Part 1 collar guide — updated!

I've just updated the Sewing a Perfect Peter Pan Collar — Part 1 guide with quite a few new bits and pieces.

There's a new section on why a collar "flies" and a simple way to test your pattern for it, more on choosing your fabric and where to start stitching, a note on the difference the scale of the doll (and your machine) makes, a little of my own sewing story, and a few extra tips besides.

It's the same guide on the same post — just go back to the Part 1 post and download again to get the new PDF. It will save as a new file (with a different name), so do delete your old copy to avoid any confusion and keep this latest version.

As always, this guide grows as I think of things, so it's worth checking back now and then for the latest version — and if there's ever something you're stuck on, do leave a comment or send me a message. I'm always happy to help.

How to Sew a Perfect Peter Pan Collar for a Doll Dress — Part 2

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New to the collar? Start with Part 1 — making the collar (or watch the Part 1 video).

This is Part 2, the companion to my video showing how I attach a finished Peter Pan collar to the dress. Part 1 covers making the collar itself; here we take that finished collar and sew it on.

There’s no voice-over in the video — it simply shows each step as I work — so this written guide goes into a little more detail than the captions on screen, explaining the why as well as the how.

As always, this is simply my way of doing it. If you already have a method you’re happy with and your collars come out well, there’s no need to change anything — please carry on as you do.

A note if you’re following a pattern: the pattern maker will usually give clear instructions for working with their own design, and if you’re new to sewing it’s best to follow those. Think of this guide simply as another way to master the collar — use it if you find my method easier, but there’s no need to set aside instructions you’re already happy with.

Before anything goes near the machine, I baste the collar in place by hand, with a contrasting thread. It’s an extra step that some people skip, but at this small scale it earns its keep: pins alone let the collar shift as you sew, while a line of basting holds everything exactly where you placed it, and a contrasting thread is easy to see and to remove afterwards.

1. Mark and pin. Mark the centre front of the neckline with a water-soluble marker. Pin both collar pieces in place along the neckline, meeting at the centre front. Then fold the bodice in half, matching the back edges, and check that both collar pieces sit an equal distance from the back opening — it’s far easier to even them up now than after they’re stitched.

2. Begin basting. With a contrasting thread, begin at the back. Make your first stitch secure the end of the collar firmly, then work along with small, even basting stitches. Take out each pin once the basting thread has passed the point where it sat, so the fabric is always held — first by the pin, then by the basting — and nothing shifts.

3. Anchor at the centre. When you reach the centre, where the first collar piece ends, make an extra securing stitch. This little anchor stops the collar creeping once you start the second side.

4. The second piece. Baste the second collar piece in just the same way, again finishing its end with an extra securing stitch.

5. Finish off. Secure the very end of the collar with a finishing stitch so the whole line of basting stays put.

6. Check the back. With the collar fully basted, fold the bodice in half once more and check both sides are the same length at the back. This is your last easy chance to correct any unevenness before the machine stitching makes it permanent.

7. Add the lining. With the bodice right side up, lay the lining on top, right sides together, so the collar is sandwiched between the bodice and the lining. This is what encloses the raw neckline edge later and gives the clean finish inside and out.

8. Pin the layers. Pin the bodice and lining together around the neckline.

9. Ease the lining. Because the collar is now basted into the seam, the bodice neckline curve has become a little shorter than the lining’s edge. Gently ease the lining to fit, working in that small amount of extra length around the curve rather than stretching the bodice to meet it. Take your time — a smoothly eased curve here is what stops the finished neckline puckering.

10. Stitch the neckline. Machine-stitch along the neckline, sewing from the middle of the back on one side, round the curve, to the middle of the back on the other. Go slowly around the curve.

11. Remove the pins. Take out all the pins.

12. Remove the basting. Now the machine stitching holds everything, take out the basting thread — the contrasting colour makes it easy to see exactly what to pull.

13. Press to set the seam. With the neckline stitched, press along the seam just as it was sewn — flat and closed. Setting the seam this way melds the stitches into the fabric and gives a crisper, flatter result once you clip, trim and turn it.

14. Clip the curve. Clip into the seam allowance around the neckline curve, taking care not to cut through the stitching. These little snips let the curved seam open out and lie flat once turned, instead of pulling tight.

