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Other Recommended Shopping: Shutterbugs may want to snap a few artful exteriors before or after a visit to Colonial Photo. IT IS VERY MUCH EASIER if you finish the bottom, front, and back of a longshirt after Step C "Sew Panels Together" and before attaching the cape and sewing the top together. There are three kinds of finishing touches: ruffles, straight strip applique, and complex applique.
After 1870, there is always a narrow 2"-3" ruffle running around the longshirt at about hip level, and occasionally a second narrower ruffle a few inches above that.
After 1870, there might also be as many as five above the bottom ruffle and up the tail slit and rear seam for about a foot. Colors used tend to be limited to white, red, black, and gold, with turquoise and other colors occasionally included (see Appendix *3* Straight Applique Colors). McKenney-Hall's portrait of Tukosee Mathla shows three strips of what has to be simple cut and stitch applique along the bottom of his coat. Post-1870 examples have very nice applique patterns with a lot of variety and widths from 2" to 4". The authors know of only two or three longshirts with commercially made rickrack, and none later than on the cape in a 1940 photo taken by Deaconess Bedell. There is an option that's much easier than ripping strips of material that must be pressed before using.
Its art deco facade makes for an interesting subject and inside you'll find an experienced staff ready to teach you a little something about all things photography. After 1870, the front ruffle stopped about halfway up, at or slightly higher than the hip ruffle.

The second, higher ruffle never appears without some kind of complex applique between it and the hip ruffle.
Commercially made single fold bias tape is excellent to use for this, especially when the applique is narrow enough to be piping.
This bottom straight applique usually seems to run a little higher up on the rear seam than up the front opening, where it rarely extend past the top of the front opening ruffle.
Pre-1850s long shirts that had this seem to have had not much more than a crossed zig-zag pattern.
The leftmost figure in Sturtevant, 1962, has what could be a diamond applique strip sketched along the bottom of his coat. It is the rare longshirt that does not have some kind of complex applique between the bottom ruffle and the hip ruffle, and many have another narrower, less complex applique band above the hip ruffle. Applique patterns are created with cloth cut open and folded back to expose an underlying contrasting fabric, or cut to shape and sewn down on top of a contrasting color.
Most Seminole examples definitely show a free attitude toward "floating" edges with the pattern.
Low end to high, amateur to pro, Colonial Photo & Hobby has been serving Orlando since 1954. They may or may not be in other places, like on the cuffs, across the shoulders, and where the sleeves are joined to the body. The diagonal ruffle suggested in the instructions exists on only one known example (Sturtevant, 1956). This raw edge may be left visible, especially on the body of early 19th century longshirts, or the edge may be covered with straight applique.

When sewing straight applique up against the ruffle, be sure to also sew down the hem on the back away from the ruffle. In the back, it may or may not be squared off at the top, (but this is usual in post-1980 longshirts). One set of continuous V's were sewn down, and then crossed by another set of V's in contrasting colors. They come in 1" to 3" widths, and are highly starched, which makes the fabric easier to fold over for sewing. After 1870, two or three always appear above the narrow hip ruff, and also above the second waist ruff if there is one. In modern (post 1930) longshirts, the straight applique can continue up along the rear closed seam to the middle of the back, or even almost up to the shoulderblades. In a couple of examples, threads were pulled loose off the lower edges of these strips to make a very short fringe.
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