Workbook II by Lyn AlexanderMake Doll Shoes! Workbook II by Lyn Alexander Introduction ......... Authentic Doll Shoes A Brief History of Shoes, 1860-1930 Marked Shoes How to Make Doll Boots and Sandals ...... Strap Slippers and Sandals ..... Select the Pattern 5 Adjust the Pattern . - Making Leather Boots sossecees 8 [IL Boot and Sandal Patterns Refining the Soles — 3 Locating Supplies a sh Bibliography ‘Trimming the Shoes ....... . . Bindings ad Other Hh mee Cut-Outs i Miscellaneous .Acknowledgments My sincere gratitude goes to all those who so _rado Columbine Dollology Club and the Iowa Kate graciously let me examine their doll shoes or made Shelley Doll Club. contributions to this book, especially: The Cameron To them, and to all doll shoemakers everywhere, | Doll & Carriage Museum, Debbie Masters, Eileen dedicate this book. and Lynn Meyer, Ruth Nett and friends in the Colo- Mlustration 1. The Delineator, 1916. Reprinted with permission of the Butterick Company, Inc. Additional copies of this book may be purchased at $5.95, from Hobby House Press, Inc. ‘900 Frederick Street Cumberland, Maryland 21502 ‘oF from your favorite bookstore or dealer. Please add §3,25 per copy for postage “ind Banting 1a "nd Print 1990 3d Printing 1993 Drawings © 1983 Lyn Alexander Text © 1989 by Lyn Alexander Photographs © 1989 Hobby House Press, Ine. All rights reserved, No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the Publisher. Inquiries should be addressed to Hobby House Press, Inc.. 900 Frederick Street, Cumberland, Maryland 21502. Printed in the United States of Americ: ISBN: 0-87588-336-2Introduction Ilustration 2, Harpers Bazar, 1892. How many times have you spent long hours dress- ing a doll to perfection, only to be frustrated by the lack of perfect shoes? This no longer needs to be. With Make Doll Shoes! Workbook Il asa guide, you can now make boots and sandals to complete your doll’s cos- tume. Doll shoemaking isan easily learned craft that can bring you the joy of learning something new the thrill of creating perfect accessory and the lasting pleasure ‘of having your dolls exquisitely dressed right down to their toes, ‘Make Doll Shoes! Workbook I examined every clement in making cloth shoes. Workbook I assists you in making more complicated leather boots and sa dals. (Note: For simplicity, the text often uses “shoes and “shoemaking” in the generic sense to mean either boots or shoes) Making dolls’ shoes is not difficult but it does require attention to details. Study the text and illus- trations carefully; then practice the steps patiently. Concentrate on perfecting each detail as you go along, ‘The first shoes you make may be flawed but persevere Lf lustration 3. Harper's Bazar, 1902. and lear from your mistakes and you will soon be an accomplished doll’ shoemaker. Workbook IT's organized into three major sections: making the boots, authentic shoes and patterns Section I covers the basic aspects of making leather boots, beginning with selecting the pattern and adjusting itto fit your doll’ feet. Detailed instruc- tions and illustrations lead you step-by-step through ceach construction process Next, there aretipson sole refinements and where to locate supplies. Finally, there are four pages of authentic and novel ways to trim your doll shoes to raise them from ordinary foot coverings to creative masterpieces Section Il analyzes and illustrates old dol shoes to help you select correct shoes for antique or reproduc- tion dolls and to show you some of the array of shoemaking possibilities that are now open to you. If you want to exercise your ingenuity and creativity, use these authentic doll shoes as a springboard to all sorts of wonderful footwear for your dolls. Section Il gives you patterns for boots and sandals 3in a variety of styles and sizes to meet most of your requirements. As you become proficient at doll shoe- making, you can alter the patterns to make new de- signs If youare a newcomer todoll shoemaking, use this book as an introduction to a wonderful new craft adventure. If you are an old pro, use it to hone and sharpen your shoemnaking skills. A Brief History of Shoes, 1860-1930 The history of shoes is fascinating and a complete study would require more space than we have. There- fore, we will briefly summarize shoe fashions for wo- ‘men and children between 1860 and 1930. This 70- year period was the golden age of doll making and should be the most interesting to doll costumers. The Industrial Revolution and the sewing ma- chine brought mass production to shoemaking after the 1850s. England excelled in stout, ordinary, dura- bile footwear. France offered frivolous, fancy, high- fashion luxury shoes. In the 1890s the United States bridged the gap with attractive, fairly well-made boots and shoes in large quantities at reasonable prices, In the mid 1800s men, women and children wore boots almost exclusively’ Cloth-topped boots but- toned on the sides and ankle boots had elastic sides or laced up the inside of the ankle, Front-laced boots were introduced in the 1860s By 1867 women wore fairly high heels of the “French” type on walking boots and evening slippers. Boots laced up the front or buttoned on the outer side. Little girls wore russet or black high-buttoned boots out-of-doors in the 1870s. In the house and for best," they wore black, white or bronze kid shoes. Black ankle-strap slippers (later called Mary Janes) became popular, especially with Kate Greenaway fashions. Sometimes