OUR MOST POPULAR POSTS FROM 2024


As you know, we love passing on sewing knowledge and answering questions to help makers progress in their garment sewing journey. 

Our Q&A series has been a huge part of our sewing content for the last couple of years, and in 2024 we answered over 20 maker questions - many with in-depth tutorials to clarify hard-to-understand concepts and others with our own sewing perspective, experience and knowledge. We also shared more of our sewing knowledge in the Spotlight and Behind the Scenes blog series.

In the private sewing community that belongs to our Curated by ITF members, we answered even more questions - many specific to the projects we released through our subscription, others about sewing in general. 

On Instagram (make sure you follow us if you don’t already!), we continued to share our love for sewing with our followers, posting regularly about the ups and downs of sewing life, funny and relatable memes, and of course, more sewing tips and tricks.

So, to finish up the year we thought we’d share a round-up of some of our more popular posts across the entire ITF world. If you haven’t had a chance to read or interact with them, it might be just the quiet moment you need in the coming busy season!

The ITF team will be taking a much-needed break before the new year begins. We’ll be ‘out of office’ from 20th December to 5th of January, during which time we’ll be resting, spending time with our loved ones and hopefully fitting in a little time for some R&R-style sewing!

Thank you for joining us for another year of sewing adventures and we look forward to serving you even more sewing content in 2025!

Take care,

The In the Folds team - Emily, Alys, Leanne and Xanthe

EVERYTHING WE RELEASED IN 2024


2024 has been a huuuuuuge year on many fronts. Sometimes, it’s easy to forget everything we’ve learned and achieved, because all we can see is the tree right in front of us!

So we thought it was important to take the time to appreciate the forest.

What does the forest look like for the ITF team? 

This year we achieved the release of 11 (eleven!) new projects in our Curated by ITF subscription and this month we hit the big 4-0. That’s forty Curated by ITF projects! (Check out our past issues catalogue here.) That’s a pretty major milestone for a tiny little team like ours, and we’re super proud of it.

What does the forest look like for you if you’re a Curated subscriber or ITF pattern customer? Scroll down to read exactly what you achieved with the projects you completed.

And, we’d love you to tell us what the forest looks like for you and your sewing journey this year. Tell us all about everything you’ve achieved!

January - Colour Analysis Skills Kit

What we learnt: Why colours can make you feel confident and put together, or uncomfortable and self-conscious. We gained insight into the colours we love to wear, and the colours we feel great in, plus we created colour palettes we can take with us when shopping for fabric or garments. Major confidence booster!

The personal colour analysis was very helpful and has helped me target my fabric purchases (and save $).
— Curated member, Kathy


February - Elwood dress

Sometimes you can just ‘feel it in your waters’ when a pattern is going to be popular. And our waters were right on the mark with the Elwood dress pattern!

What we learnt: Sewing French seams, bias binding, V-necks, piecing panels together accurately, sewing a raglan lantern sleeve and in-seam pockets with French seam finish.

March - Coat sewing Skills Kit + Ormond apron

What we learnt: How to sew flat felled seams on curved and straight seams, bias binding, welt pockets with French seams, vent openings, hand-stitching, block fusing and piece fusing, grading, clipping, understitching, sewing a facing.

April - Ormond coat

What we learnt: Curved seams, pockets, seam finishes with bias binding, flat-felled seams, interfacing, top-stitching, and the benefit of practicing skills before applying them to the ‘real thing’.

Ormond jacket!!! Wear it the most and learnt the most. This also includes the apron and incorporated skills which was a really fun month, I loved the low pressure learning while making a very useful item.
— Curated member, Deborah


June - Copy your clothes Skills Kit

What we learnt: How to use a French curve, checking & truing patterns, changing the amount of ease in a sleeve cap, adding seam allowance, marking notches, truing darts, adding pattern markings, drafting additional pieces, such as button plackets, slash pockets, straight waistbands, in-seam pockets, patch pockets, sleeve cuffs, neck ribbing etc.

The copy your clothes and make it your own has been very empowering for many different sewing activities. I feel like my vision/perception has improved as a result of this exercise.
— Curated member, Kathy


July - Make it your own Skills Kit

What we learnt: Altering garment fit through grading and darts, dart manipulation, panel lines - horizontal, princess, curved and variations, changing a garment's shape - length, fit, removing sleeves, adjusting armholes, waist height, adding volume, drafting facings.

August - Malvern culottes

What we learnt:  How to interpret complex patterns, new pattern markings and symbols, folding pleats, bias bound pants opening, buttons and buttonholes, in-seam pockets, and how different fabrics impact the drape of a garment.

