It was the era of ragtime; of Sousa marches and Debussy cakewalks. William Taft was president; his cows grazed in the White House lawn. Lucy Maude Montgomery had written only two books of the beloved "Anne" series. It was an age of narrow skirts and wide hats. An unsinkable ship sailed and sank, destined to become an icon of the times. The last vestiges of a Victorian society were fading away, and would soon be obliterated by the war that was even then brewing in Europe. By the end of the decade, the world would never be the same.

Such was the world of the early 'teens. This period of history has always fascinated me, and so it is only natural that the fashions of this era, especially those of 1910-1912, are among my favorites. They have been the inspiration for many of my sewing projects.

The smooth, flowing lines of the Art Nouveau style can often be found echoed in the fashions of the day, as you can see in the curved bodice shaping on this pattern. Clothing was also influenced by Oriental designs, and the ‘kimono’ bodice, wide sashes, and off-center openings down the bodice and skirt were popular.

Waistlines were raised to a bit above the natural waist, perhaps to compensate for the amount they would have dropped by the end of the decade. Narrow, layered skirts were also vogue, a relatively short-lived style - transitioning from the long, trailing skirts of the "Gibson" days to the shorter, full skirts of the later 'teens.

The ideas and elements that I have incorporated in this pattern were drawn from several fashion plates, but specifically two from 1911 and 1912. The thing that first caught my eye as I was looking at these fashion plates was the many possible variations they had. Several looks could be obtained with only one basic pattern. I was also attracted to the kimono bodice and the layered skirt - I have always loved the overskirt/underskirt look.

Drafting patterns is an enjoyable challenge for me. The kimono bodice, especially with the inset I've included as view 2, looked like a fun project. I always spend about a week beforehand puzzling things out in my head, mentally putting the pieces together again and again. Finally I knew how I would plan my pattern.

I made the pattern for the bodice using the basic front and back slopers I have drafted to fit my measurements. I put them together at the shoulders, slightly overlapping, and then drew my new pattern piece, adding the sleeves and shaping, and re-drawing the neckline. The bodice inset is basically the front of the bodice pattern cut from a contrasting fabric. The top of the skirt - which is also the bottom half of the bodice - is shaped to fit the bodice piece. The rest of the skirt is slightly A-line. I wanted to be sure that it was roomy enough to take a comfortable step, but still retain some of the 'column skirt' look.

I planned the pattern with one overskirt cut from the same pattern, though some period variations would be to add more layers of varying lengths, or to cut the overskirt hem on a curve; higher in front and longer on the sides or back, for instance.

The belt is attached to the skirt at the sides, and closes with either hooks and eyes (as mine does) or snaps (as my sister’s does). The belt is what gives the whole dress most of its shaping. The belt position, a few inches above the natural waistline, is usual for dresses of the early ‘teens.

All in all, I am very happy with my pattern’s vintage look. Simple but elegant, it retains a historical flavor, looking back to the days just before the Great War.