in summer flat slippers with crossed ribbon ties were seen In the 1880s fashionable women wore high- heeled, high-tongued shoes of the Louis XV period, Women’s outdoor shoes were oxfords of black or russet leather, while other shoes of white or bronze kid had tops of kid, cloth or satin. Evening slippers of satin or kid were sometimes highly omamented with buckles or embroidery. Sports were the rage by the 1890s. Boating or tennis called for canvas or buckskin shoes with rubber soles. For bicycling women wore sturdy low-heeled boots of black or tan leather, or half-shoes with leg- sings. “The American shoe industry was thriving in the 1890s and cheaper shoes in a variety of styles were made. Street shoes of kid, patent leather or cloth had high tops and either buttoned or laced. Oxfords were worn in summer and shoes with straps across the instep were worn both indoorsand out. In winter girls wore high leather or kid shoes that laced or buttoned, low shoes or strap slippers. Cut-outs were popular for women’s shoes in the carly 1900s, Starting with T-strap sandals, this led to very bare cut-out strap sandals in the 1930s. During World War I working women needed solid, sensible, flat-hecled shoes and boots. After the ‘war, in the 1920s, the Flapper era brought legs and feet into the spotlight and a rich variety of sports, dress and evening shoes were available. Classic design features in shoes and boots were repeated many times between 1860 and 1930, some- times with subtle variations in sole shape, heels or ‘materials. Whether sturdy and plain, or chic and ex- pensive, hoes completed and complemented the cos- tume.How to Make Doll Boots and Sandals Selecting the Pattern Successful doll dressing is as much a matter of taste as it is skill with a needle. Each element of the costume must be chosen with a sure eye and a gen- erous dollop of imagination so that the parts will add up to a pleasing whole. Your dolls shoes can be plain or fancy, neutral or vivid, generic or historic, but whether they whisper or shout, they must speak the same language as the doll and every other piece of her clothing. Carefully think through what image you want yourdoll to project; then choose her shoes to comple- ment her costume in style, color and material, and to be correct for her historical period. ‘What clothing style have you chosen for your doll? Is it dressy or casual, summer or winter, worn indoors or out? Dressy shoes are often delicate in appearance with unusual trims while casual shoes are more durable. Summer shoes are made of light weight materials in light colors — (although black patent leather isa summer classic). Winter shoes are of heavier materials and often of somber colors, Shoes that are primarily worn indoors can be more fragile than outdoor shoes. Coordinate shoes with the dress style. ‘What color do you want for your doll’s shoes? If the center of attention is in another area of the cos- tume, choose neutral, matching or harmonizing shoes. Use vivid or contrasting footwear when you ‘want to add a splash of spice to the outfit. Likewise, the shoe material can be quietly supportive, or de- cidedly flamboyant. Unify shoes with the costume in color and fabric. Besides complementing the costume in style, color and material, your doll’s shoes should also be fashionable. If you are dressing an antique or repro- duction doll, then research her probable date of man- ufacture and study all-original dolls (or pictures of them) to determine what is correct for her period. Research is easier for collectible or modern dolls be- cause there are more examples available to examine. When you create a completely original fantasy doll, then invent wonderful innovative footgear to suit your purpose. Making doll shoes takes time and effort; it can all be worthwhile if you produce perfect shoes for the doll and her costume.Adjust the Pattern Compare your doll’ foot to the sole patter. Ifthe pattern is not quite right in size, itis easy to make ‘minor adjustments in width or length. ‘After you have altered a pattern, be sure to test it in material of the same thickness as that for the fin- ished shoe. Try the test shoe on your doll to be sure that it will fit. Hfnot, make further adjustments and. test the pattern again. lustration 4 ‘A. Lengthen or shorten the length of the sole at heel, instep or toe by slashing the pattern and spreading or lapping it an even amount as needed. B. Add or subtract sole width by slashing the pattern lengthwise and spreading or lapping an even amount C. Add or subtract toe width by slashing the pattern lengthwise and spreading or lapping tin a wedge. D. Redraw the outer edge as necessary If you alter the sole pattern, you must make a similar adjustment in the shoe upper so that the pattern will fit together again. Alterations can be lustration 4B. Niustation 4A, made at the heel, toe o instep depending on the shape of the pattern, the location of design lines or seams and. where the alteration is needed. Illustration 5. When you alter a complicated boot pattem, avoid changing the design lines, For this boot add or subtract length in the heel and width inthe leg by slashing the pattern vertically and spreading or lapping, Redraw the top curve. Tlustration 6, Redrawing the outer edge isthe best solution if the change needs to be made at the toe. Temporarily tape the pattern together at the design Jine so that the change is continuous on both toe and side pieces. Separate the parts