15. Trim close. Trim the seam allowance back to about 2 mm from the stitching line. On a small curve a full allowance would bunch inside and show as bulk through the front; trimming close keeps the finished neckline thin and smooth.

16. Turn it out. Turn the bodice right side out, so the right sides face outward and the collar sits up where it belongs.

17. Shape the corner. With a point turner, gently push out the corner at the top of the back bodice so it’s crisp and square rather than rounded.

18. And the other side. Do the same on the other side.

19. Finger-press. Run your fingers along the seam, smoothing the front and lining flat over the collar. This settles everything into place and makes the iron’s job easier.

20. Press. Press the neckline seam, then turn the collar towards the lining and press again over the wrong side of the collar. Pressing from the wrong side keeps the right side clean and helps the seam roll slightly to the underside, so it doesn’t show from the front.

21. Remove every mark. If you’ve traced your guidelines with a water-soluble marker, as I do in the video, now is the moment to make sure every last mark is gone — marker can sometimes reappear after a while, and it’s far easier to deal with now than once the dress is assembled. Remove the marks with a little water, as before.

22. Dry before you press. Dry the fabric so it’s only slightly damp. This matters: pressing a hot iron over wet white fabric again and again can leave it looking yellowish, so take off as much water as you can first. I blot with kitchen paper, and when I need to wet and lift marker more than once I dry it with a hair dryer on a cold setting rather than risk the iron.

23. Check, then final press. As you press, the heat also brings up any faint traces you may have missed — so it’s worth being thorough now, before the sleeves and skirt go on and the bodice becomes harder to reach. Then give the collar its final press, lying flat on the bodice, so it sits beautifully.

A couple of habits that help throughout: I like to finish each part of a garment completely before moving on to the next, so nothing is left to catch up on once more pieces are added. And while I work, I hold the fabric gently, taking care not to crease what I’ve already pressed.

One important habit, above all with white, pale and vintage fabrics: no hand cream or lotion while you sew. Even a trace of the fats in them can leave a stain that won’t come out without washing the whole garment. I know some will say they’ve moisturised their hands for years while sewing all sorts of fabric and never had trouble — they’ve been lucky, as I was, right up until the day I stained a dress. Probably no one else would ever have noticed that mark, but I knew it was there. So my hand cream is for overnight only now, never during a sewing day. There’s a second reason too: cream on your skin makes your fingers pick up marker and colour from other fabrics far more easily.

And that’s your collar finished — sitting neatly on the bodice and ready for you to move on to the next step in your pattern :-)

This guide is free to use, and I do hope it helps you.

For finished dresses and more of my heirloom work, visit sasha-doll.com

The Sasha Doll Seller's Guide

A practical, step-by-step guide to selling a Sasha doll well — identifying what you have, checking its condition, pricing it fairly, photographing it, and writing an honest listing that protects you from disputes.

Whether you're a long-time collector or someone who has simply inherited or come across a Sasha, this guide walks you through everything from "what is it?" to "how do I get the best price without a refund landing on my doorstep."

A little background (so you know what you're holding)

Sasha dolls were created by the Swiss artist Sasha Morgenthaler (1893–1975). She made her first dolls by hand for her own children, then in her Zurich studio — these original studio dolls are now museum-quality pieces that can sell for very large sums. There are really three quite different families of Sasha doll: the handmade studio dolls, the course dolls made by her students, and the mass-produced vinyl Sasha dolls. The studio and course dolls are identified and priced completely differently — see the dedicated section below — while the rest of this step-by-step guide focuses on the vinyl production dolls that most people are actually selling. (A note on terminology: among collectors the word "Serie" is reserved for dolls that actually carry the "Sasha Serie" mark — the everyday vinyl dolls are simply called Sasha dolls.)

To make her dolls affordable, she licensed two factories to mass-produce them:

• Götz (Germany) — first period roughly 1965–1970, then a collector-aimed relaunch 1995–2001.
• Frido / Trendon (England) — roughly 1966–1986, run by the Doggart family. Production stopped abruptly in early 1986. The English Sasha is the one most collectors know.

