ENGLISH ISSUE

Volume 27 / 27. Jahrgang
Winter 2010
No. 4-2010 / H 43430
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4/2010
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4/2010
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Issue 4/2010 – Volume 27 – Winter 2010
of the
The spring Issue
e published on
Gildebrief will b
y 2011
the 24th Februar
IMPRESSUM
CONTENTS
PROJECTS
Picnic with Six Cousins
and a Governess, Part 2 Special features and instructions
for the garments
Claire and Manon
Belt and Fichu for Madame Huret
Blouse, Stole and Skirt for Babette
Tartan Skirt and Pelerine for Margot
Blouse, Skirt and Bertha for Louise
Coat Dress and Skirt for Madeleine
4 – 14
4–7
7
7–8
8–9
9 – 11
12 – 14
The Knitting Corner
Baby Boom!
46 – 50
Measurements Materials and Abbreviations
The Patterns
Panties
Jacket
Bonnet Socks
46
47
47 – 48
48
48 – 49
49 – 50
50 – 51
Tudor Rose Needlekeep
In Stumpwork Embroidery
56 – 63
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Publisher / Editor: Karin Buttigieg
Sub Editor:
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Madame Yvette
A French Fashion Poupée
16 – 33
The antique Bru
The Reproduction “Madame Yvette“
The Porcelain
The Head Casting the Shoulderplate
Firing Stilts for Shoulderplates
The Painting Worksheet Assembling the Doll
18 – 20
20
21
21 – 22
22 – 25
25 – 26
27 – 30
31 – 33
Important: Subscriptions are automatically renewed,
unless cancelled. Cancellations are due on or before
the 10th November of the current year, for the following
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Publishing Dates: End of February (Spring issue), end
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Googlies (for 4 Issues):
133,45
– Maiko- San “Furisode” Supplement
Kimono for French Papermaché Body FGK-54
Maiko-San Bru
Part 2 –The Kimono (Furisode)
Layout: Grafikdesign Tobias Just / Print: Mundschenk GmbH
34 – 45
Materials
34
Ironing
Japanese Style
35
The Sleeves
36 – 38
The Collar
38 – 40
The Obi
41 – 42
The Underwear 43
Dressing the
Furisode 43 – 45
The Doll
45
– Picnic with Six Cousins
and a Governess
Supplement
Outfits for French Fashion Body FFP- 9 ½“
– Madame Yvette
Supplement
Shoulderplate Cover and Lining
for FFP-9 ½”
OTHER
– UFDC Convention 2010,
Report
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
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Copyright © 2010 Gildebrief International Verlags GmbH
Materials
56
Stitch Description
57
Starting the Embroidery 57 – 58
Padding and Stitching the
Centre Shape
58 – 59
Completing the Tudor Rose Needlekeep 59 – 63
The Templates
63
52 – 55
Cover Page: Four Bru French Fashion Poupées “Madame Yvette” – 32 cm reproductions
by Karin Buttigieg. In the center the antique “Madame Yvette” with shoulderplate,
Photo © Karin Buttigieg – Gildebrief International Verlags GmbH
4/2010
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Pi
and a Governess
Part 2 – conclusion
(Part 1 in GB 3/2010)
Text and Photos: Gertrud Wallis,
Germany
 Special Features
and Instructions for
the Garments
Claire und Manon:
The skirts for Claire and Manon are
fitted with a flounce, and are trimmed
with either lace and braid, or with
piping, as used for the bodice.
– Make a narrow hem along one
long side of the skirt frill (160 cm
long and 6 cm deep).
– Press 2 mm of the top edge to
the wrong side and work 2 rows of
gathering stitches, preferably
starting the thread afresh every 50
to 60 cm for ease of gathering.
– Adjust the gathers evenly to fit the
width of the skirt.
– Stitch the top edge against a
length of piping or leave a 4 mm
wide heading (Manon).
– Attach the frill to the skirt so the
hem is flush with the skirt hem.
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– Hand stitch lightly gathered lace or
trim over the attachment seam.
– Hem both sides of a 5 cm long
opening at the top of the skirt.
– Close the rest of the back seam
with a French seam.
– Gather the waist to 16.5 cm (check
on the doll) and stitch the
waistband on.
– Close the waistband with a
buttonhole and button.
Photo 18, 19
18
19
Claire:
Claire is wearing a mantelet of grey-blue silk, lined with
red silk and trimmed with a beaded braid to ward off the
cool evening breeze.
Photo 20
21
Pattern Mantelet 12 = Back
Pattern Mantelet 12 A= Front
Pattern Mantelet 12 B= Collar
– Cut pattern pieces 12, 12A + 12B from outer fabric
and lining. Stay-stitch all markings and neaten the
seam allowances.
– Close the seams a-b and b-c between panels 12 + 12A.
– Baste outer fabric and lining together (wrong sides
out), leaving an opening for turning.
20
– Turn right side out, close the
opening by hand and press well.
– Cut the collar (Pattern 12 B) from
outer fabric and lining, stay-stitch
the seam lines, stitch together,
turn right side out and press.
– Hand stitch the collar to the
mantelet from t – t.
– Stitch braid or a fringe along all
outside edges, including the collar.
– Press a small fold at the back
where marked (XXX) and stitch a
small fabric bar in place.
– Stitch the front and back panels
together under the arms at point K
with a few small hand stitches.
– Stitch 2 decorative buttons at
point M of the front and work
buttonhole loops on the
other side.
Photo 21, 22, 23, 24
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24
23
22
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Madame Huret:
Mme. Huret is wearing a black-and-white checked silk
dress with red inserts, a matching red belt and a black
lace fichu. The dress is made using the basic pattern.
Sandwich the red silk strips in between the sleeves and
trim with black braid.
 The Belt
Pattern 5 D and 5 E = Belt
– Cut 2 pieces of red silk measuring 20 x 5 cm each.
– Reinforce one of the pieces with iron-on webbing (press
to the wrong side but do not remove the paper yet).
25
– Pin the 2 pieces together, wrong sides out and trace
the pattern 5 D onto the paper.
(Photo 25 )
– Stitch the pieces together, leaving the small ends open
for turning and pull off the paper.
– Turn right side out and press well.
– Cut 2 x 2 “swallow tails” (trailing sashes) using
pattern 5 E.
– Stitch 2 pieces together, turn right side out, press
and stitch the tails to the back of the belt 5 D
(matching markings) in such a way that the tails drape
down.
– Close the belt with hooks and eyes.
– Trim the belt with black braid and embroider the front
with beads.
Photo 26
 The Fichu
Is made from black lace fabric trimmed with black braid
(40 cm) and black silk fringe (50 cm)
Pattern 6 = Fichu Back (after the book Puppen Nähstube (Doll’s Sewing Room) by
Dan Cranford, page 71)
Pattern 6 A= Fichu Front
26
– Cut panel 6 once and panel 6 A twice from black lace,
reversing the front pieces.
– Form 3 small pleats on each side at the shoulders.
– Stitch the front panels to the back panel from A to B,
and neaten the seams.
– Stitch narrow silk braid to the inside edge of the fichu.
– Stitch silk fringe to the outside edge of the fichu.
Photo 27
27
Babette:
Babette is wearing a pale blue checked skirt with silk
ribbon trim and a white blouse with pin tucks and narrow
braid, and a matching stole knitted from silk chenille yarn.
Pattern 5 = Skirt
Pattern 5 B = Waistband with peaked front
– Stitch the blue braid to the skirt after cutting and
sewing the hem (the checked pattern makes it is easy
to attach the braid).
– Tuck loops of 3.5 cm long pieces of silk ribbon under
the bottom row of ribbon. I first positioned them on
the skirt with the tiniest bit of white glue to prevent
them from fraying and shifting before I had stitched
them down.
– Stitch the ribbon over the cut ends of the loops and
add another 2 equidistant rows.
– Make the waistband from pattern 5 B, trimming it also
with ribbon loops (loops are facing up as can be seen
in photo 29).
– Form small pleats to match the waistband and stitch
the waistband on.
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28
– Neaten the back opening, attach hooks and eyes
and close the back seam.
Photo 28, 29.
 Blouse of fine white Batiste
Pattern 8 Pattern 8 A Pattern 8 B Pattern 8 C Pattern 8 D 29
= Sleeve
= Front
= Back
= Cuff
= Standing Collar
– Stitch the pin tucks into the batiste (piece about
30 x 21 cm) and press well.
– Cut the front and back panels out (8A + 8B).
– Cut the remaining pieces from plain batiste.
– Neaten the back edges.
– Close the shoulder seams with a French seam.
– Machine stitch the standing collar to the neckline,
hand stitch to the wrong side and attach narrow lace
or braid.
– Form 4 small pleats at the bottom of the sleeves and
neaten the slit.
– Stitch the cuff in place and trim with narrow braid
or lace.
– Lightly gather the sleeve cap.
– Close the sleeve seam with a French seam.
– Hand stitch the sleeve into the armhole and neaten
the seam.
– Hand stitch a narrow hem along the bottom edge.
– Stitch buttons on at the back and cuffs, and work
matching buttonholes.
Photo 30
 Stole knitted from
Silk Chenille Yarn
30
Cast on 21 stitches with 6 mm needles (= US size 10, GB
size 4) and, using knit stitches throughout, knit a 45 cm
long stole (always slip the first stitch of a row to achieve
a smooth edge). Knot 3 cm long fringes along the narrow
sides of the stole.
Margot:
She is wearing a Tartan skirt with straps, a matching
pelerine and a white batiste blouse.
Make the skirt using basic patterns 5 + 5 B. Form large
double box pleats at the waist and add straps to the
waistband. The blouse is made as described for Babette.
Margot’s skirt is trimmed with 3 rows of narrow black
velvet ribbon.
Pattern 5 C = Straps for skirt
– Cut the strap 2 x each.
– Stitch together wrong sides out, turn right side out and
trim the edge with narrow black braid.
– Sandwich the straps between the waistband pieces and
stitch the waistband to the skirt.
4/2010
8
 The Pelerine
 The Bertha
Pattern 7 = Pelerine
Pattern 10 = Tie for bertha
Pattern 10 A = Sleeve frill (edged with scallops)
Pattern 10 B = Neck Band
Pattern 10 C = Breast band
For the frill, cut a strip 100 cm long, 3 cm deep and
embroider one long edge with scallops.
– Cut the pelerine once from Tartan fabric and once from
black silk lining.
– Stitch the darts on the Tartan and lining.
– Stitch the panels together, wrong sides out, leaving
an opening for turning at the center back.
– Turn, press and hand stitch opening closed.