and complete the new line on the side pattern underlay. Ilusiration 7. When there is no center back seam, the pattem can be slashed vertically at center back and spread or lapped as needed. Ilustration 8, If change is required at the top of the foot, slash and spread or lap in a wedge. Mlustration 9. Make a change in the width and length of the toe by redrawing. WY ustration 4D, SEE Mlustration 4C.Iustrasion 7 Lasiation . lustration 8 Mlustration 6 Hlustation 9.Making Leather Boots lustration 10, Binished boots Doll shoemaking can be a challenging adventure leading to the satisfaction and enjoyment of creating a perfect accessory for your doll’s costume. In Make Doll Shoes! Workbook I we covered the elements of making cloth shoes. Now we focus on making leather boots and sandals. Boots are usually more compli- cated than shoes and working with leather requires special techniques and precautions While you can use ordinary equipment with leather, you will probably find that investing in spe- cial supplies makes the task easier and improves the appearance of the finished shoes. The amount you spend on supplies depends upon how much doll foot- ‘wear you intend to make. Leather is a joy to work with if you appreciate its character and requirements. Glove or garment weight leather is soft and supple and can easily be molded into smooth, rounded shoe shapes. The same supple- ness can also cause it to stretch out of shape during machine stitching. Leather's thickness and tendency tostick may cause problems with tension and smooth feeding under the presser foot of the sewing machine. Select thin, soft, garment weight leather for boots or shoes, Ifthe leather is too thick or stiff, you cannot ‘work with it; the seams will be bulky and the upper will be hard to glue to the inner sole. If the leather is too thin or soft, it may not feed smoothly under the presser foot. Lining it with cot- ton, silk or taffeta may help. Or try stitching with paper underneath the leather. Tear the paper away when you are finished stitching. Another hint is to 8 dust the leather lightly with talcum powder before stitching s0 it does not stick to the presser foot. The biggest challenge in doll shoemnaking is per- fect stitching, especially with leather. Clean and oil your sewing machine and adjust the tension before you start. Practice sewing on scraps of your shoe ‘material until you have it letter-perfect. Then take your time, concentrate your efforts and get the stitch- ing right the fist time. Do not try to rip it outand do it over. Set your sewing machine to seven to ten stitches to lin (3cm) and use sharp fine needles. Buy special leather needles at a leather store or fabric shop. Cotton-covered polyester thread is strong and gives good results, Silk or cotton thread can be ‘used for decorative stitching, Doll shoemaking is not difficult but you will need patience to complete each step exactly. Make a prac- tice pairto get the feel of the process and perfect your technique. Making shoes or boots with assembly-line methods lets you get in the swing of performing each step and when you are finished, you are rewarded swith enough shoes to make the effort worthwhile. ‘The pattern and instructions in this section are selected to illustrate the fine points of making compli- cated leather boots. They can be adapted to making simpler shoes and sandals of either fabric or cloth. 1. Compare the BOOT SOLE pattem to your doll’ foot 2. Make minor adjustments as needed. Change the BOOT UPPER at center back or around the lower circumference, as shown on page 7. 3. Make a test BOOT ofa fabric the same thick ness as your leather to be sure your BOOT will fit perfectly. Fit the test BOOT over the stocking so that it will not be too tight. 4, Glue the pattem to cardboard or plastic film from an art supply store 5, Cut out the pattem. Notch the center front (CB) and center back (CB) of the pattern pieces. 6. Trace around the UPPER pattern pieces on the wrong side of the leather. Use chalk, a felt-tip or ballpoint pen. Cutout inside the marking line and try to have the edges as smooth as possible. Mark center front (CF). Remember to reverse the pattern pieces where necessary to have complete right and left shoes. Ifyou are making many shoes, it will help if you number the pieces for each pair iaMstration 11 7. If the leather is thick and the seams will be bulky, you can skive the edges. This must be done before stitching so that you do not cut the threads ‘There are several ways of skiving, shaving or beveling the seam edge of leather to make it thinner: 1. Cutaway the excess leather on the wrong side of the seam allowance with sharp scissors. 2. Cut the leather at an angle using a sharp ‘X-actor knife. 3. Cut the leather at an angle with a safety beveler that uses razor blac 4, Sand the edges. a Mustration 12. 8. Ifyou are lining the BOOTS, glue the leather to the lining fabric with rubber cement. (It will re- main flexible when it dries) Cut out. To minimize bulk, you may want to line only the tops of the BOOTS. Mustation 13 9. You may prefer not lining the BOOTS at all In that case, reinforce the button and buttonhole areas with a patch of firm cotton fabric. Glue the patch on the wrong side of the leather with rubber cement. Mlustration 14. 