The dolls are about 16–17 inches (40–42 cm), made of vinyl/PVC, with rooted synthetic hair (a few limited editions had human-hair wigs), painted eyes and the famous wistful, neutral expression. The range included Sasha (girl), Gregor (boy), Cora and Caleb (Black dolls), babies and a few toddlers, plus named limited editions.

Studio and course dolls — a different world

The mass-produced vinyl dolls in this guide are the everyday Sasha dolls. But Sasha Morgenthaler also made — and taught others to make — handmade dolls that are far rarer and far more valuable. These are not identified or priced like the vinyl dolls, and if you believe you have one, it deserves specialist authentication and appraisal, never a quick online listing.

In rough order of value, highest first:

• Studio dolls — hard body. One-of-a-kind dolls made by Morgenthaler's own hand in her Zurich studio (1940s–1975), around 20 inches tall, with hard (gypsum/plastic) heads and bodies. Museum-quality art dolls — the very top of the market, reaching the low thousands.
• Studio dolls — cloth body. Also made by Morgenthaler herself, in the earlier construction of moulded gypsum heads with cloth bodies. Collectors classify them by body "type" and face-mask "type" (for example a "B" cloth body with a "Type III" face). Just below the hard-body studio dolls, but still highly prized.
• Course dolls. Made either by students in the doll-making classes Morgenthaler ran in her Zurich studio with her assistant Trudi Löffler-Roos, under her supervision, or at home from the official Sasha kits she sold — both count as course dolls. They generally have cloth bodies with pressed-cloth faces painted by the maker. Because they were not made by Morgenthaler's own hand, they sell for far less — around £350–400 — not the low thousands that her true studio dolls command.

Identifying and handling a studio doll

• Authenticate by the foot, not the head. Studio dolls are usually signed on the bottom of one foot. Some do carry a marking on the head, but it sits under the wig and isn't guaranteed to be there — so never remove a studio doll's wig to look for it. You risk damaging a valuable, irreplaceable doll for a mark that may not even exist. Leave the wig alone and rely on the foot signature plus an expert opinion.
• Original clothes add real value. A studio doll in its original clothing sells for noticeably more than a redressed one — and you can recognise genuine Morgenthaler clothing by the "Sasha" label sewn into it.
• Cloth doesn't mean cheap. Some cloth dolls made by Morgenthaler's own hand look almost identical to course dolls but are worth far more — which is exactly why any cloth Sasha-type doll should be expertly authenticated, never assumed to be a (cheaper) course doll.

Why this matters when selling

• Identification is specialist work. These dolls are unmarked and handmade, so they're identified by construction, materials, face/body type and provenance — not by a stamp. The reference books by Ann Chandler, Susanna Lewis and Anne Votaw (Sasha Dolls: The History and Sasha Dolls: Serie Identification) and the Sasha collector community are essential.
• Price and sell differently. Never price a studio or course doll from vinyl-Sasha sold listings. Get a specialist valuation and consider selling through an auction house or the specialist collector community, where the expertise and the right buyers are.

Step 1 — Identify your doll

Before you can price it, you need to know who made it and roughly when. Check these, in order.

The markings. This is the quickest tell:

• Studio dolls — usually signed on the bottom of one foot; some may carry a head marking hidden under the wig, but never remove a studio doll's wig to check (see "Studio and course dolls" above).
• First-period Götz — marked "Sasha Serie" in a circle on the back of the head.
• Second-period Götz (1995–2001) — generally carry a marking on the back of the head (a Sasha Götz mark with mould numbers); babies are unmarked.
• Trendon / Frido — generally unmarked on the head; identified by features, packaging and wrist tags rather than a head stamp.

The face and features. Small changes help date a doll — for example, the philtrum (the little groove between nose and lip) was added after 1968, so a smooth upper lip suggests an earlier doll. In the late 1970s Trendon moved to silk-screened faces and a lighter skin tone, and the child dolls grew slightly taller.

The stringing and neck. The colour of the stringing and the type of neck attachment are useful dating clues — collectors use them to help pin down the year of manufacture. One caveat: this only holds if the doll hasn't been re-strung at some point, which replaces the original string.

Named or limited editions. Names like Gingham, Kiltie, Princess, Wintersport, Sari, Hiker, Alberto, Anna indicate a limited edition — always worth identifying, though in practice only some (notably Princess) command a real premium, while many sell close to standard doll prices. Trendon's limited editions ran mainly 1981–1985.