– Stitch narrow braid to the neckline and front edges and
stitch silk fringe to the bottom edge.
– Close the pelerine with a clasp or 2 fancy buttons
and loops.
Louise:
Louise is wearing a dress with trumpet sleeves and a bertha
made from lightweight floral print batiste. The dress is
made with the basic pattern but before the panels are cut
out, the edges of the two skirt panels and the trumpet
sleeves are embroidered with scallops on the machine
(instead of making seams) and cut out neatly. A shorter
overskirt is attached over the basic skirt (same width),
about 5 cm below the waistline to prevent excessive bulk
from the two layers of fabric at the waist.
Photo 31
31
– Cut the pattern pieces 10 + 10B + 10 C, 2 sets
of 2 each (mirror imaged).
– Stitch 2 pieces each of the neck band 10 B together
along A to E, press open, baste and stitch the 2 panels
together (wrong sides out) from B over EE to B.
– Snip into the seam allowance, turn panel right side
out and press.
– Stitch 2 pieces each of the breast band 10 C together
from C to D (wrong sides out) and turn right side out.
– Stitch these panels to the marking ooooo at the ends
of the neck band.
– Finger press the open seams at the outside edges
to the wrong side and press.
– Stitch 2 rows of gathering stitches along the frill,
1.5 cm from the scalloped edge.
– Gather the frill lightly and evenly (there will be some
frill left over for the ties) baste the frill to one open
edge of the neckband and top stitch or hand stitch
in place.
– Embroider the sleeve frill and cut using pattern 10 A.
– Form small pleats on the open edge and baste, then
stitch to the neckband from K to L.
– Cover with the second part of the band, sandwiching
the frills in between the layers and hand stitch
in place.
– Cut the ties 4 x from pattern 10 and press the seam
allowances on all 4 parts to the wrong side
– Surround 2 panels with the embroidered frill, stitch
this in place and hand stitch the other 2 panels on top,
sandwiching the frills in between
– Hand stitch the ties to the finished neck panel
along xxxx.
The bertha is worn with the peak along the back,
and then crossed at the front and finally tied loosely
at the back.
Photo 32 – 40
32
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35
36
34
37
4/2010
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38
39
4/2010
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4/2010
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Madelaine:
Madeleine is wearing a coat dress and matching skirt from
white piqué, both embroidered with red soutache, and a
red blouse. The skirt and blouse are both made using the
same basic pattern as the skirt and blouse for Margot. The
skirt is embroidered with red soutache using the motifs
in the pattern.
43
Material: 1 m white cotton piqué, 1 m fine white linen
for lining, 10 m red soutache, 3 m red piping tape
(haberdashery store), 3 hooks and eyes.
 The Coat Dress
Pattern 11 = Back
Pattern 11 A = Front
Pattern 11 B = Sleeves
– Cut 1 back panel 11, 2 front panels 11 A and 2 sleeves
11 B from piqué and lining.
– Close the shoulder seams and side seams (dress fabric
and lining).
44
41
45
42
4/2010
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– Stitch the sleeve seams and stitch
the sleeves into the armholes
(dress fabric and lining).
– To prevent the piqué from fraying
while embroidering the soutache,
neaten the raw edges first with the
red piping tape, by stitching the
red piping close to the raw edges
of the coat dress, folding the tapes
to the wrong side and top stitching
close to the edge of the pique fold
on the right side. Also, hem
the skirt first before you add the
soutache!
– Lightly mark the motifs onto the
fabric with the help of the
template and hand stitch the red
soutache down, covering the
pencil marks.
– I rubbed a tiny bit of white glue
along the cut edges as an aid for
positioning the braid. This helped
to stop the small motifs from
shifting while stitching.
– The small template and
measurements will help to mark
the motifs accurately onto
the coat.
– Once the embroidery is
completed, press the seam
allowance all around the lining
panel to the wrong side and hand
stitch it into the coat.
– Close the front with 3 hooks
and eyes.
Photo 41 – 46
We hope that you too are part of
a group of doll lovers ready to
participate in a group project! We
certainly had great pleasure and a
lot of fun with this project!
Wishing you a Happy Holiday
Season!
Your Renate Wulfkes,
Margaret Mädl,
Melitta Böse,
Erika Runge and
Gertrud Wallis
If you wish to make this project, you will find
more Infos see 
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 4-10
or by telephone (49) 42 88 - 92 84 53
4/2010
14
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Fancy Buttons and aTrims
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English: www.gildebrief.de/SF7/contents/en-us/d642.html
Deutsch: www.gildebrief.de/SF7/contents/de/d642.html
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Trims... !
Soft, drapey
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English: www.gildebrief.de/SF7/contents/en-us/d648.html
Deutsch: www.gildebrief.de/SF7/contents/de/d648.html
4/2010
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Original-size illustrations!
French
Fashion
oupée
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... a French Fashion
Bru Doll
Text and Photos: Karin Buttigieg
N
ever in my wildest dreams
did I ever think I would
own such a lovely antique French
fashion doll on a fully articulated
wooden body – but there you have
it! I did not acquire the doll as a
collector but as a “work doll”. It is
quite a different matter if I have the
real thing right in front of me instead
of trying to make sense out of photos
that seem to always hide just what I
am interested in: the texture and feel
of the porcelain, the exact hue and
glow of the colors, the way the body
functions, the type and thickness
of the leather around the shoulder
plate etc. etc. I bought the doll in an
auction and only saw photos of her in
a catalogue which hid the rather large
damage at the right upper arm which
I found disappointing, since it was
not mentioned in the description.
I also found the wig suspect and,
after I had removed it (it was glued
down), I noticed that it seemed to
have been made recently from old
materials (it looks more like a birds
nest than a wig). The cork pate had
also been cut to size recently – the
cuts were quite fresh and a different
colour from the top of the pate,
plus a tiny remnant of another wig
cap still remained glued to the top.
Although I feel that, especially in
an online auction, the description
should be precise and include any
damage or non-authentic additions,
my initial disappointment has been
nullified because both the modelling
and painting of this lovely lady’s face
are exquisite and the wooden body is
most interesting. It would be great if
I had other “real dolls” at my disposal
so I could study them like a detective
and pass my findings on to interested
doll makers, but that would be
beyond my pocketbook!
It is of enormous value if one
can study the actual doll instead
of a photo of the doll. It is both
facilitating and frustrating, since one
knows that this stunningly beautiful
porcelain of the early French dolls
can never be duplicated in our
4/2010
17
electric kilns and thus any colors
placed onto the porcelain will never
look exactly the same, just because
the base is different. I have done a lot
of experimenting and would like to
share my findings with you.
In this article I shall describe
casting, firing and painting the doll
and shoulderplate(s). A complete
ensemble of authentically styled
garments will be found in the next
issue, plus a description of some
wig styles, depending on available
magazine space.
 The antique Doll
The doll is 39 cm tall. The head and
shoulderplate are marked with an “E“.
The head circumference is 16.6 cm.
The
wooden
body
(without
shoulderplate) measures
32.5 cm and measures 33.5
cm with shoulderplate (but
without head). This added
height is due to the warped
shoulderplate (something
every dollmaker knows
about) that does not fit
exactly over the wooden
body. As you can see, even
140 years ago they had
problems with warping!
The shoulderplate also
has a firing crack in the
neck hole, probably due to
faulty cutting of the hole in
the greenware stage.
The head and shoulderplate
are joined with a screw,
compression spring and
leather liner in the neck,
secured with a washer in
the shoulderplate. The
shoulderplate was nailed
4/2010
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to the wooden body front and back
with tiny tacks. The attachment line
of shoulderplate and wooden body
was covered with a pinked leather
strip. The shoulderplate and head
are definitely original to this body –
it was no mean feat to separate them
without damage. However, Piet van
der Sluis, our ingenious mold maker,
managed this with great competence.
The shoulderplate socket is lined with
firm but thin goat skin (not glued)
and the same leather is also used
around the wooden neck button as a
liner inside the neck.
Head and shoulderplate are pressed
from white porcelain – not cast. The
bisque is luminescent white with a
faint bluish tinge. This tinge is typical
of porcelain fired in a reduction
atmosphere (removing the oxygen
during the firing process – especially
towards the end, fired in a wood or
gas kiln).
The earlobes of the beautifully
sculpted ears are pierced, the eyes
are neatly cut and the painting is
4/2010
19
exquisite. The bisque is well-cleaned
and superbly fired to maturity which
explains the glowing colors, so
difficult to imitate.
The expressive eyes are very dark
gray-blue with milky white sunraystyle iris, small pupil and very low
paperweight. I am in the process of
having similar eyes made and am
hopeful – let’s wait and see!
Apparently this doll is a “Smiling
Bru”, yet the detailed modelling is
quite different from the Smiling Bru
“Madame Sidonie” and it is of a more
classic Greek cast.
 The Reproduction – Madame Yvette
The head mold: GB-118
The shoulderplate mold: GB -118SP or GB-116SP
Note: As explained in the subsequent text, the Huret shoulderplate
does fit better onto the FFP-9 ½” body than the original shoulderplate
GB-118S, which is a bit too large. However, if you are making the doll
with a leather body, then I recommend you definitely use the GB-118SP
(see also description of shoulderplates)
Body: FFP- 9 ½“
Reproduction size: 32 cm
Pate: Cork,“FFP“
Eyes: 6 mm pinched oval, FFP – blue, dark grey or light grey
4/2010
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 The Porcelain
Early French fashion dolls were all very lightly tinted,
bringing the superb white porcelain to the fore. With later
bisque dolls and their often much deeper rose skin tint,
the skin colour can be reproduced with reasonable success
which is almost impossible with the French fashion dolls.
If you are now using fairly greyish or yellowish tinged
porcelain, you will be unable to conceal this, resulting in
a sallow-looking lady doll. For the best results, use only
the whitest porcelain you can find!
Most low-firing porcelain (cone 6 to 7) warps easily and
is usually of a more greyish or yellowish tone than higherfiring porcelain. Also, many doll makers fire their porcelain
even lower than cone 6 or 7 for fear of ending up with
“pimples” or warped pieces, resulting in sallow, underfired
bisque which will not give the best painting results.
Most electric kilns will manage a cone 9 up to cone 11
(from about 1250°C to 1300°C- 2280°F-2372°F) if you
fire your pieces to about 1245°C - 1250°C (a cone 8 or 9,
2273°F-2282°F) over 10 hours and then add a long soak at
the end, about 1 hour or more – test it. (Soak = holding
the temperature at the same point for a given length of
time). In this manner you will be able to fire a higher firing
porcelain quite successfully – you add extra time rather
than increasing the temperature. I sometimes fire pieces
more than once, which improves the whiteness of the
piece with each additional firing. This works as long as one
uses a strong, fairly high firing slip, but will not work with
what is known as “hobby porcelain”. In reality, a 1300°C
(2272°F) porcelain is not a high firing porcelain (hardpaste porcelain) but a low-firing soft-paste porcelain, but
for dollmakers it is in the high firing range!
