Tissue paper templates
Tissue paper templates are a quick way to take patterns of garments with a simple construction or to get an idea of the shape of a particular area of a garment when a full toile is not needed. For example, a garment where the size of the body can be accurately assessed by measurements, a tissue paper template can be very useful to show the exact shape and size of the neckline. On an evening bodice with a low wide neckline, it will ensure that the padding and cover are not visible above the neckline.
As already mentioned, the toile of the small yoke (see figure 7.3) was made by taking a tissue paper template of the front and back of the yoke only to use as a guide when adding padding to create the correct slope on the shoulders of the bust form.
As with all the methods described, even with a small tissue template it is always essential to mark the position of the straight grain on the template and check that it matches the straight grain on the garment.
Constructing the toile
Calico is the most common fabric used for making toiles as it is inexpensive and available in several weights. Choose a lighter weight for delicate silk fabrics and a heavier weight for heavier woollen fabrics. For very delicate garments cotton voile works well. Even when making an exact replica of a garment the toile will initially be made in an inexpensive fabric, usually cotton. Always choose the weight of cotton that mirrors the characteristics of the fabric it will be replicating on the garment.
When stitching a toile, it is important to follow the stitching methods used on the garment. For a toile to be used when padding a mannequin this does not mean using hand stitching – machine stitching is fine. It refers to replicating all of the construction techniques that affect its fit, such as the ‘ease’ previously described. For a tailored garment with a heavy interlining, incorporating this into your toile can be helpful too as a heavy tailored garment is not as pliable as a lightweight one and this can make putting the garment on the figure and inserting arms more difficult.
Once a pattern for one side of the garment has been drafted, it is important to check the pattern measurements against the corresponding panel on the other side. Many historic garments were hand made to fit individual bodies and human bodies are rarely absolutely symmetrical. The right front bodice panel may not be exactly the same size as the left front bodice panel. To be useful, your pattern and toile must accurately replicate any anomalies.
When all the panels of the toile have been stitched together, check the overall bust, waist and hip circumference measurements against the actual circumference measurements of the inside of the garment. It is very easy to stretch a seam without realizing. A millimetre mistake on the seams of a toile with six panels can lead to a toile which could be 6 millimetres too big or too small.
Figure 7.25 Completed bodice toile. © Author.
Summary
The two most important things to remember when making toiles are ‘precision’ and the ‘straight grain’. Without accurate measurements and with the straight grain in the wrong position the toile will be useless and a waste of your time. It can never be a substitute for the original garment if it does not replicate its cut and size exactly, but made carefully, with accurate measurements toiles are a really useful tool when padding mannequins to fit historic dress.
It will take practice to be accurate and quick but it is a skill worth developing. Remember that you do not always need a full toile. Having a simple toile of a neckline will ensure that you end the padding on the mannequin in the correct place and will save having to try on the garment multiple times.
Initially, it may seem that the time taken making a toile is not cost-effective, but where an important, fragile garment needs to be displayed it is time well spent and the best way to ensure the safety of the historic item.
NOTES
1. See Appendix for examples of tissue paper puffs and rolls used to support garments while measurements are being taken.
2. The selvedge is the long edge at both sides of a length of fabric.
3. Entomological pins are very fine stainless-steel pins used to display insect specimens.
4. This method is mentioned in Janet Arnold, A Handbook of Costume, Macmillan, 1973, p. 130; Janet Wood, Accurate Measuring, Historic Royal Palaces, 2001, Section 4; Lara Flecker, Costume Mounting, V&A, 2007, p. 30.
5. Also mentioned in Janet Arnold, A Handbook of Costume, Macmillan, 1973, p. 130
6. Spot and cross paper refers to paper used in the fashion industry to draft patterns. It is pre-printed with rows of dots and crosses traditionally at 1 inch spacing. The quite large spots (approx. 2–3 millimetres (⅛ inch)) can be distracting when taking intricate measurements.
7. A jeweller’s loupe is a small magnifying glass with a high magnification used by jewellers for measuring and inspecting gem stones.
8. See photo of ‘Tools for taking a pattern of a garment’, figure 7.12.
9. Ease is added where additional fullness is needed, e.g., over the bust or at the elbow on sleeves. One seam edge is the correct finished length and the other will be slightly longer to allow additional fabric to be ‘eased’ into the seam where necessary.
10. A tracing wheel is used by tailors and dressmakers to transfer garment patterns on to fabric. It has a long wooden or plastic handle and a rotating wheel with spikes around the edge.