These muffs are based on family heirlooms dating from about 1900 and 1885; but their styling is such that they are appropriate for both earlier and later time periods. Photographic and painted evidence shows muffs similar to both these styles as early as 1650 and as late as the present. I liked the separate instructions for fur as well as fabric, which seemed to work well for the faux fur 1885 version that I made. The instructions are clear and logical with good illustrations. The pattern includes construction for draught-stoppers, at the openings of the muff, which many modern patterns do not include. I made some changes. The construction for the interior pocket suggested a zipper (not invented till 1893 and I was making the 1885 version), for which I substituted an overlapping placket. I know…it’ll never be seen but that’s the curse of pursuing historical accuracy. I have seen ruched fabric on extant examples for the wrist cord, so I substituted that for the suggested cording. Many extant muff examples show large, fancy tassels attached and I’m a tassel-freak and Levine’s in LA had them on sale and I just couldn’t help myself…
I like the result. What a fun way to use up small scraps of expensive textiles, or splurge on a teeny bit of decadent fabric to produce a small, showy item. It is very toasty in the winter and the inner pocket allows you to leave the reticule at home but still carry a pretty, flashy, and practical accessory.
Rated 5 out of 5
Catherine Scholar –
This is a very simple pattern, just rectangles. I’ve made both views and both came out very pretty. I like to make the pocket larger to fit my camera. Also, if you are not using fur (real or fake), you should probably use at least two layers of batting. I made a muff with velveteen outer and dupioni lining, with one layer of batting, and it’s kind of floppy. This is a super simple pattern that makes a fun little accessory.
Theresa Eacker –
These muffs are based on family heirlooms dating from about 1900 and 1885; but their styling is such that they are appropriate for both earlier and later time periods. Photographic and painted evidence shows muffs similar to both these styles as early as 1650 and as late as the present. I liked the separate instructions for fur as well as fabric, which seemed to work well for the faux fur 1885 version that I made. The instructions are clear and logical with good illustrations. The pattern includes construction for draught-stoppers, at the openings of the muff, which many modern patterns do not include. I made some changes. The construction for the interior pocket suggested a zipper (not invented till 1893 and I was making the 1885 version), for which I substituted an overlapping placket. I know…it’ll never be seen but that’s the curse of pursuing historical accuracy. I have seen ruched fabric on extant examples for the wrist cord, so I substituted that for the suggested cording. Many extant muff examples show large, fancy tassels attached and I’m a tassel-freak and Levine’s in LA had them on sale and I just couldn’t help myself…
I like the result. What a fun way to use up small scraps of expensive textiles, or splurge on a teeny bit of decadent fabric to produce a small, showy item. It is very toasty in the winter and the inner pocket allows you to leave the reticule at home but still carry a pretty, flashy, and practical accessory.
Catherine Scholar –
This is a very simple pattern, just rectangles. I’ve made both views and both came out very pretty. I like to make the pocket larger to fit my camera. Also, if you are not using fur (real or fake), you should probably use at least two layers of batting. I made a muff with velveteen outer and dupioni lining, with one layer of batting, and it’s kind of floppy. This is a super simple pattern that makes a fun little accessory.