10. Match the FLAP to BOOT TOP A, right sides together. Stitch the center front seam, using 1/8in (0.3]em) seam allowance. Backstitch one stitch at the top and bottom of the seam and tie square knots to hold. Complete this step for all the BOOTS you are making 11. Work in an assembly-line method, doing each step in sequence 12. Clip across the seam allowance corners. Clip the seam allowance at the curve and glue open. (Use rubber cement for all gluing of the UPPERS). For a very flat seam, pound the seam gently with a wooden mallet or padded tack hammer.Mustration 15. NOTE: Leather can be pressed with a warm dry iron if brown paper is used for a press cloth 13. Topstitch the UPPERS. Iasration 17. 14. Glue FLAP into position on BOOT TOP B. 15, Staystitch the lower edge of the BOOT TOP. 10 lustraion 18. 16. Glue TOE to BOOT TOP, just covering staystitching line. Topstitch close to the edge, through all the layers. (Or use decorative stitching or other variations.) The glue will hold the layers in position so you can direct your full attention to accu- rate stitching. 17. Staystitch lower edge of the BOOT. 18. Stitch center back seam to the intersection of the lower staystitching. Backstitch one stitch at the top and bottom. Tie square knots to hold. Clip across corners of the seam allowance. Glue and pound the seam allowance open. Cutnotchesin the curved areas of the lower seam allowance. 19. Cut INNER SOLES from poster board. Mark center front (CF) and center back (CB). Cut FILLER from cardboard of the same thickness as the leather. ‘The FILLER is a little more than 1/4in (0.65em) smaller all around than the INNER SOLE. 20. Trace the OUTER SOLES on the back of heavy leather. Cut out carefully. Have the edge assmooth as possible, (Ifyou are making many shoes or boots, you may want to buy extra sharp leather scis- sors.) 21. Darken the edge of the SOLES with a match- ing felt-tip pen. For other refinements see page 13. 22. Match the UPPER to the INNER SOLE at center back. Glue with a dot of white glue. (You will use white glue forall the gluing of the INNER SOLES and OUTER SOLES.) The staystitching line will be well under the edge of the INNER SOLE, This amount is usually about 1/4in (0.65em), depending con the thickness of the UPPER material Miustraion 20. 23. Clamp with a spring clothespin. Do this step for each of the BOOTS you are making. By the time you have finished with the last BOOT, you will be ready to begin the next step with the first BOOT, ustration 21 24. Match and glue center front the same as you did center back. (At this point you will be glad your pattern is tested and will go together smoothly.) Do this step for all the BOOTS you are making Mlastration 22. 25. Working from back to front, continue gluing the UPPERS to the INNER SOLES, The notches cut in the same allowance will help you mold the curved areas smoothly. Have a damp cloth ready to clean sticky fingers. Wipe off any glue that accidentally gets ‘on the BOOT. IMstation 23. 26. Asyou glue the UPPER to the INNER SOLE, you will want to have a little ease in the toe area — ‘but no folds, pleats or wrinkles. The fatter the doll’ foot, the more ease is needed in the toe. Push your fingers in the toe of the BOOT to see that there will be enough room for the doll’s foot. 27. Clamp the BOOT with clothespinsand allow to dry for a few minutes Ifthe clothespins are left on ‘00 long, they cause bumps in the sole of the BOOT. Remove all of the clothespins 28, Glue a cardboard FILLER in the area inside the edge of the UPPER, Do this forall of the BOOTS you are making. uMlustation 24, 28. Carefully spread glue to fill the area inside the staystitching line. Attach the OUTER SOLE, cover- ing the staystitching. Be sure the SOLE is glued se- curely all the way around, Use a toothpick to remove any excess glue that oozes out between the SOLE and the UPPER. 30, Clamp the edge with clothespins and allaw to dry fora few minutes, or until all the BOOTS you are working on have been glued. Istration 25. 12 31, Stuff the BOOTS with tissue, shaping the SOLE to havea little curve in the toe, if you wish. Set oon a flat surface and allow BOOTS to dry completely. The SOLES will become very stiff as the white glue dies 32, Try the BOOTS on the doll and mark the position of buttonholes and buttons. 33, Make a hole with a leather punch and a small slit for the buttonhole. Mlustration 26. 34. Sew on the buttons with multiple strands of thread or heavy thread in the needle. Pass the needle through the leather and button oflly once and make a knot on the wrong side. (Leave the thread between the buttons on the wrong side.) Too many holes from sewing will weaken the leather. Fasteners may be tiny buttons, beads or pearls.Refining the Soles Doll shoe soles can be made of leather or card- board that is 1/32in (0.08cm) to 1/16in (0.15cm) thick. For a professional look, smooth the edges of the soles and apply a matte or gloss finish, Sharp scissors are necessary to cut soles. For best results, have your shears sharpened before you use them for shoes. (Do not use your best sewing scissors for this purpose because cutting cardboard and leather will dull them.) Leather scissors make cutting sole leather a breeze and will be a good investment if you are planning to make many shoes. Make long accurate cuts and try to get the edge of the sole as smooth as possible. Lightly sand small irregularities with sandpaper or a fingernail emery board. To give the sole a professional finish, bevel and smooth the edge by drawing it through a beveling tool. Treat the edge and a narrow area on the wrong side ofthe sole with « leather dressing or finish. Allow the leather