. Fr 17 – 20 Uhr)
Fax 0 66 48 - 91 12 70
www.puppentraumwelten.de
puppentraumwelt@aol.com
75
3/2009
76