Crafts and Art: Cloth, Paint, Leather, Food, and More…


September 2014

Simple Buckskin Dress

hidedress13I have always wanted to be able to wear buckskin clothing. Buckskin is soft and fluffy, but also very durable. Buckskins have been worn as clothes and made into bags, shoes, and so much more for millennia. This dress is a very straight forward design, only requiring two deer hides (in fact, the dress is only two pieces). Luckily my hides were just big enough to get a dress out of. I was definitely on the edge of not having a large enough set of hides. Unless you have really big hides, any dress that will be larger than a size 8-10 would probably need at least one more hide (but more on that in the next step). All seams are laced together with buckskin lacing.


I began with a dress. For a pattern, I used a fabric dress that I had made from an old scarf. Around the edges on the sides, I left about an inch for seam allowance. I left the necklines very high and cut them down to shape later. Something to remember when sewing buckskin is that there’s no need to leave a hem allowance because the edge won’t fray like fabric, although binding the edge can be a very nice touch. To cut the hides, I used a very sharp scissors that I keep for cutting fabric and leather.

Cutting and sewing buckskin is not like cutting and sewing fabric. Buckskin is very three dimensional and varies in thickness. This is all very important to keep in mind when cutting because if you cut your pieces out of the edges of a hide where it’s wavy and thin it will result in a final garment that is not as strong as it should be, is difficult to sew because of the thickness, and will not lay smoothly on the body. It is worth not squeezing every possible inch out of the hide and just using the good thick consistent part.


The sides of this dress are laced. Lace is made but cutting a thin piece off an edge of a hide. In simple terms, lace is leather string. I used an awl to punch holes along the side of the dress and threaded the lace through. It’s just like sewing fabric, but on a much larger scale.


To check the fit, I tried the dress on, cutting a slit in the neck line to fit my head through. I discover that the dress needed a dart in the front and the back on the arm holes because there was a loose wrinkle as the shoulders curve into the arms. I also cut the neck to shape. The lower edges that I had left rough at the bottom, I cut smooth. The back laces, to shape the back without making darts, are threaded though the side lacing. I considered darting the back to fit the curve of the lower back, but then the waist would have been too small for my shoulders to get through without adding an opening and buttons.


hidedress16 hidedress15 hidedress14

“Buckskin is more than just a beautiful leather and an amazing clothing material, it is also part of the evolutionary history of the human species.” –Woniya Thibeault Buckskin Revolution



Bacon Pancake Poppers

Picture of Bacon Pancake Poppers

These are at deep fried bite of bacon deliciousness. They’re great finger food for breakfast (or any other meal). The sweet fluffy fried pancake batter (almost the texture of a funnel cake) is perfectly contrasted by the salty crunchy bacon center.


  • 8 slices of bacon, halved
  • jelly/jam (optional)

For the pancake batter:

  • 1 egg
  • 1 cup flour
  • 3/4 cup milk
  • 2 tbsp vegetable oil
  • 2 tbsp sugar
  • 1 tbsp baking powder
  • 1/2 tsp salt

Cooking equipment (beyond the usual):

  • Deep fryer (or a sauce pan filled with cooking oil)
  • skewers
  • a cookie sheet



Preheat oven to 375o

Roll each piece of bacon and pierce with a skewer. I put as many as I can on a skewer, but make sure there’s at least a half inch or so between each bacon roll so they can cook evenly.

Bake for 30-45 minutes, turning every 15 minutes or so. Watch for bacon grease overflow.

When the bacon is done to your satisfaction, remove from skewers. I find that crispy holds up better during battering and frying.

Picture of The Pancake

Beat the egg until it’s fluffy, and then add the remaining ingredients.

  • 1 egg
  • 1 cup flour
  • 3/4 cup milk
  • 2 tbsp vegetable oil
  • 2 tbsp sugar
  • 1 tbsp baking powder
  • 1/2 tsp salt

Picture of Jelly (Optional)
Some people really like jelly with bacon. It’s not my favorite, but my mom loves it. To add jelly, take the bacon off the skewer scoop a small spoonful of jelly into to the center.

Picture of Deep FryingDSCN2844.JPG

Heat the oil to about 335o.

Gently drop the the battered bacon into the oil, and cook until golden brown. I enjoy them with some maple syrup.

The left over batter can be poured into the oil like a funnel cake and fried to a golden brown. (Really, it tastes just like a funnel cake.)

Picture of Bacon Pancake Poppers

18th Century Stay (Reversible)

Picture of 18th Century Stay (Reversible)

The stay is supportive and versatile as a stand alone bodice or under a dress. I don’t know if reversibility is historically accurate, but as a modern woman I find it a nice feature, especially since stays are rather time consuming to make. I sewed this one by hand.


A few words on the stay in general (feel free to skip): The stay was a staple garment in the wardrobe of a woman in the western world from the late 17th century right up until the early 20th century. I call this one an 18th century stay, but really the design was similar from the 17th century on. The stay was not worn as underwear per se, but rather over a shift (linen/cotton under-gown) which was the all-in-one women’s underwear. The stay was worn under nice dresses or as a bodice on its own (depending on time period and economic status) to provide support and to give shape. The stay is the equivalent of the modern day sports bra and lifting belt combined, providing support both in front and to the back. I am not quite clear on exact distinctions between a stay and a corset, but in my experience stays tend to have tabs at the bottom, no busk in front, and sometimes shoulder straps unlike most corsets. I am also given to understand that the stay has an English origin while the corset has more French influence. The first garment that truly resembles either of these was apparently first worn in early 16th century Spain and was simply wooden lathes held together by linen tape, so be it stay or corset, it has to be more comfortable than that.