If you're unsure, the collector reference Sasha Dolls: Serie Identification (by "the three Anns") is the standard book, and the Sasha Morgenthaler collectors' group on Facebook can confirm an ID from good photos.

Tip: Note the doll's number if present (e.g. a Trendon 4-301 Gregor, or a 107 / 108 girl). Collectors search by these.

Step 2 — Inspect the condition honestly

This is the step most casual sellers skip — and it's where refunds come from. Undress the doll fully and check everything in good daylight. With Sasha dolls, look at:

Hair

• Is it the original length and style, or has it been cut/restyled? Original, uncut hair is worth more.
• Check for thinning, frizz, or chopped fringes.
• Inspect closely for missing hair plugs — small bald spots where plugs have come away. Early brunette Sashas (girls, boys and babies) are especially prone to hair loss, so check the crown and parting carefully.
• Look for fading — sun-faded hair (and faces) lowers value noticeably.

Face and eyes

• Are the eyes and features original factory paint, or has the doll been repainted/customised? Repaints sell for less to purists (though a beautiful artist repaint has its own market — just describe it as such).
• Check for rubs, scratches, ballpoint-pen (biro) marks, or paint loss.

Vinyl and body

• Look for stains — a very common one is a mark left by perished elastic from old knickers or clothing that has melted onto the body. Also check for ink or glue marks and any discolouration.
• Check for sticky or tacky vinyl, odd discolouration, or an uneven skin tone.
• Smell it — musty, smoky or damp odours put buyers off and should be disclosed.

Stringing, neck and posing (important for Sasha)

• Sasha dolls are held together with internal stringing under tension. Over time this loosens, which causes a "neck cave" — the collector term for when the neck collapses and the head drops down — and a doll that won't hold a pose or sit/stand properly. (A neck cave can sometimes be improved by re-stringing, but describe it honestly either way.)
• Gently check the tension: does the head sit proudly, do the limbs stay where you put them? Note any looseness honestly — "good stringing tension, no neck cave" is a genuine selling point.

Limbs and joints

• Check for splits, cracks, repairs, chew marks, or a leg/arm that has been re-attached.

Originality of outfit and shoes

• Original factory clothing, knitted socks and shoes add value. Note whether the outfit is original, vintage-Sasha, or handmade/replaced. Trendon shoes and original belts are sought after (and old belts are a classic culprit for stuck-on marks).

Golden rule: if you wouldn't want to receive the doll without being told about a flaw, then disclose it. Every flaw you photograph and describe is a refund you've prevented.

Step 3 — Note what's included (completeness)

Completeness can swing the price a long way. Note and photograph whatever you have:

• Box or cardboard tube (Trendon's classic packaging) — boxed/tubed dolls are worth more.
• Wrist tag — the blue/red/white "Sasha" tag tied to the arm.
• Booklet / leaflet / picture cards / price list.
• Original outfit, socks, shoes, belt.
• Accessories — baby basket, padded nest, "dress sets" (extra outfits), patterns.

A "mint, boxed, all original with tag and booklet" doll is a different proposition from a redressed, played-with one — and should be described (and priced) accordingly.

Step 4 — Work out a realistic price

There is no fixed price list — value depends on the combination of:

• Maker and era — early Götz and original studio dolls sit at the top; common later Trendon and 1995–2001 Götz are more affordable.
• Originality — uncut hair, factory face paint, original clothes/shoes.
• Condition — stains, fading, sunken neck, sticky vinyl and repairs all reduce value.
• Rarity — named limited editions, unusual hair/eye types, early pre-philtrum features.
• Completeness — box/tube, tag, booklet, original outfit.

Rough orientation ranges (UK, as a starting point only):

• Common vintage Trendon Sasha or Gregor, good original condition: typically ~£100–£250.
• Exceptional / rare / early / boxed-mint: £300–£500+.
• Played-with, flawed, or redressed: roughly £40–£100.
• Most limited editions actually sell close to standard doll prices — with Princess Sasha the notable exception, often reaching several hundred pounds.
• Toddlers were produced only briefly, so they're scarce and command higher prices.
• Studio and course dolls: a different market entirely (see "Studio and course dolls" above) — get a specialist appraisal, never guess from vinyl prices.