Malvern is probably the winner for versatility and enjoyable sewing. 🏆
— Curated member, Sue


September - Drafting linings Skills Kit

What we learnt: the purpose of linings, different lining types and how to draft linings for jackets and coats; skirts with waistbands, waist facings, and side splits; and dresses with and without sleeves.

October - Sewing linings Skills Kit

What we learnt: what to consider when sewing linings with unattached hems, buttons, waistbands, zips and facings, lining fabrics and how to achieve a professional finish.

November - Lindon top

What we learnt: French seams, gathers, narrow neck binding, knit fabrics, knit neck bands, and hemming knits.


December - Fairbank hat

What we’re learning: sewing curved seams, working with interfacing, top-stitching and edge-stitching, bagging out and working with unusual fabrics.


WHAT YOU’VE BEEN MAKING…

Curated member Kathy wears a Marden shirt.

Marden shirt made by Curated member, Kathy.

Curated member, Tanja wears a pair of pin-striped Malvern culottes.

Malvern culottes made by Curated member, Tanja.

HOW TO BUY THOUGHTFULLY DURING SALE SEASONS

A guide to buying thoughtfully this sales season.

It’s that time of year when our inboxes are inundated with businesses vying for our attention: 

You need this! It’s so cheap! Don’t miss out! You might regret it if you don’t buy it now!

As a small business, we appreciate the cash flow boost that these sales can offer. And, as ordinary Aussies with home loans and rent payments and expensive grocery bills, we acutely understand the impact a discount has on a tight budget. 

But when it comes down to it...? 

When we take a deep breath and consider our In the Folds values...? 

It just doesn't align.

And so, as per all the previous years we've been in business so far, we won't be participating in the Black Friday / Cyber Monday sales. Because we don't want you to binge purchase our product just because it's cheap. 

We only want you to buy them if you're actually going to use them. 

But mostly? 

Because we create products that have extraordinary value just as they are.

As we chatted about this in a team meeting recently we thought it might be helpful to share our different perspectives on the sales seasons, and then share some of our tips for buying thoughtfully during the sale season. 

The best thing? 

These tips are actually helpful all year round!

OUR THOUGHTS ON Black Friday / Cyber Monday sales

EMILY: I find the sale season conflicting as a business owner. I admire brands that steer clear of discounting their products during the Black Friday / Cyber Monday weekend, but I do understand the appeal of making some quick sales and boosting cash flow, especially towards the end of the year. It can be difficult as a business owner to ignore the pressure and the rush to do what others are doing, but all it takes for me is to take a deep breath and I instantly know that Black Friday sales are not aligned with the values of In the Folds. I want people to purchase our products with intention, knowing that they will be used and enjoyed, not because of a flash sale. I want the people buying into the brand to become part of our community.

On a personal level, I try to be intentional about my purchasing behaviour. It is something I am still reckoning with since becoming a mother. Before having a child, I had a lot more time and could take more time to purchase the things I needed. I searched for things secondhand on marketplace and charity shops. Now, with a little one either needing a new pair of shoes yesterday or something we need for the house so we don’t trip over her toys, it feels harder to spend the time searching for things secondhand. 

LEANNE: I try to have a considered approach to consumption where I can. It’s why I got into slow fashion and sewing my own clothes in the first place. I have always enjoyed thrifting and refashioning vintage garments as a mode of creative expression, as well as more fundamentally for ethical, economical and environmental reasons. 

Obviously I am not immune to pushy advertising. There are constantly things that crop up on my radar which induce a desire to shop, but I try to hold off on impulse buying where possible. 

And yet sometimes there are occasions where you spot something and instantly know it was unequivocally meant for you. If you don’t snap it up immediately, your size will likely sell out and you will be disappointed! Spontaneity is definitely allowed. But, I try to make it the exception and not the rule, to ensure my consumer habits don’t get the better of me.

XANTHE: Our family has a really tight budget so discounts are something I’m always on the look-out for. However, because I have a clear understanding of the impact that overspending will have on my family, I’m less and less inclined to even think about spending on things I don’t actually need.

During the sales seasons I’m usually more focused on buying the regular everyday things that I know I’ll definitely use. It’s not very exciting, but cleaning products and skincare are my go-to purchases at these times. It’s also a great opportunity to up-skill in my area of work because online courses and training are usually included in these annual sales. And I’ll always give FB Marketplace a good look before buying new too, especially when it comes to furniture, or things for the kids like scooters, roller skates or bikes.

HOW TO BUY WITH INTENTION

Here are our tips for managing your consumer behaviour during the sales season, and beyond!