Picture of Tools and Patterns


  • I used less than a yard of each of my two fabrics and of the canvas interfacing.
  • All the usual sewing things: thread, needle, scissors, etc.
  • Boning: Store bought boning is hugely expensive (or at least I  think it is for what I get), so I used (and would recommend) plastic cable ties. The extra long cable ties found in the electrical department of the hardware store are almost identical to the imitation whalebone boning from the fabric stores. I got about 16 yards of cable tie (in 2 foot lengths) for the same price one yard of boning from the fabric store would have cost.
  • Wire cutters or strong scissors for cutting the cable tie
  • Ribbon or cord for lacing: I used about two yards for the back and two six inch pieces for the shoulder straps.


I based my stay off a Butterick pattern. My first stay was exactly off the pattern, but it was ill fitting and unwieldy because it was too thick, heavy, and it didn’t line up on my waist line which caused to pull in uncomfortably against my rib cage. For this one, I modified the pattern to line up with my waist, as well as a few other adjustments based off of some research. I found the books A History of Costume by Carl Kohler and Whatever Shall I Wear? by Mara Riley to be instructive. Also, this website was quite inspirational. Something that took me a while to figure out in my own mind was that the apex of the cuts that make the tabs is the waist line. The laces can only pull in the waist down to that point, and the tabs below this line open out to follow the natural widening on the hips below the waist line (more on this later).

Picture of Construction


I cut one of each piece of the pattern from the main fabric (blue), the lining (red), and the canvas interfacing. After this I sewed the canvas to the main fabric, and then pieced the interfaced pieces together.

Picture of Channeling and Boning

The channels are formed by sewing the interfacing to the fabric. I sketched on the boning channels on the back of the interfacing with a pencil, and then ran a running stitch down each line to make a channel between the interfacing and main fabric. Boning channel placement was really somewhat arbitrary. The only stipulation based on historical examples is that the bones be within about forty-five degrees of vertical. Based on problems I had with my first stay, I made sure to extend the bones that extend into the tabs up past the top of the tabs. Otherwise they folded out, were uncomfortable and looked terrible.

At this point I cut the slits from the lower hem the the waist line to make the tab. I found it important to remember that the height the tabs are cut to becomes the waist line because the tabs make the bottom open out for the hips.


To make bones, I cut off the tie part of the cable tie, leaving a square end. I then cut the corners off with a wire cutters and filed the end round. I then laid the bone on the channel I was filling with the rounded end lined up with the end of the channel, and made a mark on the tie in line with the other end of the channel. Following which I repeated the end rounding process, starting by cutting the tie on the mark I had just made to make a square end.


After both ends of the bone that was now the correct length were rounded, I inserted the bone in the channel.

I made sure to leave the bones in channels that touch the edge of the fabric about a quarter inch short for hemming allowance. I also made all the longest bones first so that I could use the excess from making these to bone the smaller channels.

Picture of Finishing and Lacing

After boning, I switched gears and made the lining (which for clarity is what I’m calling the reverse side). The lining is the exact same set of pieces, sewed together with the exact same seam allowance, so that the lining comes out the exact same size as the other piece (in theory, mine didn’t, but it was close enough that it worked fine with just a little trimming). The lining just lays right on the main piece and is connected by the hemming/binding on the edge.


I think traditionally the edges of stays were bound with quarter inch binding, but in pursuit of reversibility with two very different colors, I folded the edges under and whip stitched the edge to finish. I like it because its inconspicuous and binds the edges strongly.

I used a leather hole punch to cut the lace holes along the back. The holes start at the top of the back and continue down the waist line at about one and half inch intervals except the last one which was at about a half inch. I don’t particularly like metal eyelets for things like this, but they are an alternative to hand finishing the eyelets like I did. Note: The waist line is also the top of the tap slits and the lace holes need to end here so that the back tabs don’t pull together too much. It took me a while to realize this.


It was at this point that I also attached the shoulders, which I made long on purpose so that I could fit the length now when rest was more or less finished. I laced myself in and found the right length, cutting two holes here in the shoulder strap and two matching holes in the shoulder strap attachment place on the top of the front. A short section of ribbon threads through the holes holding the strap on.

From what I’ve seen of historical examples, its more historically correct to lace in a zig-zag rather than a criss-cross pattern, but I prefer the standard modern criss-cross because it make the lacing pull in evenly. They are also laced in almost all historical examples from the bottom to the top.


Front lacing stays are infinitely easier to get yourself in and out than back lacing stay, but it is possible to get yourself in and out of a back lacing stay. It takes me about ten minutes to get in on my own, but if you have a buddy (or in the old days a servant) to help, it takes much less time. To get in on your own it helps to lace the stay about one third or one half way up with the shoulder straps untied, and then pull it on backwards. From here you can finish lacing it in the front and then turn the stay the right way round, holding on to the lace ends and continuing to tighten with the stay the right way round. If I’m on my own and can’t get the lace tied at top I pull the lace down and around under my arms and tie it in front, tucking the lace under the edge of the top of the stay. Then I retie the shoulder straps. You can fully lace the stay first and pull it on the right way round, but this requires a very long lace to make it wide enough to get over your shoulders or hips. I tried this and it took me about six and a half yards of lace to squeeze in fully laced, as opposed to the two yards pictured. Two yards leaves quite enough extra to tuck in at the end, six yards was down to the floor when I was fully laced in.


The rest is really up to personal taste or exact historic time period representation.


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