finish to dry; then treat the edge again and cover the entire bottom of the sole. Allow to dry thoroughly. Heel and Sole Dressing comes in black and brown and will darken the color ofa leather sole. Neat Lac is a clear lacquer that gives a gloss finish which closely duplicates that of the old shoes. Wipe it on with a soft lintless cloth Neat Lac can also be used on poster board, picture matting or cardboard soles. Locating Supplies Locating shoemaking supplies and materials can involve as much time and effort as constructing the shoes. If you are only making a few pair, use what is easily available. IF you enjoy the craft and want to expand your production, then search for better equipment and materials. ‘When you want to make leather shoes, trip toa leather store will be interesting and educational There you will find tools such as leather scissors, bevelers, skivers and leather sewing needles. Neat Lac and tiny rivets are other supplies you can use. Fall skins of leather are expensive but ask at the leather shop if they have scraps to sell. If you do not have a leather store nearby, write for the Tandy Leather catalog, 1400 Everman Parkway, Fort Worth, Texas 76102. Craft stores carry a variety of small glass and wood beads and Tacky Glue. (Many people prefer this quick-setting white glue for crafts) “The art supply store will have acetate or mylar film, poster board, picture matting, rubber cement, white glue and colored felt-tip pens. Heel and Sole Dressing in black and brown can be found at a shoe store or repair shop. This dressing is used to treat and color leather soles. Ifyou have the time and energy, a search of thrift stores or garage sales can be fruitful. Look for gloves, leather clothing, purses (for soles), and possibly beads, small buttons or other trims. Use your cre- ativity and be alert to leather, fabric, trim and sole materials that can be combined to make unique and distinctive footwear for your dolls. 13Trimming the Shoes When you study doll shoes in Section II of this book, pictured in books or magazines, or on dolls at shows, notice the myriad of ways they are trimmed, Self-fabric omaments, buckles, bindings and cut-outs are just a few methods of turning your dolls’ shoes into works of art, if you want. Many kinds of buckles and self-fabric ornaments ‘were used on doll shoes. While exact duplicates of the old buckles are not available, many new styles of tiny buckles are being produced. Dealers who carry small Ihustration 27. Leather toe omament with lead star-shaped but ton, (See Mustration 72) <> ‘Mlutration 28. Copper-colored buckle and leather toe omament (See Mutation 76) Ilusation 29. Leather toe and strap omaments with ornate lead buttons. (See dlusation 77, Iustration 30. Unusual leather toe ornament. (See Hlustation 78) lustation 31. Ornate gold buckle and silk ribbon toe ornament, 4 buckles, narrow ribbons and trims advertise in doll magazines Self-fabric ornaments are attractive and easy to make. Choose one of the styles on these two pages or design your own. Cut them from the cloth or leather you used for the shoe Bal-buttons with metal shanks were often used ‘on antique doll shoes. Small wood or glass beads are an acceptable substitute, Ilustration 32, Leather toe ornament with ornate lead button, Ilustration 33. Beautifully detailed silver-colored buckle and leather armament. Cen cs ‘Mustration 34, Silver-colored oval buckle with leather ornament. cep Iilustration 35. Silver-colored buckle and leather oeament on (=) llystration 36, Silver-colored buckle with leather ornament lustration 37. Silver colored buckle with leather ornament<= D CH ro CHD & ilver-calored oval or diamond buckles with cloth, Mtuseation 48. Iusration I, Silver-colored buckle and leather or oilloth omna- Ws . ustration 42. Silver-colored oval buckle and cloth emament CO ustration 43. Silve-colored oval buckle and cloth omament Ce Ilusration 44. Textured gold-colored rectangular buckle, Cloth Istration 49, Shiny black oileloth slipper with high heel. Silver. colored buckle on tongue,Bindings and Other Finishings “The mass-produced shoes of the 1900s often had a [A pretty finish was found on the very old boots in fabric binding covering the cut edge. A 1/4in Illustration 52. A V/8in (0.3lcm) wide strip of fabric (0.65cm) wide strip of bias was folded in half and was folded in half and glued under the cut edge ofthe glued over the edge. The binding was sometimes leather topstitched for a more finished effect. Sometimes boots or shoes had the top edge “Tape or narrow ribbon can be used tobind thecut inked or cut in tiny scallops. Many strap slippers edge. The binding could match or contrast with the after the 1920s had three scallops cut across the in shoe in color. step. Mlustration 50, Cloth ing on leather shoe Illustration 52. Antique boots with folded fabric glued under the cat edge, (See Mlusration 65.) tom /* lustration 53, White leather strap slipper with pinked edges and punched hole decoration, Aa Mlustation 51. Blue leather with white flannel lining and blue braid binding. Silver-colored oval buckle. Self-fabric toe oma- sent, Thick tan cardboard soles, IMlustation 54, Cileloth shoe with seallops across instep.Cut-Outs Cutouts began to be shown in children’s shoes in the early 1900s and gradually became more popular In the 1930s they were frequently a part of everyone's footwear. As the cut-outs became larger, various styles of sandals emerged, The casy way to make a cut-out is to