  1. Delete sales emails as soon as they come in.
    Or even better, ignore your inbox for the week leading up to BF/CM. For particularly persistent brands you might consider unsubscribing from their marketing emails completely at this time. It’s not likely that you’re going to miss out on something important, especially if you don’t actually need anything they’re selling right now. (See point 5!)

  2. Get outside into nature!
    Doing something as simple as taking a walk gives you an opportunity to distract yourself from the appeal of something new and remind yourself what’s actually important.

  3. Consider how or where you will store the item you’re considering purchasing.
    As someone who lives in a tiny apartment, this is very important to Emily. If she doesn't have an obvious space for it, it’s not coming in!

  4. For clothing, think about where and how you will actually wear it.
    Emily is often drawn to beautiful dresses, but in reality, in this season of her life she lives in shorts and t-shirts. When she thinks about how many times she would actually wear a beautiful silk dress in a year (maybe 2 or 3 times??) it’s easy to accept that now is not the time for the purchase.

  5. Curate ‘wants’ and ‘needs’ shopping lists.
    Through the year, keep a list of things you ‘want’. Assess the list regularly to determine if something you already own could fill the gap. If an item remains on the list for a significant period of time and your desire to purchase it hasn’t waned, add it to a ‘need’ list. Use the ‘need’ list to dictate what you purchase throughout the year or during sales. For Leanne, who has lots of birthdays that fall around Christmas time, the Black Friday sales are aptly timed, as she can get the bulk of the kids’ presents sorted in one fell swoop. It helps her to stay organised and ultimately save money, but she bases her purchases on a list of items that she would be buying anyway, sale or no sale.

  6. Check your op shop first.
    A bonus tip for point number 5? Xanthe likes to do speedy trips to her local op shops with the ‘needs’ list to see if there’s any amazing finds before buying new. This doesn’t have to be a special trip either - just a quick five to ten minute look when you’re driving past is all you need if you know what you’re looking for! And you’ll be amazed how often you’ll find exactly what you’re looking for.

  7. Never shop when…
    You know how they say not to do your grocery shopping when you’re hungry? We think the same is true for when you’re emotional! While we can all attest to how good it feels to #addtocart when you’re feeling crappy, it’s good to consider how you might feel later on when you see your depleted bank balance or maxed out credit card. And if this is you, refer to point number 2!

  8. Consider your carbon footprint.
    If you are going to purchase during the sales season, Leanne tries to purchase everything from one vendor to minimise her shipping costs and carbon footprint. Where possible, add the same things to cart across a number of stores to compare costs. Leave everything sitting in the cart, then go away for a while and do something else. When you come back, reassess everything in the cart to determine if you still think it’s needed, then buy from the store with the best value for money.

  9. Don’t be social.
    Make a concerted effort to stay off social media during this season. You probably don’t need a #amazonhaul, despite what that influencer is trying to tell you, so why not just stop tormenting yourself!

What are your thoughts on the sales seasons? Do you have any tips you can share with us for buying thoughtfully? Drop them in the comments!


WHAT YOU’VE BEEN MAKING…

Linen Marden shirt hanging on a door.

Marden shirt made by Curated member, Katherine.

BEHIND THE SCENES OF THE LINDON TOP


If you have been following In the Folds for a while, you will know that we LOVE a panel line. It’s one of the things that make our patterns recognisable and uniquely ‘In the Folds’. 

Recently someone in our community said they were curious to know how we decide where to put style lines like the ones in the Lindon top and I thought it would be a great question to answer in this week’s Behind the Scenes email.

how i learned to design garments

Early on in my university degree, we learned a new way to design garments. We would take an existing garment and drape it on a mannequin. We could turn it upside down, back-to-front, to the side, whatever we wanted, and then pinned and folded the garment until we were happy with the design. We would then draft a pattern from that concept. 

This way of designing and drafting has been one I have been coming back to over and over throughout the years. Not only am I not a great drawer, I am also not great at coming up with an idea and then formulating it into a design. What informs my designs is experimenting with shapes in a physical way, and being able to drape garments on a mannequin has always been a great way for me to generate interesting shapes and ideas.

Which brings us to the Lindon top. 

the lindon top design process

I started out thinking that I’d like to design a fairly simple top. Something that would be a nice first project for the year for our community (as the January issue of Curated is normally centred around planning projects in some way), but something that would still get people excited. 