Why don’t you try it! There are many ceramic suppliers
who also carry porcelain slips and it doesn’t have to be
only hobby porcelain that doll makers use. Or try Google
- you can find everything there. Sometimes you can obtain
porcelain in powder form, and then all you have to do is
add water etc. which is not hard as long as you follow
the instructions of the manufacturer. What is important,
though, is to ask for “Bisque porcelain”, porcelain that
can be used without an added glaze! The other type of
porcelain (must be used with a glaze) is much too coarsetextured. If you want to add authenticity to your antique
reproduction dolls, especially the French fashions, then
it is worth the effort to look for a porcelain which gives
you the best possible results. Although this article is
specifically addressed to this French fashion doll, much
of the information can also be used for other dolls!
from the back to the front (not the other way around).
After soft-firing (not before – the earlobe would split off
otherwise), the hole is enlarged with the same tool.
Photo 2
1
2
 The Head
1. The head should not be cast too thick (about 2.5 – 3
mm thick in the dry greenware). After removing the head,
leave it to dry a little, then pierce a small hole into the
eyes. I sanded part of a 3 mm ferrule off on a small old
brush, then sharpened the top edge and use this to pierce
a small hole into the eyes - a thin straw or draping needle
also works. The eyes are too small and would easily
deform if cut with a scalpel. Photo 1
2. With the finger tool (a wooden holder with a very thin
length of wire with tiny barbed hooks), pierce the earlobe
4/2010
21
3
3. Cut out the pate next, leaving a wide rim which is later
shaved down with a scalpel in the advanced leatherhard
stage, thus helping prevent warpage. You can even leave
the pate in place until the head is almost or completely dry
and then score it with a tiny engraving tool until the pate
falls out, smoothing the rim afterwards with the scalpel.
Photo 3, 4
4. Pour also an “underplate“for the head (see point 6).
4
5. Let the head dry completely, run a damp brush quickly
over the eye region, let the water sink in and then
carefully cut the eye opening with a sharp scalpel. Bevel
the eyes on the inside with a small sharpened spoon tool.
Finally, brush over the entire surface with a damp/wet
brush to smooth any imperfections, without softening the
contours of the modelling. The head mold is very clean
and the greenware hardly needs any work.
Photos 5, 6
 Casting the Shoulderplate
Shoulderplates can be difficult – they warp easily and that
is annoying. I tried out a number of different methods on
various types of porcelain and here are the best results of
my tests:
As mentioned above, the shoulderplate GB-16SP fits
better onto the FFP-body than shoulderplate GB-118SP
(the original). For this, the neck socket of GB-116SP has
to be removed completely.
6
5
4/2010
22
7
Shoulderplate GB 116SP made to fit Madame Yvette
6. Cast the shoulderplate – greenware about 3 mm thick.
Also cast an “underplate” (flat plate poured onto a plaster
surface – the shoulderplate must fit comfortably onto the
“underplate”)
7. After pouring the excess slip out, let the greenware
set for about 15-20 minutes, before you scrape off the
excess porcelain paste along the edge of the mold. Use
a plastic scraper and scrape from the inside outward
and not the other way around, to prevent deforming the
shoulderplate inside the mold. Set the mold with the
open part down onto a plaster surface.
8. De-mold the shoulderplate when the mold lifts easily.
Leave the piece to dry in place on the plaster surface until
it is quite firm (advanced leatherhard) – it needs to keep
its shape when you handle it.
8
9. Place the shoulderplate onto a smooth surface (tabletop) and drill a small hole into the middle of the neck
socket with the top of the scalpel (do not press). Pick up
the piece and carefully shave the bottom rim with the
scalpel until it is smooth (do not press the shoulderplate
with your hand).
Photo 7
10. Proceed to remove the neck socket completely,
shaving the greenware off with the scalpel, right up to
the outer rim of the socket and no more. Check the neck
in the opening – it should fit almost perfectly. The fine
tuning is done when the shoulderplate is dry.
Photo 8, 8a
11. Put the shoulderplate onto the flat surface once more
and score the line for the shoulder either with a scalpel
or a tiny engraving tool (see also point 3) until it is cut
off. I start from the top down to the front, then turn the
tool in my hand and cut from the top down to the back.
Cut about 3 to 5 mm in from the marked line – it fits
better onto the FFP-9½” body this way. The rough edges
are shaved smooth with the scalpel (do not thin down
the edge yet). If you make this cut too early, before the
shoulderplate is advanced leatherhard, it could deform
during the high firing despite the “underplate”.
Photo 9
8a
9
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23
10
12
13
10a
14
11
15
4/2010
24
12. Round off the 4 corners and let the piece dry
completely.
13. Next, slim down the edge from the outside! with a
3M (grey) sponge sander or similar. This way the plate
fits more snugly onto the torso. The plate must also be
smooth on the inside edge without slip droplets or runs.
If you have those, sand them down or remove them with
the scalpel.
Photo 10, 10a
14. Now fine-sand the neck hole to fit the doll exactly and
smooth the inside edge carefully with the small conical
hole sander. Smooth the surface with a wet Kazan hair
greenware brush (# 11 or # 14).
Photo 11 – This photo depicts the Huret shoulderplate
GB-116SP adjusted to fit the Huret head (not the
Yvette). I cut out most of the neck socket, leaving just an
inside rim of about 5 mm. I feel it fits the head better
than with the socket in place. Shown also is the conical
hole sander.
Shoulderplate GB-118SP cut to fit the FFP-9½” body
This shoulderplate is too wide at the shoulders and in the
front. I did not want to make a mold, changing the original
shoulderplate. However, she has a fitting socket (it is very
deep) and some doll makers prefer the shoulderplate
with socket instead of just an opening for the neck.
16
15. Band the 2-part mold to fit exactly, cast, pour out and
do not scrape the excess slip from the pour hole! Also cast
an “underplate”.
16. Lift the upper portion of the mold as soon as it lifts
easily. The base will not be removed yet. Let the piece dry
to leatherhard, but not advanced leatherhard. It must still
be “cuttable” but should not deform while cutting.
17. Then make a cut over the shoulders about 8 mm – 1
cm from the edge (from the front hole marking to the
back hole marking), cut off about the same amount (8
– 10 mm) from the front and make a cut flush with the
mold along the back. Drill the hole in the neck socket and
enlarge enough to fit the stringing hook later and neaten
the edge with the wet greenware brush (or enlarge the
hole when dry).
Photos 12, 13, 14, 15
18. Leave it until the casting reaches the advanced
leatherhard stage – the piece must keep its shape when
it is handled. Now remove the spare and remove the
shoulderplate from the mold.
Photo 16, 17
19. Round off the 4 corners and let dry. Sand the edge
down with the 3M sponge sander from the outside (not
inside) and smooth the surface with the wet greenware
brush.
Firing supports for the Shoulderplates:
Despite all caution and efforts during the casting and
cleaning process, a shoulderplate can still deform
(especially when the shape is quite slanted at the front)
during the high fire. The socket sinks down, the front and
back spreads apart and the shoulderplate ends up not
fitting at all. This will happen more with the forward
slanted shoulderplate GB-118SP (and other similar
shoulderplates) than with the flatter shaped (and thus
more stable) Huret GB-116SP. Some dollmakers use kiln
prop to pad the shoulderplate from the inside. This has
the disadvantage that kiln prop is a poor heat conductor.
The following traditional method is still used to prop up
complicated parts during a high fire.
20. Form stilts from left-over
porcelain compound (e.g. the spare,
adding a little water if necessary)
and shape them to fit exactly under
that part of the shoulderplate which
tends to sag. Two such stilts were
made for GB-116SP and positioned
on both sides of the neck hole,
with the shoulderplate on top of
the underplate. One stilt was made
for GB-118SP and placed under the
neck socket. The stilt will shrink at
the same rate as the shoulderplate,
preventing it from deforming. You
17
4/2010
25
18
can make one or two or more stilts, as many as you feel
are needed. If the stilt is very thick, pierce it a number
of times with a needle so any moisture can escape freely
during firing. While the stilt is still moist, dip the end for
under the shoulderplate in kiln sand or kiln dust (very
fine kiln sand) to prevent the stilt from fusing to the
shoulderplate.
Photos 18, 19 – Shoulderplates GB-116SP
Photos 20, 21, 22 – Shoulderplates GB-118SP
21. Soft-fire the shoulderplates (and the heads) with
the stilts and the underplates in place to about 1010°C
(1850°F) or cone 05, for 4-5 hours.
19
22. After the soft-fire (the pieces have the strength of a
clay pot), sand the pieces smooth with the 3M sander,
paying particular attention to the cheeks – they must be
without fault. Enlarge the hole in the earlobes with the
finger tool and fine-tune the eyes, if need be (a diamond
tool works well for this).
23. Place the pieces into the kiln (shoulderplates with
stilts and underplates, head on underplate etc. – always
with kiln dust or sand in between). The high-fire should
take a minimum of 7 hours, for high firing porcelain at
least 10 hours with a long soak time at the end.
24. After the high fire, sand the pieces with the rubber
scrubber until smooth and remove any dust.
20
22
21
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26
2 Painting Worksheet
I tried a number of different methods
and made countless color tests.
Although the finish of my dolls is not
exactly like the antique, in the end I
did get quite close. The lip color was
especially difficult to get right. I also
tried working with oils and would
like to present this method to you.
I painted 12 heads altogether, some
with oil, some with Magic Medium
and Medium # 3, some with a
combination of the two.
The overall wash was much easier
with oil, the lips were easier to paint
smoothly with oil if one didn’t fiddle
for too long and the same went for
the brows. I found the cheeks faster
and more intensive to apply with oil,
but easier to do with Magic Medium.
The Colors:
I almost despaired with those. I made
so many color tests, because not only
the color should be correct but also
the glow (which is often harder to
achieve). However, I recommend that
you test your color mixtures before
you do the real thing, because your
porcelain is not the same as mine and
your kiln will also fire differently and
both affect the result of the colors.
Not only the color but also the glow
should match the antique doll: she
is fairly matt – but a rich and not an
underfired matt, and I suspect that
her glow might have diminished a
little over the years also.