mark the position of the design and then make a hole in the center with a leather punch. Cut the rest of the design with sharp scissors. Sometimes a design of holes made by a leather punch was used to trim shoes. The holes could be in a line or in a decorative design ‘We have now covered every aspect of doll shoe- making from selecting the pattern and material to the final finishing touches. We hope you will ind great joy and satisfaction in this part of dressing your dolls, Continue to perfect your skill in construction and to exercise your creativity in combining the pattern, fabric and trim to produce your own beautifully crafted handmade doll shoes. Ilustration 55. Brown leather T-trap sandal with cut-outs IMlustration 56. Brown leather Trap sandal with cut-outs marked "Modele Depose.” Illustration 57. White leather stp slipper with rows of punched holes marked "Modele Depose.” Ilustration 58. White cilcloth with cut-outs and snap on strap. ‘Tan cardboard sole and heel 7Authentic Doll Shoes had the privilege of examining several collec- tions of old doll shoes. They were not on their original dolls and were without further information. It was impossible to date them except in the most general way by analyzing materials and workmanship and comparing them with photographs of dolls in various books and magazines. The boots and shoes are grouped here by style rather than date; those that appear to be the oldest are shown fist in each cate- gory. Some of the shoes were of fine leather with leather soles. They were carefully made and well- designed. Trims were interesting and of quality mate- rials such as silk ribbon or silver-colored buckles. These appear to be older shoes that would coincide IMlustration 59. Found on Paria lead doll. Black leather boots attached to legs of cloth bods. Lacing up front. Tassel trim. istration 60, Russet leather high boot, White stitching, white cord ties with tassels, Selffabric sole stitched-on, raw edges turned to inside and seam covered with cord 18 with the time when French dolls were painstakingly made and dressed (before 1900) Other shoes I examined were similar in style, except the soles and uppers had less artistic lines, the fabrics and trims were cheap and the workmanship inferior. Some of these shoes were found on Armand Marseille, Heubach and J. D. Kestner dolls. They seem to be of the period after 1900 when Germany ‘mass-produced dolls and France sacrificed quality in order to compete in the market. ‘A number of shoes made of textured oilcloth in black, white, brown, gold, silver, pink, blue and other colors are seen on dolls made after the 1920s. Again, these shoes were mass-produced and lack the quality of older leather shoes. Mustration 61 Faded light blue kid (assoft as glove leather). Blue silk risben tie 3/8in (09cm) wide. Silver-colored buckle tiny fell fabric omament Seam up front. Tawkid leather solestitched= fn, raw edges turned to inside. é¢ Ilustration 62. Lady’ slipper with ribbon tie Z : OO Ilustation 63. Black leather side-button boot with gold butons “Top edge tumed to inside 1/Sin (O3lem). Narrow tan leather solesey ° Iitustration 64. Black kd side-button boot with double row of red straight stitching. Black glass buttons, Tan cardboard sole 1/6in lanl ceksrude bale Bleek Bel lustration 68. Side button two-tone boot. White kid uppers, chainstitch trim around edge and flat white pie-cust buttons ‘Tassel. Seam in back. Black leather lower part with no back seam. Light tan cardboard sole I/16in (0.15cm) thick with sight glaze. Found on Santa doll Ilustation 65, Black kid, font laces of string, 3/8in (0.9em) wide strip of cloth folded and edge of leather glued to the loth. Very stiff lack leather sole, black woeden heel ustraiion 69. Similar boot but inferior in quality. Front laced white cloth upper, beige igzag trim, Tan cardboard sole with no oss. Mlustration 66. White leather side-button boot with beige straight stitch rim and white metal-shank ball butons. Tan leather soles, wood heels. Al of the boots and shoes on these two pages appear to be vary el In. dal Foote: Ilustration 70. Black cilcloth laced boot. Black zigzag trim. Tan cardboard sole with no pss. DL Ilustration 67, Tan leather side button boot with double row of Illustration 71. Brown oileloth side-button boot with beige beige straight stitch trim, Brown ball buttons with metal shank, _ straight stitch trim, gold buttons. Very cheap, poorly made boot tase Thin brown leather sole with medi gloss Oileloth sole 19Marked Shoes When the doll industry was active and profitable, manufacturers of doll clothing and accessories also flourished. Successful commercial companies labeled their accessories as a mark of distinction and pride. Colemans’ The Collectors Book of Dolls’ Clothes tells of two old American companies: ‘One of the largest and most famous makers of dolls’ shoes was the Braitling factory in Bridgeport, ‘Connecticut, established in 1869. Its shoes came in many styles and sizes. The factory continued opera- tion well into the twentieth century. “Illustrated Science, 1881, had an article about another dolls’ shoe factory; apparently its author was not aware ofthe existence of the Braitling factory. But weare indebted to this article fora detailed account of the shoes made for dolls around 1881 “In the United States there is one factory...which supplies a large quantity, about fifteen hundred dozens, for the American market... “This manufactory is at Bordentown, New