How to price accurately — don't guess, check sold prices

• Search eBay → filter to "Sold items" for the same doll/number/condition. Sold prices matter; asking prices don't.
• Check auction results (saleroom/auction sites). For help with identification or valuation, the Sasha Morgenthaler collectors' group is invaluable — it's a collectors' group rather than a sales group, but the members will gladly respond to questions.
• Match like-for-like: a boxed mint doll is not a comparable for a redressed one.

Pricing strategy: if you want a quick sale, price at or just below recent sold prices. If you're not in a hurry, you can start a little higher and reduce later — just know it may sit for a while. A fair, well-evidenced price with honest photos almost always sells faster than an optimistic one.

Step 5 — Photograph it properly

Good photos sell the doll and protect you (they're your proof of condition). Use natural daylight, a plain background, and take:

• Full length, front and back, dressed.
• Full length undressed, front and back (buyers expect to see the body).
• Face close-up (shows original paint and any rubs).
• Back of head / markings (proves the maker/era).
• Hair from a few angles (crown, nape).
• Any flaw, close up — stains, sunken neck, repairs, fading, thin hair. Photograph the faults deliberately.
• What's included — box/tube, tag, booklet, shoes, outfit.

Clear flaw photos feel counter-intuitive, but they are the single best defence against a "not as described" claim.

Step 6 — Write an honest, complete description

A good Sasha listing covers, in plain order:

• What it is — maker, era, type, name/number if known (e.g. "Vintage Trendon Sasha girl, c.1975, brunette, painted eyes").
• Originality — original hair (uncut?), original face paint, original/replaced outfit and shoes.
• Condition — go through it honestly: hair, face, body/stains, stringing & neck, posing, any repairs, smell. State the good and the not-so-good.
• What's included — box/tube, wrist tag, booklet, outfit, accessories.
• Anything you did — e.g. "New in box; I opened the box only to check and photograph the condition, as advised."
• Price and terms — price, postage, returns policy.

Honesty templates you can adapt

• "Sold as seen, fully described and photographed. Please study the photos, which form part of the description."
• "Original, uncut hair and factory face paint. Good stringing tension, no sunken neck." (only if true)
• "Small stain to [area] from perished elastic, shown in photos."
• If cross-posting: "Please note: this doll is also listed elsewhere. Once sold, it will be removed from all other listings."

If you are not a collector, say so plainly and describe what you can see — "I'm not a Sasha expert, so I've photographed everything in detail; please ask if you'd like more pictures." Honesty about your own limits is disarming and builds trust.

Step 7 — Where to sell

Sasha Doll Bazaar (Facebook) is the dedicated Sasha buying-and-selling group and one of the best places to sell — full of knowledgeable collectors who pay fairly for honestly described dolls. There's a separate group for clothing and accessories, Sasha Dolls Bazaar Outfits.

These are selling groups only — not for questions. For identification or valuation help, use the Sasha Morgenthaler collectors' group instead (see Steps 1 and 4).

To sell there

• Get approved by answering the membership questions and agreeing to the rules — completing these is what gets you automatically approved.
• Once you're in, read the rules carefully and list and post exactly as they require.
• Note that the group does not allow links to active eBay auctions or any other auctions — list within the group's own format instead.
• Check your messages — including the hidden ones. Interested buyers will message you directly. But if a buyer isn't on your Facebook friends list, their message doesn't land in your normal inbox — it goes quietly to Message Requests (sometimes shown as "Filtered"), often with no notification at all. Check it regularly or you'll miss sales. To find it: open Messenger → Message requests (in the phone app, tap your profile photo or the menu to find it; on a computer, look near the top of your chats list). Once you approve a buyer, their later messages arrive normally.

Other options

• eBay — widest reach; use the Sold filter to price, and expect fees.
• Doll fairs and collector forums — good for rarer pieces and building a reputation.
• Auction houses — sensible for studio dolls or rare limited editions, where expert valuation and a bidding audience matter.

For valuable or rare dolls, the specialist route usually beats a general marketplace.