The Oil Media:
– Contour Oil
– Universal Oil
– Wood Turpentine (spirits of
turpentine) not mineral
turpentine
Contour Oil is a fairly thin, slowdrying oil that I have used mainly for
pen work on porcelain up to now – it
was the only satisfactory medium that
I had been able to find. Then I tried
it – just for the heck of it – for the
overall wash and was delighted by
the speed and ease of the application.
23
4/2010
27
I then used it mixed with Universal
Oil, a slightly “fatter” (thicker, more
supple) drying oil than the Contour
Oil which is thinner, more watery.
Universal Oil dries fairly quickly and
I use it mixed with the Contour Oil
for lashes, brows, lips and cheeks. It
should be used sparingly – try out the
proportions for yourself to achieve
the best texture for your style of
painting.
If you let the oil painting dry
overnight, you can touch it safely
without damaging it. Then one can
add accent lines over the unfired
lips but you have only one go at
it – mistakes cannot be rubbed
off without damaging the layer
underneath.
Once the paint mixture on the palette
starts to get too tacky to paint with,
mix it thoroughly, adding a drop of
Contour Oil. I did not like Spirits
of Turpentine for diluting the paint
– it takes ages before the mixture
is paintable again and then it dries
off even faster than before. Leftover
paint can be covered until it is really
hard and dry – it keeps indefinitely
and dust can be brushed off easily.
Re-liquefy the paint with some drops
of Contour Oil, let it soften the
hard paint (about 15 minutes), mix
everything with the palette knife and
your paint is ready for use again.
I found painting with these oil
media very easy but it is not odor
free. Universal Oil has a slight, not
disagreeable smell and Contour Oil
smells of Aniseed (it contains Aniseed
Oil plus something else – I don’t
know what it is – I just know it works
really well).
You should always let the medium
dry completely before you fire the
paint. I ran some tests firing the wet
paint, just to see the effect. The kiln
should be well ventilated throughout
so that fumes can escape freely.
Antique doll heads are often covered
with tiny black specks – my Bru also.
When working with Dresden thick
oil or Copaiba oil (very viscous oils)
I found that rose colors (overall
wash, lips, cheeks) frequently end up
covered with tiny black specks after
firing on unglazed (bisque) porcelain,
while this happens less with brown
colors. None of the heads I fired with
Contour/Universal oil showed these
specks after firing, even when I did
a fast firing with wet oil-based paint.
Otherwise I would not even present
this method to you!
Nevertheless, it is better to let the
oil dry to a hard finish overnight and
fire normally (not too fast), airing the
kiln throughout the firing. Should
you end up with black specks after
all, then simply fire the piece again
to cone 018 (about 740°C-1364°F).
Firing a piece an extra time can also
improve matte and dull colors that
received too little heat work and
could not develop their full beauty.
The worksheet is for firings to Cone
018. Whether you fire the same or
not, you should definitely test your
paint mixtures first. If they turned
out well and you want to be able
to repeat the colors, mix a larger
amount in a small jar and add a few
large glass beads which will help mix
the dry paint thoroughly. This way
you can always be sure to end up
with the same result.
incorrect painting from the doll.
Use a paper towel to press the brush
dry or wipe the tile clean. After
cleaning the brushes with the wood
turpentine, you can additionally
wash them with detergent and water,
making them also ready for use with
water-based media.
Remove unwanted painting with a
clean Super Doll Sponge (or similar)
dampened with a drop of turpentine.
Denatured alcohol, Contour oil,
Wood Turpentine is used for gently
cleaning your brushes, cleaning
old paint off the tile or removing
4/2010
28
aniseed oil, lavender oil and even
Magic Medium can also be used to
wipe painting off.
When painting with the Contour
oil and Universal oil, I recommend
placing a drop of each onto a separate
tile – they have the uncanny habit of
slowly but surely creeping into the
paint mixture! Actually, I place a drop
of each onto the table in front of my
painting tile and wipe them off when
they become tacky, replacing them
with fresh drops.
Photo 23 – At the back some of my
numerous color tests (numbered
and with the recipe noted down,
so I can always repeat them). To
the left the antique head, the brow
colour on the tile, partially diluted
for the underbrows, the brush for
the underbrows, a drop each of the
Contour oil and Universal oil on the
table in front of the tile.
2 Painting Instructions
with Oil
All Firings to 740°C
(1364°F), cone 018
1st Firing
1. Overall Wash (head and
shoulderplate):
3 parts Skin Tone # 2 (Deep Rose)
1 part Rose Carmine (NEW)
Contour Oil
Super Doll Sponge
Mop Brush # 8
Mix the dry paint with Contour
Oil to a fairly fluid consistency,
wipe the mix onto the head with
the sponge and polish smooth with
the Mop # 8 brush – this will go
very fast! After the paint is polished
smooth, resist the temptation to
touch it again, for as the medium
dries it will look progressively
worse. Should you succumb to the
temptation after all, place a drop
of Contour oil on the sponge, wipe
over the paint to re-liquefy it and
then polish it smooth again. The
sponges will expand with the oil
media but it doesn’t seem to ruin
them. Just wash them with water
and a good de-greasing detergent
and let dry.
The overall wash of the antique doll
is quite pale and bluish rose with
a faint glow (not gloss). The neck
socket is not tinted.
2nd Firing
Lashes:
Black SATIN
Brush # 3 (Kazan hair) or Brush # 6
(Kazan hair) or Brush # 8 (artificial
hair)
Mix the paint with Contour Oil
adding also a little Universal Oil.
Then dilute a part of the mix with
Contour Oil until the liquid is grey
instead of black. Use the brush you
usually prefer for lashes. I like to
use a Kazan squirrel hair brush and
often make my own brushes, but
many dollmakers prefer artificial
hair brushes. A Kazan hair brush
holds the paint better than its
artificial counterparts. The lashes
are easy to recognize on the original
doll – avoid making them too long!
Underbrows:
1 part Puppenbrow # 2 (Dark Sepia)
2 parts Puppenbrow # 1 (Golden Tan)
About 15-20% Matter-X (NEW)
Brush or Quill # 3 (short and thin),
or Brush or Quill # 4 (long and
thin) – both Kazan hair
Mix the paint as described for the
lashes, adding about 15% - 20% of
the new and more potent matting
agent Matter-X. Divide the dry
paint on the tile into small portions
with the palette knife to gauge the
15-20%. The underbrow is very pale
and is used to help position the
brow lines correctly. Mark the lower
edge of the underbrow with a few
pencil dots and paint sickle-shaped,
very pale underbrows.
Photo 24 – Dividing the dry paint
with the palette knife – on the right
is Matter-X
Lips, nose dots:
1 part Rose Red
2 parts Rosy Peach
15%-20% Matter-X (NEW)
Brush # 0 (artificial hair) or Brush
# GB1401/04 (Kazan hair)
Mix the lip color and Matter-X
with Contour Oil and dilute with
Universal Oil. Paint smooth and
light-colored lips, paying attention
to the curved lip corners! Paint
light-colored nose dots (there are no
inner nose dots).
Cheeks:
1 part Cheek Tone # 1 (Persimmon)
3 parts Rose Carmine (NEW)
About 20% Matter-X
Mini-Mop
The cheeks were tricky – the rose
color on the antique doll is exquisite
– but this color mix comes pretty
close. Please make a test on your
porcelain first to ensure the cheeks
4/2010
29
do not end up too glossy. As written
before, the glow will depend largely
on the porcelain; I cannot give more
precise instructions. If you want
to go the easier route, use Cheek
Tone # 1 without the Rose Carmine.
Carefully rub a little Universal Oil
over the cheek region. Mix the paint
with Contour Oil, pick up a little
paint on your brush, rub the excess
off on a lint-free cloth and polish the
colour on, as usual. Do not overwork
the paint, there isn’t much time
24
since the medium dries fast. If you
find this method too cumbersome,
just use Magic Medium to tint the
cheeks, as usual.
Photo 25: Applying the cheek color
Photo 26: Dolls ready for the
2nd firing
3rd Firing
Brows:
Paint as for underbrows
Quill # 3 (thin short Kazan hair)
If you want the lines to really
„flow“, rub a tiny bit of Magic
Medium over the brow region – it
works very well (only if needed).
Refresh the paint mixture with
a little extra Universal Oil and
Contour Oil and paint fine brow
lines which are quite flat, especially
along the nasal bone. It might help
to start at the inside instead of
outside of the brow.
Photo 27 – First lines at the nasal
bone kept quite flat.
25
Eye dots:
Use the lip color and small lip brush
to paint the eye dots.
Upper eye rim:
Paint as for lashes
Pen with holder or brush
Only the top edge is rimmed with
black, not the bottom edge. The
top rim is very deep black, fairly
glossy, heavily applied and quite
visible from the outside. Wait until
the eye dots are dry before you rim
the top lid.
Lips and accent lines:
With the lip paint (less diluted than
for the lips) and Brush # 0 or Brush
# GB1401/04 paint a darker line
along both sides of the lip groove.
In other words, there is a short line
either side of the center of the lip
groove. There is also a tiny darker
spot in the corners of the lips (just
paint a tiny dab), lending her a
slight smile. The accent lines are
short and not very thin, especially
on the lower lip, so use the same
brush for the accent lines.
Cheeks:
Deepen the colour of the cheeks as
described in the 2nd firing and add a
little to the chin as well. The cheeks
are very rosy.
26
For the Worksheet with Magic
Medium and Medium # 3 (waterbased), use the same brushes and
paints, the same painting techniques,
but mix the paint with Magic
Medium and dilute it with Medium #
3 instead of the oil (except for the
cheeks, where you use only Magic
Medium). This method has been
described many times before in past
Gildebrief issues.
4/2010
30
 Assembling the Doll
27
25. Line the neck socket of GB118SP with leather (pattern in the
supplement). Then pull the neck
button at the FFP-body with a small
stringing hook, secure the elastic
with a clamp, unhook the neck
button and insert it into the neck of
the doll, together with a leather liner.
Photo 28, 29, 30
26. Then assemble the body,
shoulderplate and head, clearly
shown in the photo.
Clamp the body between your legs,
hold the stringing hook and remove
the clamp, pull the elastic with the
stringing hook through the neck hole
in the shoulderplate, hook the head
into the elastic, remove the stringing
hook and gently lower the head into
the neck socket/opening.
Photo 31
28
30
29
31
4/2010
31
27. The shoulderplate GB-118SP gapes slightly along the
front edge and has been padded with raw cotton wool in
the photo (use real cotton wool, not fibre fill).
Photo 32, 33
28. The shoulderplate GB-116S fits exactly and does not
require any padding.