Jer- sey, and has been in existence about twelve years...Some of the shoes are imported, but they are inferior in style to those made in this country “The doll’ shoes...so beautifully stitched and trimmed, so perfectly, faultlessly finished from heel to toe. ‘But what shall I say of the variety in color and trimmings? They are in white and crimson, in buffand blue, in scarlet and purple, in rose color and violet, in bronze and silver and gold, every thing but black, for dolls don’t like black except in the tips of their gay Balmoral or Polish boots. And the stuff they are made of is such soft ‘material as can only be found in goat and sheep and kid and glove kid, and skivers, which is the zname for split leather... The soles are of leather ofa very thin kind, but the heels are of what is called “composition” — a preparation of glue and melted rubber, or possibly, in some styles, of wax and clay made frm and hard, and they are stuck on with glue, just as the soles are fastened to the “uppers” . There were the ankle-ties, with the diminu- tive strap all scalloped and stitched, and set with minute eyelets through which a purple or blue ‘or scarlet braid was passed, and every part asfine as hands could make. There were low, laced shoes with heels, and without; there were high- cut Balmorals with a long double row of eyelets, and extra high Polish boots, heeled and laced, or heeled and buttoned; and they were in white with scarlet tips, in white with gilt buttons, in bronze with steel. ‘cuthey also have the “trademark”... pair of boots smaller than anything you can think of “Taken fom The Collars Bak of Dolls’ Claes, by Deothy . la sbeth A. and Evel, Coleman, Copyright® 1975by Dorethy 8. Coleman, Used by pemision of Crown Publishers, In” Mlustration 72. Black leather front-laced boot with white straight ‘stitch tim, Brown cord laces, pointed star omament. Tan card board sole with mediim gloss. Marked “TRADE-MARK” and symbol of two tiny boots. 20 ——Ituswation 75, Russet leather T-stap sandal with cutouts. Very thin tan cardboard sole marked "Modele Depose” (leg with boot). Ilusvation 73, Tan leather strap slipper. Beige chain-stitch trim, Ball button and tape loop on strap. Sole of brown leather 1/I6in (0.1Scm) thick. Marked "Depose” (gure of barefoot git), Itstration 76. Dark brown leather single trap slipper with beige straightsttch trim, Copper-colored buckle and se-fabric orna~ ‘ment. Soft leather sole marked with "3 1/2" ina keystone. Musas 74 Whit leather sta slipper. Chainstich tim and row of pched hls. Very thin tan cardboard sles marked Modele Depo” lex with boot) aIlustration 77. Dark brown leather strap slipper with beige itch trim, Fancy slvercolored buttons in center of sell fabri strap and toe omaments. Sole marked with a keystone ay Iusration 78, Frontlaced boot. Leather sole marked LI" in an ‘val. Found on an all-oniginal Jumeau doll. Interesting self-fabric ‘toe omament. (See Ilustration 29.) 22 Mustrarion 79. Light brown leather laced boot. Beige chain-stiteh trim, Cord tes, Front seam. Brown leather sole marked "Depose” (figure of barefoot git)Strap Slippers and Sandals ‘ustation 80, Brown leather with straightstitch trim. Snap on strap Silver-colored buckle and selfabeic amament stapled on ‘Tan oileloth soles. This seems to be a common style Ie was alo Illustration 83. Brown leather sandal, Buckle on strap. Front strap found in white, black and red eileleth. fastened with rivet Brown cardboard sole stration 81. White textured oileloth with straightstitch trim, Seap covered with bucleon sap. Thin tan ardboardsale Very cheap Arran 84. Gold ilk sap sandal S brown cardboard sle and heal lustration 82. Medium brown kid T-trap sandal with cut-outs Snap closing. Rivets to hold straps Soft thin brown leather sole May have had cardboard inner sole. Also found in white leather,Miscellaneous summed under and ck seam. Leather 6, Shiny black sifoileloth, black zigzag stitching sd buckle, selPfabric omament. Tan cardboard sole. ap slipper. Silver buckle) and heels 24Ill Boot and Sandal Patterns Front-Laced Low Boot s sizesFront Laced Low Boot . Top Cut? © 7 FeontLaced Low Boot Bottom Front Laced Low Bot Top Cut Guz ProatLaced Low Hoot Sole Cua 2m (Fem) by Min (em) ie 7 \ \,_FrontLaced \ Low Boot Top Cut? FrontLaced Tow Boot Bottom a D 3in (Bem) by Pin (Bem) 8 staystitch 26Front aca Taw Boe Top | cue Teh! hte Fait ete ores Catz E Fhottcbakel Low BatoFour-Button Boot ery Four-Button Boot Boot Side a Cut 2 (Cut 1 and reverse 1) Four-Button Boot Boot Side b Cat 2 (Cur 1 & reverse 1) FourButton Boot Boot Side b Cut 2 (Cot 1 reverse 1) \ seaystteh Miter Le Four-Button Boot Sole Cut Bo 2a (Fein) by lin Bem) ¢ Four-Button Boot Sole Curd 2in (Gem) by lin (Bem) FourBatton Boot Boor? Toe FourButton Boot Boot Side a Cur? [Cut 1 and reverse 1)Four Button Boot Boo Cur? (Cut Tand reverse 1) 7 Foursuron Boot 4 Bop Cuz 4 (Cat & reverse I) FourBatton Boot Sole Cat 4 ‘Byim (Bem) by Vsin Bees) Four-Button Boot 1 Boot Side b Cat2 I (Cut 1 & reverse 1) Crit \® FourBuntan Boot \ Boot Toe Cut 230 FourButton Boot Boot Side a C2 (Cut 1 and reverse 1) Four Button Boot Boot Side b Cutz (Cut 1 & reverse 1) Four-Button Boot Flap Cut 2 (Cur & reverse I) D Four Button Boot Sole Cur 4 hin (Lem) by Min (4em)Tasseled Boot Epo 1. Glue patches of firm fabric to wrongside of leather to reinforce button and buttonhole area. 2. Stitch CB seam of Uppers. Stitch FLAP to UP- PER. Straight stitch around top of UPPER. Staystitch lower