Step 8 — Pack and ship safely

• Wrap the doll in acid-free tissue or soft cloth; support the neck/head so stringing isn't stressed in transit.
• A handy collector trick: wrap the doll's face in a clean baby nappy (diaper) — the soft padding cushions the face and head beautifully.
• Wrap shoes, tag and small parts separately so they can't rub or mark the doll.
• Use a sturdy box with plenty of padding — never a thin jiffy bag.
• If the original tube/box is part of the sale, box it inside another box so the collectible packaging arrives undamaged.
• Insure anything of value and use tracked postage. Keep your proof of postage.

Step 9 — Avoid disputes and refunds

Most doll disputes come from surprises, not flaws. You can sell a doll with a neck cave or a stain perfectly happily — as long as the buyer knew. To stay safe:

• Inspect, photograph and disclose every flaw (Steps 2 and 5).
• Describe accurately and let the photos do the heavy lifting (Step 6).
• Be wary of selling "new in box, unopened" without checking — hidden problems (perished elastic stains, loose stringing, a doll that won't pose) become your problem if a picky buyer opens it. Opening to inspect and photograph is the safer choice.
• State your returns policy clearly and keep all messages and postage records.

A doll that is honestly described and well photographed protects your money, your time, and your reputation.

Quick pre-sale checklist

• Identified maker and era (markings, features).
• Noted name/number and whether it's a limited edition.
• Undressed and inspected: hair, face, body/stains, stringing/neck cave, posing, limbs.
• Checked originality of hair, paint, outfit, shoes.
• Listed what's included (box/tube, tag, booklet, accessories).
• Researched recent sold prices for the same doll/condition.
• Set a realistic price (and a plan to reduce if not in a hurry).
• Photographed: full length dressed & undressed, face, markings, hair, every flaw, extras.
• Written an honest, complete description with terms and returns.
• Planned safe, padded, tracked, insured postage.

Compiled to help both collectors and non-collectors alike — these are questions I'm asked again and again, so I've gathered the answers here in one place. Prices are orientation only; always check recent sold listings for the specific doll and condition.

Sewing a Perfect Peter Pan Collar — Part 1: Making the Collar

A good Peter Pan collar is a mix of things: the right pattern, careful sewing, a little patience, and some practice. The single most important part is the pattern — it has to be drafted so the collar lies flat against the dress and doesn't lift or "fly" away from the neckline.

In this post I'm not going to focus on drafting the collar (I can write a separate post on that if there's interest) — instead I'll show you how to sew the collar so it comes out perfectly round and crisp. The video has no voice-over; it simply shows each step as I work, and this post fills in the detail.

What you'll need

• A lightweight fabric for the collar — ideally the same weight as the dress fabric, so the finished collar stays soft and lies flat.
• A sewing machine, fitted with a needle and threaded, ready to sew.
• A water-soluble (water-removable) marker.
• Small sharp scissors, and a rotary cutter (cutting wheel) if you have one.
• Pinking shears (optional, for trimming the curve).
• A point turner.
• An iron.
• A small spray bottle of water — the refillable kind sold in travel toiletry packs is ideal.
• Kitchen paper and a cotton bud, for removing the marker.
• A stabiliser (optional).

Preparing the pattern and cutting

If your pattern includes a seam allowance, you need to remove the outer seam allowance — the curved outer edge of the collar — but keep the seam allowance on the inner edge, the one that will be sewn to the neckline.

Once the outer seam allowance is removed, trace a new line where the outer edge now sits. This new line is your sewing line. Cut along it as accurately as you can — the precision here is what gives you a smooth curve later.

I find a large pair of scissors works best, and the trick is not to stop: cut the whole collar in one continuous motion from start to finish, rather than in little snips. Stopping and starting leaves tiny steps in the curve.

Setting up to sew

Before you cut the rectangle, lay your collar piece on the fabric to check you'll have enough room to sew — you want at least 1 inch of spare fabric all around the collar. (Very experienced sewers can get away with less.) Cut the rectangle on the straight grain, then fold it to make a triangle, with the right side of the fabric inside — a double layer — and place the collar on top, as shown in the video.

Trace carefully all the way around the collar with a water-soluble (water-removable) marker. The outer line you draw is the one you'll stitch along; the inner line marks the seam allowance that will later attach the collar to the bodice. While you're at it, put a small mark on the front of each collar piece. As I work I always keep the front facing me, so between that habit and the little mark I never lose track of which side is the front — right up until the marker is washed out later.