Photo 34, 35
32
35
36
33
37
34
38
4/2010
32
39
29. A firm yet thin goat skin works
best for the leather cover (here leather
# 44, rubbed firmly to soften it).
Photo 36
30. Coat the pinked leather cover
(pattern in the supplement) with
white glue and first glue the back part
in place and tuck the excess into the
armhole.
Photo 37, 38
40
31. Then attach the front in the same
manner.
Photo 39, 40
32. Insert the eyes, attach the pate,
make a wig for the doll and your doll
is ready to be dressed!
I hope that some of the ideas in this
article are of interest to you and wish
you all the best for the Holiday Season
and hope that you will continue to
remain true to us in 2011 – I certainly
will remain true to you!
If you wish to make this project, you will find
more Infos see 
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 4-10
or by telephone (49) 42 88 - 92 84 53
4/2010
33
Maiko-San
Bru
The Kimono (Furisode)
Part 2
Photos and Text by Rumiko Ishiyama (Japan)
A
lthough in this issue it was planned to
present the socks (Tabi) and sandals (Zori),
it has been decided to present the Kimono (Furisode
– literally “Swinging Sleeves”, a style of kimono with
extremely long sleeves) since there was some space in
the pattern sheet of this issue for this large pattern.
The pattern is not difficult and consists of several
rectangles stitched together. However, the construction
is unusual for non-Japanese people and you should
read the article through completely before you start.
The fine points like forming a 2 mm pressed pleat along
the seam lines, the wonderful color combinations
and intricate adornments make this garment a feast
for the eye. The entire garment is sewn by hand. I hope
you enjoy the wonderful presentation by Rumiko!
Karin Buttigieg
1
2 Materials:
•4.90 meters silk fabric, 36 cm wide (outer garment)
•4.90 meters x 36 cm wide plain red silk fabric
(inner garment – lining)
2
 The Furisode
1. Fold the fabric in half crosswise and mark the line
(a-b). Then cut one side of the panel along the center
lengthways up to the fold line (c-d). This will be the
front of the Furisode; the uncut part will be the back.
Photo 1
2. Cut a slit for the neck hole along the fold line, then
round off the back part for the neckline (5-6-7).
Photo 2
3. When sewing a kimono, you always stitch 2 mm
outside the actual seam line. The excess fabric will be
folded and pressed into a tiny 2 mm pleat after sewing
is completed. In the photo, the solid line is the seam
line and the dotted line the actual stitching line (see
also: Ironing Japanese style).
Photo 3
3
4. The front extension panels are stitched to the front
edges next. Place the main panel onto a flat surface
(right side out), folded along the shoulder line (a-b)
and place the front extension panels along each side,
wrong side up (15-16). Pin to the front edges and stitch
4/2010
34
4
in place, 2 mm from the actual seam line as explained in
point 3.
Photo 4
5. The front extension panels are now attached.
Photo 5.
Ironing Japanese style:
The Japanese style of ironing a kimono is very special and
appears unusual to Westerners. As mentioned above, we
iron a kimono so that a narrow 2 mm pleat is formed
along the stitching line. This manner of ironing is called
“Kise”.
5
Here the seam line of the front extension panel, where
you can clearly see the narrow 2 mm pleat hiding the
stitched seam:
Photo 6, 7
These two photos show the ironed edge of the sleeves
with the curved part shown in Photo 9.
Photo 8, 9
8
6
9
7
4/2010
35
 The Sleeves
10
Note: The curved edge of the sleeves is closed from
point 11 to point 13, where the “cuff ” (lower sleeve
edge) starts. The hand comes out of this opening when
the Furisode is worn. The straight edge of the sleeves
is open up to the top, from point 11 to point 1. The
armhole part of the sleeve (point 8 over 1 to 8) is
stitched to the garment matching those markings. The
remaining straight part of the sleeve is also left open
(from 8 to 11), hanging down loosely. The side seam
of the main garment (from shoulder point 1, over 8
and 9 down to the hem point 10) is stitched closed
from the hem (10) to point 9 only. The space from
point 8 to point 9 of the side seam is left open, leaving
a slit below the armhole (underarm). The sleeve is
also open all along the straight edge from point 8
down to point 11 – it is not stitched together at the
underarm anywhere. This is unusual and it took me a
while to figure this out, especially since I am not at all
familiar with Japanese-style garments. The long part
of the sleeve (the long flap) drapes down along the
arm of the doll. A pleat is formed and stitched on each
shoulder according to the doll’s arm and shoulder
– this is not indicated in the pattern and should be
adjusted individually on the doll. The shape of the
pleat can be clearly seen in various photos. KB
11
6. Fold each sleeve panel along the fold line. On each
sleeve close the following seams with a French seam,
first stitching the seams right sides out, cutting close to
13
12
14
4/2010
36
15
the seam line, then turning the sleeve panel wrong side
out: start the first part of the French seam, stitching from
point 13 to “e” (up to the curve), then from point “f ”
(other side of curve) to point 11. These 2 lines can be
sewn on the machine with a straight stitch or by hand.
Photo 10
7. Pin the edges (wrong side out) and mark the curve with a
piece of firm paper or cardboard. Using tiny hand stitches,
stitch the second part of the French seam and the curve in
one go (from point 11 over “f ” and “e” ending at point 13).
Press the seam 2 mm outside the stitching line. Photo 11
Photo 12, 13, 14, 15 – Close-ups of the corner
8. Press the seam line along the cuff opening (13-14)
to the wrong side. Photo 16
16
9. Snip into the seam 2 cm below point 13. Photo 17
10. Turn the sleeve right side out and press (not at folded
shoulder line). Photo 18
11. Fold the seam allowance along the straight edge to
the wrong side, from point 11 to point 1. Photo 19
17
12. Pin and stitch the sleeve into the armhole, matching
markings, from point 8 over 1 (shoulder) to 8 on the
other side, using an invisible stitch. Please note that the
sleeve part is placed under the side panel part (you can
clearly see the open slit from point 8 to 9 of the side panel
in photo 20, top part).
Foto 20, 21, 22
19
18
20
4/2010
37
13. Fold the seam allowance along the bottom hem and
the front edges to the wrong side.
Photo 23
The lining is made in the same manner as the main
Furisode. Do not press the seams as they will be folded
2 mm outside the Furisode later on (looks like piping).
Photo 24, 25
 The Lining
15. Insert the lining into the main garment, right sides
out and baste the seam allowances together along the
side seams, to prevent the lining from shifting (see Photo
27). Once the lining is fitted inside the main garment, the
red is showing 2 mm along the opening of the sleeves and
the front edges and the hem.
Photo 26, 27
14. The lining is usually made from red silk. The fabric
here includes elegant cranes which are a wedding symbol.
21
 The Collar
16. Press the seam allowance of the collar panel to the
wrong side and pin it starting at point 19 at the start of
line A, along the back of the neck (5-6-7) ending at point
19 on the other side. Stitch it in place, cut off the excess
fabric outside line A, fold collar band over to the wrong
side and stitch it down.
Photo 28, 29, 30, 31
22
24
23
25
4/2010
38
17. Make the tie from red silk and pad it on the inside.
Then fold it in half and attach the center point along the
center back of the neckline with a few stitches to hold it
in place.
Photo 32 (see also Photo 35)
28
26
29
30
27
31
4/2010
39
32
35
33
36
37
34
38
4/2010
40
18. Make a pleat along the main garment where marked
in the pattern, placing “x” on top of “o” and stitching the
pleat. The size of the pleat can be varied in order to adjust
the garment length to the height of the doll.
Photo 33
19. Make 2 ties from red silk and attach them to the inside
of the front edges.
Photo 34
20. The kimono is completed! Photo 35
Here are three photos showing the stitching and pressing
of the seams and edges:
Photo 36, 37, 38
39
 Making the Obi
2 Materials:
•60 x 120 cm red silk fabric
•60 x 15 cm strip of thick cotton fabric (padding)
•2 meters cotton tape (around 1 cm wide)
•45 cm wire (firm but bendable)
21. Place the firm cotton fabric onto the red silk. If
you don’t have thick enough cotton, use several folded
thicknesses (press well) instead.
Photo 39
22. Wrap the silk around the padding and pin into a tube.
Photo 40
23. Insert the 2 cotton tapes into the narrow opening of
one side and hand stitch the 3 open sides closed invisibly.
Photo 42
24. On the other end, stitch two cotton tapes onto the
right side as shown in the photo (first attach it towards
the left side, fold over and stitch down, hiding the cut
edge of the tape).
Photo 43
42
40
41
43
4/2010
41
44
25. Make two ribbon bows in the same manner as the Obi
(without tapes, though), stitch each into a round (using
red thread – the white one is only for easier illustration)
and gather each round in the center to form a bow. Make
another strip of fabric in the same manner for the knot.
Place the two bows on top of each other, wind the band
around them and stitch together at the back.
Photo 44
Photo 45 – left: finished bow, middle: gathered bow,
right: knot panel
45
26. Form a wire holder as shown in the photo – the cut
ends meet at the center top. Cover the top with cotton
tape and stitch the metal holder to the back of the bow
assembly. Pass a 75 cm length of cotton tape through the
back of the knot.
The cotton tape will be tied at the waist front and the bow
will be pushed into the Obi with the wire holder.
Photo 46, 47, 48
Photo 49 – Stitch used for Obi and bows
48
46
47
49
4/2010
42
 Underwear
 Dressing the Doll with the Furisode
27. Make the underwear in exactly the same manner
as the Furisode, using fine ivory silk fabric. By the way,
crossing the collar in the opposite way makes the Furisode
suitable for a funeral.
Photo 50
28. Cross the red tie attractively.
Photo 51
29. Insert the right-side waist sash into the slit under the
sleeve, passing it to the outside of the garment. The left
sash goes along the outside to the back (like a wraparound garment). Tie the sash at the back.
Photo 52, 53, 54
50
51
52
4/2010
43
30. Tie the Obi at the back with the white tape. Position
the wire bow holder inside the back of the Obi and tie the
tape at the front, hiding the tape inside the Obi.
Photo 55, 56, 57
53
31. Pass the Shibori sash (called Obiage) along the top of
the Obi at the back, along the underarms and tuck both
ends into the Obi at the front Tie the Obijime (an orange
silk cord) around the middle of the Obi. Photo 58, 59, 60
Note: The Obiage consists traditionally of a very fine
piece of silk that is “tie-died” into hundreds of tiny puffs
– a laborious undertaking indeed! The finished size of
the Obiage for the Bru would be about 18 cm wide and
60 cm long. Photo 60a
The Bru dressed in an authentic Japanese Furisode!
Photo 61
The conclusion of this series will be in Gildebrief 1/2011
with the Zori (shoes) and Tabi (socks)!