edge. 3. Glue HEEL section to UPPER, just covering staystitching. Topstitch 4, Glue FLAP to UPPER B at “X". Glue TOE to UPPER, just covering staystitching. Topstitch 5. Complete boots following general instructions in Section I x A Tasseled Boot Boot Side a Cut Land reverse 1 Tasseled Boot Sole Curd 3) by 3/4in (em) > A wasitch Tasseled | Heel J i: 3 ia azo i og i i Ma Mahe 4 a LS A We B Tasseled Boot Sole Curd 3in (Bem) by Wie (Bem)Modéle Deposé Sandal Ceres Modéle Deposé Sandal Heel Cut 2 staysttch B Modéle Deposé Sandal Sole Cur? 2in (Sem) by lin Gem) © Molle Deposé Sandal Filler Cav? Modéle Deposé Sandal. Sole Cue? Zin (Sera) by lin Gem) c ‘Modéle Deposé Sandal 7 ¢ Modéle Deposé Sandal Sole Cut 2 2a (een) by Win (Bem Modle Deposé Sandal Heel Cu 2 c Modéle Deposé Sandal Sole | Cut 2 2'4in (Bema) by Vin (em) 33rae & (oy) - 34 z epuPs s0Kk9CT PPO » qa A Heel i = (ke -asaiconit” SAS Deposé Sandal Filler @® 2 x rpms 20dbq POWwpicu Fal it Fepubs edocs 3ppoW 2 Mate Depo Sarat Gut ToeScalloped-Top Boot 3 Large Sizes Here is an exceptionally pretty boot pattern adapted from a child’s shoe. The intricate parts are outlined by matching or contrasting topstitching, Additional decorative stitching may be used across the instep. The boots will be pretty made of leather in single or two-toned shades of black, gray, brown, tan, beige or white. The childs shoes were of black leather with brown tops. Stitching was brown, buttons black. Line the boots or not, as you please. If unlined, reinforce the button and buttonhole area with firm fabric. Cut the insoles of cardboard and the soles of leather. If you wish you may use just the lower front and back pieces to make charming slippers. ip dip italia le a 0 4 1 1 Scalloped-Top Boot \ | Boot Top Cut 4 1 1 [Cut 2 & reverse 2) Scalloped. Top Boot Flap A oe Scalloped ep Bot en, Boot Pom Cats nse & 36B ScallopesdTop Boot Sole Curd Kin (106i) by hit (ee. 3 Sealloped: Top Boot Flap Cut 2 (Cari & reverse 1) Séallopest Tip Boot Sido Buck Co 4 (cuz Scalloped-Top Boot Boot Top Cat B reverse 2)Scalloped: Top Boot Flap cB c Scallopet-Top Boot Sole Cut 4 4¥hin (Her) by Vain (Sct) AG eke ¢ Scalloped: ‘Top Boot Side Back Can (Cue2 & reverse 2) Sealloped-Top Boot (BoctPame) Gur? Salloped-Top Boot potTop Cat (Cut2 & reverse 2) ©_— Bibliography Barton, Lucy: Historic Costume for the Stage. Boston, ‘Mass: Walter H. Baker Company, 1961. Broke, Iris. Footwear: A Short History of European and ‘American Shoes. N.Y.: Theater Arts Books, 1971. Coleman, Dorothy S,, Elizabeth A. and Evelyn. The Collector’: Book of Dolls! Clothes. N-Y.: Crown Publishers, Inc., 1975, Melimsey, Harriet. Art in Clothing Selection. NY. Harper & Row Publishers, 1963 Schwebke, Phyllis W. How to Sew Leather, Suede and Fur. N.Y: Macmillan Publishing Co., Inc., 1970. Seeley, Mildred. The Dollmaker’s Workbook: Lady Dolls. Oneonta, N.Y.: Seeley’s Ceramic Service, Inc., 1981. Sewing with Leather. Fort Worth, Tex.: Tandy Leather Co,, 1978. Smith, Patricia R. French Dolls. Paducah, Ky.: Collec- tor Books, 1979. __. French Dolls I Paducah, Ky.: Collector Books, 1981 Whitton, Margaret. The Jumeaw Doll. N.Y.: Dover Publications, Inc., 1981 PERIODICALS Delineator, The. Butterick Fashion Marketing Com pany, N.Y, Harper’s Bazar. Harper's Bazaar, N.Y. Ladies’ Home Journal. N.Y. Vogue. Conde’ Nast Publications, Inc., N.Y. 39About the Author Lyn Alexander began selling her original antique doll dress patterns in 1977. She is the designer, pat- tern maker, doll dressmaker, researcher and writer for Lyn Alexander Designs. Lyn’ interest in costume surfaced as a little girl when she played dress up. Later, it was paper dolls and creating wardrobes for her Shirley Temple doll that occupied her talents. Still later, she enrolled at Towa State University in Home Economies with a major in textiles and clothing. Her big dream as a student was to go to New York City and be a famous dress designer. She took e costume design, fashion, art, fashion illustration, pat- tern making, textile and sewing class that was offered in her curriculum, Her favorite classes were historic costume and flat pattern making Her career plans changed when she married a fellow student. During the time her children were growing up, Lyn had a dressmaking business. She created one-of-a-kind dresses by designing original patterns or adapting commercial ones. At the same time, she taught self-improvement classes that fo- cused on diet, exercise, make-up, hair care and clothing selection. She also taught sewing, tailoring and fitting classes. One day at a doll auction she suddenly realized thatall her love of costume, educational training and work experience could be concentrated on antique dolls. Thus, a new career in doll dressmaking began. When the couple moved to Denver, Colorado, in 1976, she decided to market her doll dress and acces- sory patterns, 40 Lyn’s shoe patterns and shoemaking workshops were very popular and she recognized a need for a comprehensive book about doll shoemaking. The Doll’ Shoemaker was written in 1983 to meet that need. Now it has been revised into two concise work= books.Make Doll _ Shoes! Workbook II by Lyn Alexander "Make Dol Shoes! Workbook ITs a valu- able aid in making leather doll boots and sandals. A section which illustrates and analyzes a variety of authentic doll shoes will help you duplicate old shoes. Leam a new craft or improve on your shoemaking talent through the instructions, _ illustrations and pattems in this workbook.