Stitching the curve

Set a very small stitch length — somewhere between 1 and 1.5 mm. Small stitches follow a curve far better than long ones and give a smoother edge.

Always start stitching from the front of the collar — and start both collars from the same point. I found that if you begin one collar from the front and the other from the back, the two can end up slightly mismatched; starting both from the front keeps the pair identical.

You stitch only the outer curved edge of the collar; the inner neck edge stays open — that's what you'll turn the collar through, and later attach to the bodice.

Begin with a few reverse stitches to secure the start of the seam, then sew slowly, stitching right on the outer line you drew. Every time you reach a turn in the curve and need to pivot, stop with the machine needle down, inside the fabric — then lift the foot, turn slightly, lower the foot and carry on. Keeping the needle down at every pivot is what keeps the curve continuous and even.

This part takes practice. You won't get it perfect after two or three collars — it comes with repetition, so don't be discouraged.

If you have one of the modern sewing machines that lets you pivot without lifting the presser foot each time (a pivot function or a knee lift), this step is much easier.

A note on stabiliser

You can place a stabiliser under the collar to help the fabric feed smoothly and hold its shape while you stitch. If you do, be careful when removing it afterwards not to pull or distort the stitches.

Make the second collar

Sew the second collar in exactly the same way. A Peter Pan collar is made in two halves, so you'll end up with a matching pair.

Cutting and trimming the collars

First, cut the inner edge — the line that will attach to the bodice — along the traced line, using a rotary cutter (cutting wheel) or regular scissors. This edge is left open: it's how you'll turn the collar out, and later it sits enclosed in the bodice seam.

Then trim the outer, stitched curve:

If you have pinking shears, trim close to the stitching, leaving about 1.5 mm — but take care not to cut into the stitching line. The pinked zig-zag edge takes care of the curve for you, so no separate clipping is needed.

If you don't have pinking shears, first trim the seam allowance to about 1/4 inch (6 mm) from the stitching. Then clip into the seam allowance around the curve — small snips towards the stitching, but never into it — and finally trim the allowance down to about 2 mm.

A tip on the order: make your clips while you still have that 1/4 inch of allowance. It's much easier and safer to clip with room to work. If you trim down to 2 mm first and then try to clip, it's very easy to cut through the seam by mistake.

Do both collars this way, then use a point turner to turn them right side out and ease the curved edge fully out and smooth.

Pressing the collars

Once the collar is turned out, press it with the iron — but press, don't iron. Lift the iron and press straight down; don't slide it back and forth. Sliding the iron drags and distorts the collar, and it can stretch the neck edge so that the neckline ends up bigger than it should be.

If the shape needs correcting, run the point turner gently around the inside of the curve to ease the edge out fully, then press again.

Finally, if you haven't already removed the water-soluble marker, spray the collar with water to take it out. After spraying, lay the collar pieces between sheets of kitchen paper and press lightly to draw the water out — or, for a more targeted job, lift the marker with a cotton bud dipped in water. Either way, absorb most of the liquid before you iron, then press the collar once more.

That's the collar made

Both collars are now stitched, trimmed, turned and pressed — a neat, crisp pair, ready to go on a dress. In Part 2 I'll show how to attach them to the bodice for a clean, professional finish.

Key points to remember

• Use a lightweight fabric, the same weight as the dress.
• Mark the front, and start both collars from the front, so the pair matches.
• Keep the needle down at every pivot to follow the curve smoothly.
• Clip the curve while you still have room, before the final trim.
• Press, don't iron — straight down, never sliding, or you'll stretch the neckline.
• Remove the marker and blot the water out before the last press.

Watch the full step-by-step in the video below. For finished dresses and more of my heirloom work, visit sasha-doll.com.

How to Choose Fabric for Doll Clothes

A beginner's guide to picking — and finding — the right fabric for doll sewing, from print scale to where to shop.

Sewing for dolls uses only small amounts of fabric, but not every fabric works well — and choosing the right materials from the start makes sewing easier and gives much better results.

If you're new to sewing for dolls, don't rush to buy lots of fabric. It's easy to overbuy, and your taste and needs will change over time. Fabric is expensive, so start small — less is often more.