Happy Holidays and much enjoyment with this project!
Your Rumiko Ishiyama
55
56
54
57
4/2010
44
2 The Doll:
61
Head mold: S-342 (www.nydollproducts.com)
Body: FGK-54 (not FGK-59 as listed in issue
3/2010) (www.dollmaker.de)
Eyes: 26 mm PW (www.dollmaker.de)
Pate: Cork 105 x 100 (www.dollmaker.de)
58
59
If you wish to make this project, you will find
more Infos see 
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 4-10
or by telephone (49) 42 88 - 92 84 53
60
Fine antique
reproduction bisque
dolls, antique dolls,
doll costumes, wefted
mohair, Japanese
kimonos, silk fabrics
and much more!
—
Rumiko Ishiyama
2-20-16 Shinhama
Cho Shiogama Miyagi, Japan
Phone & Fax 022-365-1417
www.k2.dion.ne.jp/~floris8/
[email protected]
60a
4/2010
45
ies:
y
b
Ba
ittin
n
K
Ser
The
er
n
r
o
gC
Boom!
Text: Heiderose Thies
Photos: Karin Buttigieg
one in pink and off-white for the
second Hilda Baby.
•23 cm complete size
•17 cm head circumference
y little Bonnet-Hilda was
wearing clothes I did not
much care for, so I decided to design
and make a new set of garments for
her. I chose a smoky aqua and beige
colour combination and liked the
outfit so much that I made another
The Baby in blue measures:
•18 cm body size
•25 cm complete size
•20 cm head circumference
The number of stitches is exactly the
same for both outfits and the size
difference is only due to the different
yarn thickness.
The Baby in pink measures:
•17 cm body size
I think both dolls look lovely!
M
4/2010
46
. 3 buttons each (i.e. pearl button KN-28)
. Silk ribbon (PSR-125 and PSR-007)
. 2 knitting needles size 1 mm or 1.25 mm
. 2 knitting needles 0.75 mm
. 1 crochet hook 0.75 mm
2 Abbreviations:
e.st = edge stitch
R
= row
st = stitch
p
= purl
k
= knit
sl = slip
yo = yarn over
k2tog = knit two together
dc = double crochet
ch = chain
Decreases are done in every 2nd row. For example:
Decrease 2 x 2 sts = Decrease 2 sts in the front row,
knit the back row without decrease, decrease 2 sts in the
3rd R. = a total of 2 x 2 sts decrease (x = times).
 Pattern 1 (in antique white or beige)
R.1 = front row
1 p., * k2tog., 1 yo., 2 p. *
Repeat from * to * throughout.
R. ends with 1 p.
R.2 = back row
1 k., * 2 p., 2 k. *
Repeat from * to * throughout.
R. ends with 1 k.
R.3 =
1 p., * 1 yo., k2tog., 2 p. *
Repeat from * to * throughout.
R. ends with 1 p.
R.4 =
1 k., * 2 p., 2 k. *
Repeat from * to * throughout.
R. ends with 1 k.
Repeat these 4 rows throughout.
 Pattern 2
2 Materials:
R.1 = knit
Silk Cordonnet Yarn for Bonnet Hilda:
•about 28 grams beige # 16
•about 8 grams smoky aqua (this color is no longer
available. A suitable substitute is pale blue)
R.2 = purl, purling really loosely
or work 1 p., 1 yo., 1 p., 1 yo.,
dropping the yarn overs in the following row.
Silk Cordonnet Yarn for the second Hilda Baby:
•about 25 grams antique white # 03
•about 5 grams pink # 06
R.3 = * 1 k., then pass the needle through the next
5 sts. in one go and pull the yarn through the sts (1 knit
st. on the needle), make a yarn over and pass the needle
through the same 5 sts. again, pull the yarn through
forming another knit stitch (on the needle are 1 k, 1 yo,
4/2010
47
1 k), make another yarn over and
pass the needle through the same
5 sts. as before, forming another knit st.
You now have knitted together 5 sts
of the last row and formed another
5 sts, (1 k.st, 1 yo, 1 k.st , 1 yo, 1 k.st)
leaving you with the exact same
number of sts as before.*
Repeat from * to * throughout.
R. ends with 1 k.
R. 4 = back row
Knit (including the yarn overs)
 Scalloped Pattern
for Panties, Jacket,
Bonnet and Socks:
of the 14 sts. remain, continue
knitting them together with the rest.
Once you have knitted about 8 cm
from the cast-on of the legs, knit
about 2.5 cm of 1 k and 1 p (rib st).
To improve the fit, I added 2 braces
each about 10 cm long (9 sts – 1k, 1p).
 Jacket
Cast on 166 sts in pink and work the
bottom scalloped edge as described
for the trouser legs. Continue in
pattern 1. After 6 cm from cast-on,
finish with 2 knit rows in pink.
Continue in pattern 2, working 2
knit rows (R5 + 6) in contrast color.
R. 1+2 = Knit in pink or blue
R. 3 (white or beige) = * 2 x k2tog.,
3 x (1 yo., 1 k.), 1 yo., 2 x pull-over
decrease (= Slip 1 st knitwise, knit
1 st and pull the slip st over the
knit st)*
R. 4 + 5 = knit in pink or blue
Repeat these 5 rows twice.
 Panties
Start with the bottom edge of one
leg.
Cast on 40 sts in pink or blue and
knit 4 rows (garter st), then work the
scalloped pattern.
In beige, knit in pattern 1 (for the
doll in blue) for another 1.5 cm,
or knit stocking st. in white for the
pink outfit (the leg is a total of 3 cm
long).
Work the second leg in the same
manner.
Put the sts of both pieces onto one
needle, casting on 14 sts in the
middle for the gusset (= 94 sts).
The gusset is knitted in st.st for both
versions.
Continue in stocking st (pink) or
pattern 1 (blue) and work at the
start of the 14 sts 1 yo and 1 pullover decrease, and at the end k2tog,
1 yo.
Purl the yarn overs in the following
row.
Continue in this manner until 2 sts.
4/2010
48
Divide the work after the first
pattern set as follows:
42 sts. for the 1st half back, 82 sts.
for the front, 42 sts. for the 2nd half
back.
Knit each part separately and cast
on 20 sts each side for the sleeves =
62 sts for the first half back, 122 sts
for the front, 62 sts. for the second
half back.
Knit the back halves straight until
there are 5 complete sets of pattern
2. Cast sts off. At the front, knit 4
complete pattern sets, cast off the
middle 20 sts, and work each side
separately, decreasing 2 x 2 sts on
each side of the neck. After 5 patterns
sets, cast off all sts. Stitch the
shoulders together. Pick up about
56 sts. at the bottom of the sleeve
and knit about 1 cm of 1k, 1p for the
cuff.
Work 2 rows of dc around the back
opening and neck, incorporating
3 chain buttonholes.
Stitch 3 buttons on.
 Bonnet
Cast on 90 sts in pink.
4 rows k (garter st) in pink, 4 rows
white in scalloped pattern, 2 knit
rows in pink.
Knit 5 x pattern 2 in white, always
working 2 knit rows with pink in
between.
Cast on 6 sts each side in the last
pink row and knit 6 rows garter
st in pink. Continue in white.
Work 25 rows as follows:
R. 1 = front row
5 k., * k2tog., 1 yo., 1 k., 1 yo.,
1 pulled-over decrease (= slip 1,
knit 1, pull the slipped st over
the knit st) 7 k. *, repeat from *
to * throughout. Row ends with
5 k.
R. 2 = back row - purl.
R. 3 = 4 k. * k2tog., 1 yo., 3 k.,
1 yo., 1 pulled-over decrease,
5 k. *, repeat from * to *
throughout., row ends with 4 k.
R. 4 = purl.
R. 5 = 3 k., * k2tog., 1 yo.,
5 k., 1 yo., 1 pulled-over
decrease , 3 k. *, repeat from
* to * throughout, row ends with
3 k.
R. 6 = purl.
R. 7 = 2 k. *, k2tog., 1 yo., 7 k.,
1 yo., 1 pulled-over decrease, 1 k. *,
repeat from * to * throughout, row
ends with 2 k.
R. 8 = purl.
R. 9 = 1 k. *, k2tog., 1 yo., 9 k.,
1 yo., 1 double decrease (= slip
1 st., k2tog., pull the slip st over the
k2tog. st), 1 yo. *, repeat from * to *
throughout, row ends with 1 k.
R. 10 = back row - 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.
4/2010
49
Drop the yarn overs in the next row,
pull long sts, cut off the thread and
pull it through the long sts. Close
the back seam with the same thread.
Pick up about 72 sts at the neck edge
and work about 1 cm in rib st. (1k,
1p).
Pull a ribbon through or attach a
ribbon on both sides.
 Socks
R. 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: 9 rows of 1 k., 1 p., 1 k., (rib stitch)
In the following row: * k2tog., inserting the needle into
the right loop (twisting the st), 1 yo. *, repeat from * to
* throughout.
Puppentraumwelt
erfüllt ihre Puppenträume
•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! —
Cast on 44 sts. and work 2 rows in
pink, continue with the scalloped
pattern.
I changed to thinner needles for the
socks.
Work 8 rows in pattern 1 (check
length on doll) and then divide the
work.
For the heel continue knitting with
the first 11 sts., leave the remaining sts. aside.
Work 10 rows stocking st. and continue as follows:
4 k., 1 yo., k2tog . (5 sts remain unknitted), turn work
and purl, slipping the yarn over.
In the following row (front row) knit in the same
manner, dropping the yarn over of the previous row.
Continue in this manner until the set-aside sts are used
up (= 12 R.). 5 sts remain on the needle and those are
set aside for the moment.
Knit the last 11 sts. in the same manner, but mirror
imaged.
On the back of the work pick up all set aside sts as
follows:
The remaining 5 sts. (from the last 11 sts), pick up 6 sts
at the side of the heel, the middle 22 sts., pick up 6 sts.
at the 2nd side of the heel, and the remaining 5 sts. (of
the first 11 sts of the heel) = 44 sts.
The middle 19 sts are knitted in pattern 1 and the rest
are knitted in stocking st. for about 1 cm.
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
[email protected]
4/2010
50
Then start the decrease for the toes.
Divide the sts in 3 groups:
Group 1 = the first 13 sts.
Group 2 = the following 18 sts
Group 3 = the last 13 sts.
2 Introduction Photo:
Knit the first 2 sts. of group 2 and
3 together and for the last 2 sts. of
group 1 and 2 work a pulled-over
decrease (= slip 1, knit 1, pull the
slipped st. over the knitted st).
Decrease in every 2nd row 4 sts in
this manner until 24 sts. remain.
Pull the working thread through the
remaining stitches. Stitch the back
seam and work the second sock in
the same manner.
•2 Babies in a nest – antique
Heubach figurine – no molds
available
•Paino Babies at the left
and right – mold set 4495
(www.dollmaker.de)
•Bonnet Hilda – mold no longer
on the market
•Dome-head Hilda – Mold from
NYDP (www.nydollproducts.com)
Finally, my dolls are dressed
attractively!
I hope you like these outfits – enjoy!
If you wish to make this project, you will find
more Infos see 
As always, I wish you a happy and
peaceful Holiday Season and we will
meet again in 2011!
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 4-10
or by telephone (49) 42 88 - 92 84 53
Your Heiderose Thies
4/2010
51
UFDC Convention 2010
Photos and Text by
Raquel Victoria Hicks (USA)
T
he
61st
Annual
UFDC
Convention was held at the
Hyatt Regency Hotel, in Chicago,
Illinois, July 18-23, 2010. The
downtown Hotel, located on the
Riverwalk and ideally situated within
the “Magnificent Mile”, is within the
epicenter of the City, only 17 miles
from the O’Hare Airport, and offers
fabulous meeting and event rooms
and a full service business center.
Following a year of organized
activities, the 61st Convention
was indeed a huge success. UFDC
President
Karen
Caldwell,
of
California, and the UFDC staff,
selected
excellent
doll-related
programs, seminars, workshops, and
exhibits within the theme chosen, My
Favorite Things with lyrics by Richard
Rodgers, and featured in the movie
The Sound of Music.
of famed writer, Victor Hugo., which
sold for 160,000 dollars.
There
were
1,192
registered
participants and 111 dealers in the
sales room.
Many volunteers and experts from
throughout the country participated
in a comprehensive week of doll
activities
and
contemplation,
surrounded by beauty, as crowds of
doll lovers from all over the world
navigated the East and West towers
and their many floors.
Coincidentally, a Theriault Auction
was held on Sunday at the Sheraton
Hotel, featuring an amazing array of
antique dolls from the collection of
novelist Anne Rice, and a fabulous
Huret Fashion with a full trousseau
once owned by the granddaughter
The competition exhibit of dolls from
247 different members was stunning,
including 1261 antique dolls with an
estimated value of US $2,480,000.00
and modern dolls with an estimated
value of US $1,800,000.00 Attendees
were delighted!
Each workshop, luncheon, and
seminar was designed to be
associated with the theme My favorite
Things. As always, UFDC started with
a newcomer’s orientation program,
designed to make the experience
more enjoyable for those who had
never attended before. My personal
4/2010
52
favorite, Doll Dialogues, featured
roundtable discussions on a variety
of topics, with discussions lasting 45
minutes. Mignonette in all her glory,
It happened in 1800”, Doll Collecting
and others, were very well attended.
Special exhibits were staged. Among
others: My favorite Things, a Rendez
vous with the Ladies, with featured
artist Alice Leverett Henderson,
as well as an exhibit of the doll
Blondinette Davranches and her
fabulous wardrobe. Another display,
A Woman of Glamour, Miss Revlon,
featured award-winning artist Robert
Tonner. A unique presentation
celebrated the 95th Birthday of
Raggedy Ann, the Johnny Gruelle
doll, displayed by Laurie McGill
and friends. Chicago’s own Jessie
McCutcheon Raleigh and her dolls
were shown in a wonderful exhibit.
These early composition dolls were
a delight to admire. Special exhibits
by NIADA (National Institute of
American Doll Artists), ODACA
(Original Doll Artists Council of
America), and J.A.D.E. (Japanese
Doll Artist Enthusiasts), were housed
in separate rooms and very well
attended. Famous Australian artist
(and one of my favorites), Catherine
Mather, displayed her lovely, delicate
lady dolls.
There were 15 publishers and some
authors present. I returned happily
loaded with new books for my library
signed by the authors.
Sami Odin of the Musée de la Poupée
(Paris), presented his new book Lilas
and the Mignonette book.
My favorites were the new Danielle
and Francois Theimer book, The
Panorama of Parisienne Dolls, The
Identification of German Character
Dolls by Mary Gorham Kormbolz, and
a beautiful book by Alan Scott Pate,
Ningyo, The Art of the Japanese Doll.
Alan also had a wonderful display
of Japanese dolls. Ticketed themed
events were optional treats.
Warm woolen Mittens featured a
souvenir Kathe Kruse doll.
At I simply remember, – a picnic
cruise on the Chicago river, a Ginny
doll made by the Vogue Company,
was given to attendees.
At the luncheon Whiskers on Kittens
by the Lake County Doll Collectors, a
souvenir doll by Heidi Plusczok was
presented.
At Raindrops on Roses, the Doll
Collectors of Houston invited guests
to a rose garden, and treated them to
a doll inspired by the art of Bertha
Hummel, and the creative genius of
John Wright.
At Doorbells and Sleighbells, a
luncheon by the Doll Scholars of
S.E. Wisconsin (which I attended),
featured speaker Louise Hedrick and
launched her new book’ A French
Fashion Doll’s Wardrobe, Patterns
1864-1874 which was presented to
those of us attending the elegant
and delectable luncheon. Louise
also showed part of her collection of
French fashions, much to our delight.
Workshops, were well attended.
Among others:
Ensemble for a 12 inch Fashion Doll,
by Louise Hedrick; Dear Googly by
Joan Benzell; Dainty Lace Bonnet by
Rosemary Clark; A Lady’s Necessaire
by Nelly Valentino; Leather Bru Body
by Darlene Lane; French fashion muff
hat and stole by Sheryl Williams. I
attended the fabulous Taking the
Mystery out of Millinery by Peggy
Brown, and The Ultimate Paletot,
by featured artist Alice Leverett
Henderson.
4/2010
53
Educational seminars were plentiful, offering a variety
of topics for a nominal fee. I enjoyed Agnes Sura’s Meet
the new Fashion Ladies, focusing on the various bodies
available for the 12 inch fashion and comparative
measurements made at the seminar. Examples were, the
Gildebrief FFP-body, Seeley’s, Ruth Brown’s composition
body, Create-a-doll leather body, and others. The
demonstration made an interesting point regarding
variation in measurements among the various bodies (the
Gildebrief fashion body
was positively viewed!).
The Convention souvenir
doll was designed by
Alice Leverett Henderson,
and made by the Vogue
Company in a Limited
Edition of 1250. Marie
Terese, a 10 inch Fashion
doll, with a porcelain
head
and
painted
eyes, resembled
an
antique Huret. She was
presented in her box,
with underwear, earrings,
a Certificate of Authenticity, and was signed on the foot
by the artist at the banquet. In the helper room, outfits
by Alice Leverett Henderson were featured. A total of 970
outfits were sold in record time, ladies standing in line
from 5 am to purchase these special garments.
A magnificent sales room with 111 sellers both at the
Hyatt and at the Sheraton
Hotel’s Rowbear Show,
did
not
disappoint.
Crowds were present at
all times of the day, with
free bus transportation
between hotels. Laces,
fabrics, doll accessories,
treasures, and a fabulous
array of antique German
and French dolls, were
offered for all to enjoy.
The sales room featured
antique dolls shown by
Michael Canadas and
David Robinson, Editors
of Doll News and owners
of the Carmel Doll Shop who also displayed an array of
Automata, a wonderful open mouth Character Jumeau,
and an A. Marque doll dressed in a red French Folkloric
outfit. A large platform automaton was exhibhited by
Peggye Tombro, and there were fabulous fabrics from
Gilda Dreher, among others. I was impressed by the open
sharing of information, generosity, and collective kindness
I perceived among dealers and found the perfect feather
4/2010
54
for the hat of my most recent project and some beautiful
vintage silk velvet.
Based on my experiences at the UFDC, I will have to say
that doll interests are alive and well!
An enjoyable tour of the competition room with a group
of judges was quite informative and helpful. I learned
that antique dolls are judged based on authenticity and
condition of the piece. They pointed out reasons for
point deduction. Arrays of breathtaking dolls arranged in
groups were presented. The 2010 winner, and President’s
Choice, was a George Most doll, dressed in Russian attire
and in perfect condition. I was impressed by a mulatto
Jumeau on a lady body, dressed in a matador costume,
a large number of absolutely wonderful fashion dolls,
many German character dolls, early dolls, cellulloid dolls
and so on. So much to provide inspiration for my future
projects!
Here are some of the
photos I took during the
convention. The lighting
was fairly dim, so the
photos don’t have the
quality one would wish
for.
Helma von Appen
Grand Master of Dollmaking
Doll Studio
Puppenkurse für Anfänger und
Fortgeschrittene in kleiner Runde
Alles für Porzellanpuppen • Zubehör
Ödenweg 75, 22397 Hamburg
Tel. 0 40 / 6 08 39 56, Fax 6 08 41 96
E-Mail: [email protected]
Annette Schlegel
Institut für Puppendesign
The Banquet Girls in White Dresses with Blue Satin
Sashes was impressive, with entertainment by a group of
young ballerinas dressed for the part and an elegant array
of fabulous food. I was invited to sit at a table with Sandy
Kravolich and her two granddaughters, Darlene Lane,
Ruth Fahden and UFDC’s past president Wendy Moncrief.
It was a delightful evening.
I look forward to the 2011 UFDC Convention, “Les
Celebrations des Poupees” which will be held at the
Hilton Anaheim, in California on July 25-29.
Lemsahler Puppenecke
Seminare – Reparaturen – alte Handarbeitstechniken – Arbeitsbooklets
3-Star-GDS-Teacher
Creativ-Trainer
Laureate of Dollmaking
Div. Internat. Auszeichnungen
Zertifikat – Kurse
Seminare Porzellan-Akademie:
Spezial-Seminare Januar bis März 2011
(für 3–4 Teilnehmer Repro und Künstler-Originale)
Schlaf- und Flirtaugen (4 Tage)
Kleiderschnitte konstruieren + ändern (1 Tag)
Verlängern für Nähen möglich
Hut konstruieren + fertigen – Stoff + Stroh (2 Tage)
Schuhe inkl. Spezialdeko aus Stoff + Leder (2 Tage)
Perücken herstellen und frisieren (2 Tage)
Spezial Maltechnik für original Künstlerpuppen
(1–4 TN) 4 Tage
Spezielle Unterlagen bitte anfordern:
Studio: Grüne Aue 11 • 38462 Grafhorst
Telefon 0 53 64 / 20 71 • Fax 0 53 64 / 85 65
Öffnungszeiten:
Mittwoch 14.30 – 18.30 Uhr u. n. Vereinbarung
eMail: [email protected]
www.annette-schlegel.de
4/2010
55
Tudor Rose Needlekeep
in Stumpwork embroidery
Tudor Rose Nadelkissen
in Nadelmalerei
Photos and Text: Lianne Hart
(Great Britain)
I
don’t know about you, but
when I am sewing I am always
losing my needles and pins. I pin
them to my sleeves or to the front of
my clothes and then they disappear
completely, so what better way of
keeping them safe than by using
lovely 17th century-style stumpwork
embroidery techniques to stitch a
Tudor Rose needlekeep.