Think about scale first

For doll clothes, print scale matters more than colour. Small prints are the safest choice — tiny florals, small dots, fine stripes, and subtle textures nearly always sit well on a doll.

Large prints are trickier. A bold, large-scale fabric can look beautiful on a doll outfit when it's placed thoughtfully — but it carries a real risk of overwhelming such a small garment, and a print that looks lovely on the bolt can fall awkwardly once it's cut to doll size. Large prints aren't off-limits, then; they simply ask for more experience and a careful eye for where a motif will land. When you're starting out, small scale is the safer bet.

When in doubt, hold the fabric at arm's length — if the pattern still looks balanced, it usually works for dolls.

Check how the fabric behaves, not just what it's made of

Two fabrics both labelled "100% cotton" can behave very differently. In the shop, scrunch the fabric in your hand:

• If it springs back smoothly, it will be easier to sew.
• If it creases sharply or feels stiff, it may be harder to turn and press tiny seams.
• Avoid fabrics that feel spongy, thick, or loosely woven.

Weight matters

Doll clothes need fabric that folds and presses well, especially around necklines and hems. Medium to lightweight fabrics usually give the best results. Heavy fabrics may fit, but they rarely hang well at doll scale.

The best fabrics for beginners

Pure cotton is the easiest to work with, and cotton poplin is especially good — it doesn't fray much, holds its shape, and doesn't slip. It's also much cheaper than quilting cotton, often around half the price, which really matters when you're starting out.

Cost is worth thinking about. Quilting cotton can start at around £15 a metre or more, and while you're still learning you will make mistakes — so there's little sense using your most expensive fabric on your first attempts. Begin with something cheap and forgiving like poplin. Quilting cotton works well too, though quality can vary even within the same brand.

Fine cottons like lawn, batiste, and Liberty Tana are beautiful but more slippery and expensive, so they're best saved for when you feel more confident.

Start at home

Before buying new fabric, look in your own wardrobe, or your children's or grandchildren's clothes. Cotton dresses with small prints are ideal, and often the skirt alone (especially if it's lined) is enough to make a doll dress. Cotton shirts with small-scale designs or stripes also work very well.

Don't overlook second-hand clothing

Used garments are excellent for doll clothes. They've usually been washed many times, so there's less risk of colour transfer to the doll. The downside is that older fabric can be slightly weaker or stretchy, so it may need a bit more care when sewing.

Look local — and don't forget the market

A local quilting or craft shop is a lovely place to start, and a quick search will show what's near you. Don't overlook street markets either — many have a fabric stall, and the remnants and end-of-roll pieces are often a fraction of shop prices, which is perfect while you're still learning.

Always test for colour transfer

Even new fabric can bleed. Before using it on a doll, dampen a small scrap and press it onto white cotton. If colour transfers, wash the fabric before sewing.

Black and red are the worst offenders — they almost always bleed, however many times you wash them. As a rule, don't use them against a doll at all, unless the garment is fully lined so the coloured fabric never touches the doll itself.

Denim is another to watch — it bleeds in most cases too, so always test and wash it before using it on a doll.

Interfacing and notions

Use lightweight fusible interfacing or stay tape only — anything too stiff can distort small garments. For snaps, hooks, and buttons, always choose the smallest size that works.

Buying fabric online

When buying fabric online:

• Check the fabric weight (gsm/oz) if it's listed.
• Zoom in on the photos to judge the weave and print scale.
• Buy a small cut first if you can.
• Fat quarters are often ideal for doll projects.

Keep some fabric just for practising

Keep some plain cotton purely for testing stitches, seam allowances, and pressing. Old cotton sheets are perfect for practice and pattern testing.

Build your stash slowly

Instead of buying many similar fabrics, aim for variety:

• One or two neutrals
• A few small prints
• One special fabric you really love

A small, well-chosen stash is far more useful than a large one you never reach for.

What about patterns?

Fabric is only half the story — you'll need patterns too. I have a selection of my best-selling pieces available as PDF sewing patterns in my boutique, for a number of the dolls I sew for, if you'd like a tried-and-tested place to start. You can see my finished pieces there too, for ideas and fabric pairings.

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