In this article, you will learn some
of the principle techniques used
in stumpwork embroidery. This
beautiful Tudor Rose can be worn
as a brooch or on the wrist. Another
option could be to attach it to a
ribbon or beads and wear it around
the neck in the style of a chatelaine.
2 Materials:
•A 20/25cm embroidery frame/hoop
•Fine embroidery needles –
preferably size 9 or 10
•Embroidery scissors
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56
•Wire cutters or scissors suitable
for cutting wire
•1 piece of 30 x 30cm square of
pale pink cotton fabric
•1 piece of 30 x 30cm square
of green fabric
•1 piece of 30 x 30cm square
of calico
•1 small piece of yellow felt
•1 small piece of green felt
•1 small piece of thin card
•3 white paper covered wires – size
24 (available from cake decorating
shops)
•3 green paper covered wires – size 24 (available from
cake decorating shops)
•Gold Gütermann sewing thread
•1.5 metres of either 2mm or 4mm silk ribbon in either
gold or dark cream
•1 card of gold perle thread, size 8 - col. No. 26
Gold (Available from House of Embroidery/
www.outofafricaquilts.co.uk)
•1 skein each of Pink Anchor threads Nos. 968, 969,
970 and 972. Green Anchor threads Nos. 844 and 846,
or alternatively 1 skein each of DMC threads Nos. 225,
3727, 3726 and 315. Green DMC threads 3012 and 936
•Small gold safety pin or brooch pin (if being worn
as a brooch)
•Small piece of 2mm thick elastic (if being worn
on the wrist)
•A small ball of stuffing.
When you are using stranded cotton, it is worth
separating out the stands individually and then putting
back together the number required. This method will
give your embroidery a much neater appearance and will
help the strands lay more smoothly. It is also important
to keep your fabric as tight as possible in the frame/hoop
throughout this project. Before starting your embroidery,
read through the information provided to give you an
idea of the order of work.
1
into the size 9 embroidery needle. At this stage you will
also need to use the white paper covered wire.
2. Stitch your thread within the petal shape by stitching
a couple of small stab stitches and then cut off the knot.
Lay your wire around the petal shape, allowing about 3
cm of extra wire for a tail, and then couch the wire onto
the fabric starting at the base. Your stitches should ideally
be about 2-3 mm apart. Finish your thread neatly.
Drawing 1, Photo 2, 3
Zeichnung / Drawing 1
 The First Step
Start by pressing your fabric and then trace the template
shapes onto your fabric. You need to trace 5 petal shapes
onto the pink fabric and 5 leaf shapes plus a circle onto
the green fabric. Make sure that the shapes are evenly
spaced onto the fabric to allow you to stitch comfortably.
Finally, trace a circle from the template onto the middle
of the calico. Photo 1
2
 Stitch Description
 Long and short stitch
The first row of long and short stitch is stitched from inside
the shape to the edge. This row will be long and short stitches
with the short stitches being two thirds the length of the
long ones. As you move into the second row, the needle is
brought up through the stitches of the first row, splitting the
thread. Care must be taken when using 2 strands of thread
to avoid gaps as only one stitch will be split. The stitches
are all of a similar length, but they appear to be staggered
because of the first row of short stitches. Continue this way
until the shape is completed, remembering to slightly angle
your stitches around the curves.
3
 Starting the embroidery
Place the piece of prepared pink fabric into your frame/
hoop and pull it as tight as possible. This piece will be
used to stitch the petals of your Tudor Rose. All of the
petals are worked in exactly the same way. They each have
a wire edge filled with long and short stitch.
1. Thread 1 strand of the second lightest pink thread
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57
Zeichnung / Drawing 2
4
3. Use 2 strands of the lightest pink thread and fill the
petals with long and short stitches. Work the first row of
stitching by bringing the needle up inside the petal and
down against the wire, angling the needle slightly under
the wire. I have included some details describing long
and short stitch in more detail. Angle your stitches slightly
at the sides, giving a nice slightly rounded effect.
Drawing 2, Photo 4
5
6
4. Fill all five petals in the same way, shading from lightest
pink thread at the top of the shape to the darkest at the
base. To complete the petals, work a close buttonhole stitch
around the edge using 2 strands of thread in the second
lightest pink. When working the buttonhole stitches, work
the stitches over the wire and through the fabric with the
knotted edge to the outside. Do not cut out the petals at
this stage. All components should be stitched first.
Once all five petals have been completed, set this piece
aside and place the piece of pre-drawn green fabric into
your frame/hoop, repeating the embroidery process until
all five leaves have been filled. Use the green papercovered wire for the leaves. The darker green thread
should be used for couching and the lighter green
thread should be used for filling the leaf shape. Using
the darker green thread, add some veins to the leaves
and make the buttonhole edge. Photos 5, 6
Before removing the green fabric from your frame, work
the centre of the flower.
 Padding and Stitching the Centre Shape
Trace the circle template onto the yellow felt and cut out.
Stitch a running stitch around the circle on your green
fabric, about 6 mm from your traced line. Leave a tail of
thread to enable you to gather it at a later stage.
Before stitching the circle into place, cut small pieces of
ribbon approx 3.5 cm long and position them around the
circle, stitching them into place as you go. It’s nice to vary
the size a little and I stitched two layers of ribbon. The
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58
7
stitching line will form a guide for your felt. The ribbon
will make a lovely border for the centre of your flower.
Photo 7, 8
Now stitch the felt into place as follows:
1. Using the gold Gütermann sewing thread, stab stitch
the felt in place around the edge, by bringing the needle
up through the fabric and down into the felt.
Photos 9, 10
2. Leave an opening to stuff in the wadding. Add enough
wadding to give a nice rounded shape. Now complete the
stab stitching and finish your thread.
8
3. Using the cotton Perle thread and mixing the gold
colours, densely cover the shape with French Knots.
Photo 11, 12
Now set this piece of green fabric aside.
 Completing your Tudor Rose
Needlekeep/Brooch
Place your calico (USA: muslin) fabric into your frame,
pulling it drum tight. Stitch a running stitch about 6mm
around the edge of the pre-drawn circle, leaving a tail
of thread and then make a small hole in the centre of
the circle using a stiletto or the end of your embroidery
scissors. It should only be big enough to take the wires.
Photo 13a
9
11
10
12
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59
Using a pair of sharp embroidery scissors, carefully cut out
your leaves and petals. It is essential to cut close against
the buttonhole edge, taking great care not to cut the
embroidery or the wire. Cut out the yellow flower centre
a few millimetres outside the running stitches. Photo 13
Feed each leaf through the hole, one at a time, and place
the bottom of the leaf/petal just on the pre-drawn line
of the circle. The reason for this is that when the yellow
13a
centre is placed on the calico, the pre-drawn line becomes
the stitching line for the centre piece. Photo14, 15
Once the leaves are in position on the top of the frame,
fold back the wires on the reverse of the fabric. Secure
the wire pairs together and with a couple of stitches and
oversew to secure them. You could pin the shape into place
if needed. Don’t worry too much at this stage about where
they are lying on the top of the calico as you will be able to
manipulate the wires when you are finished and place your
leaves and petals into the desired shape. Photo 16, 16a
15
13
16
14
16a
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60
Keep the stitches within the drawn circle. Again, don’t
worry if they show at this point as they will be covered by
the centre of the flower.
Repeat this process with the petals. You may need to watch
your spacing at this stage. Support your shapes on the right
side of the embroidery with your left hand if required. Try
to stitch them in evenly around the circle. Photo 17
Leaving the calico tightly in the frame, you can now pull
the running stitch up tight around the yellow centre and
17
finish neatly. This should leave you with a ribbon edged
circle of padded French knots.
Adjust your leaves and petals according to the picture
and then place the centre of the rose onto the calico over
the pre-drawn circle and stab stitch the centre into place
through the French knots, making sure that you don’t spoil
the stitches. I found it useful to put a pin through the flower
centre to ensure that it stays in position before stitching.
Once you have secured the centre with some stitches, stab
stitch around the edge of the shape, again through the
French knots. The ribbon should not be stitched as it is just
a fringe under the main shape. Photo 18 and 19
Using the circle template once again, trace onto the
thin card and cut out the shape. Cut your finished rose
embroidery from the calico, a few millimetres away from
the running stitch and gently gather the running stitches
up. As you do this, enclose the card disc and a small ball
of wadding (with the wadding nearest the fabric). Pull up
the gathers until the fabric is tight around the card and
the embroidery sits neatly over it. Neatly finish off the
calico. Now decide whether to wear on the wrist or as a
brooch. Photos 20, 21, 22, 23
If you decide to wear your Tudor rose as a brooch, simply
place a small piece of felt over the gathered fabric at the
back of the brooch and use a single length of sewing thread
20
18
19
21
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61
to oversew it in place. Finally secure either a safety pin or
brooch pin with a couple of stitches. Photo 24, 24a
If, however, you decide to wear your Tudor rose on your
wrist, cut a strip of left-over fabric to the desired width
and length, stitch together on the wrong side of the
fabric, pull through to the right side and press (making a
22
tube). Cut a piece of elastic to the desired length, thread
it through the tube, and attach it to one end of the tube
with stitching. Pull the elastic and stitch it under tension
securely to the other end. Sew both ends onto the back
of the embroidery and place the small piece of green felt
over the stitched ends for a neat finish. Slide the Tudor
Rose onto your wrist. Photo 25, 26, 27, 28
If you are going to wear your rose as a necklace, simply
substitute the elastic for ribbon or a beaded necklace and
stitch into place, covering any stitches with the small piece
of green felt. Although there are lots of elements involved
in these stumpwork flowers and they may seem confusing
to start with, do persevere for, as you can see, the result is
well worth it.
24a
23
25
24
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62
Happy Stitching and Happy Holidays!
Your Lianne
26
27
If you wish to make this project, you will find
more Infos see 
Internet
www.dollmaker.de
>Shop >>Gildebrief >>>Projects 4-10
or by telephone (49) 42 88 - 92 84 53
28
4/2010
63
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4/2010
64