For some reason I thought of a very old dress I have stashed away in my wardrobe. (Well, actually in a box in the top of my wardrobe waiting to be overdyed (for the second time) because it is so faded and well-loved it can no longer be worn!) This dress has a really interesting shape. It’s made from two different fabrics, has a round seam through the middle, and can be worn in multiple ways. I put the dress on and started playing with different shapes. I pulled one side forward and held it in place. Because of the two different fabrics, the panel line wrapping around the side really stood out and something about that panel seam wrapping around the body was enough to get me started.

Now that I use CLO3D to help me with my initial drafts, I was able to jump straight into it and start playing. I used the Marden shirt design as a base and started experimenting with the idea of a panel wrapping around the body.

Here is the initial draft. The different colours is how the program highlights the different pattern pieces, which is a handy function for designs like mine that have a lot of panel lines. The two parts to the wrap panel was inspired by the dress I was playing with, but after seeing it here I realised it didn’t need it and it was just overcomplicating things.

For the next take I removed the additional panel and made things more geometric. I also started playing with the idea of an asymmetric hem shape. As you can see, this is when it starts looking like Lindon. I then increased the amount of gathers in the upper section. 

For those of you who like to geek out about pattern making, you might find this interesting. The purple broken lines on the FRONT show where the piece was slashed and spread to create additional volume.

The digital process of designing the Lindon top.

In this image you can see the FRONT pattern piece for the first draft (left) and the FRONT pattern piece for the second draft (right) and the difference in volume added. This difference changes the amount of gathering in the seam that joins to the lower panel. This was a part of the design that took a lot of fine-tuning when it made it out of the digital realm.

At this stage, although the panel line was becoming the main event of the top, I actually hadn’t thought too much about the placement. I started to think about whether it would work better lower on the body. Here you can see it lower (left) and where it was in the previous version (right).

Looking back at my workflow, I can see that for some reason I chose the lower panel line at this point! For those of you who have seen the final pattern, you will know it ended up moving a lot higher, but I didn’t figure that out until I started the physical sampling process.

The plan had always been to create a pattern for a woven top. Wovens are my preferred fabric to work with and design for and what I have the most experience with. But, at this point I realised the top would look great in a knit. I added a neckband in CLO to visualise what it would look like as a t-shirt and realised this could be a pretty interesting alternate view to add to the pattern.

It was at this stage that I had gone as far as I could go in the digital realm and needed to see the pattern made up in fabric. I exported the pattern from CLO and printed it so I could make it in calico. Although I knew the final pattern would need to be made from something much lighter than calico (due to its shape and the gathers), calico helps me see any issues in the pattern that sometimes can hide or not seem like such a big deal in a lighter / more drapey fabric.

Excuse these photos! 

I was not planning on publishing them on the internet. I often try on my samples throughout the sampling process so I can get a sense of how they feel and work on the body. I take these photos for my own reference, as often what I see in a photo in comparison to what I notice in the mirror is different.

As you can see, in the first sample the panel line is very low. I didn’t mind it (and still don’t), but when imagining what our community would want, I felt like a seam line in this position wouldn’t be for everyone. Normally panel lines are placed in a garment to add some shaping or add some interest, and a seam placed in this position feels like a bit of an afterthought… like it’s not there for a reason.

I started playing with the idea of raising the panel line so it was closer to the bust. You can see how I did this by folding out a large wedge and pinning it. This is a quick way to be able to visualise what a change like this would look like before actually making the change to the pattern.

I then made the alteration to the pattern, along with a number of other things, including the front panel to the back pattern piece. As you can see in this sample, the panel line is not sitting smoothly and needs some refinement, and the angle of the vertical seam is too extreme. The pin on the toile shows where I moved it to.

If I had known I was going to write this blog post I would have taken more photos of the sampling process, as there were a few more iterations between these versions, but unfortunately this is all I have.

So I guess, to answer the question of how I place panel lines on a garment, I have to say that it’s a process of experimentation and exploring different ways seam lines can work on the body. I do this digitally at first to quickly experiment with a wide range of options, and then do it the old fashioned way of cutting and sewing and then draping on the body. 

As you can see, the design process (for me at least!) really is a combination of inspiration and trial and error. I hope you’ve enjoyed this peek behind the curtain of my creative process. If you have any questions about it, I’d love to hear them. It might even inspire our next blog post!


WHAT YOU’VE BEEN MAKING…

Morag wears an over-dyed blue Rennie dress.

Rennie dress made by Curated member, Morag.

Stephanie wears a lilac Ormond Chore Coat.

Ormond chore coat made by Curated member, Stephanie.

LINED VS UNLINED: COMPARING ORMOND AND BARKLY


If you’ve been following us for a while you probably know we love an unlined garment. (Need evidence? Please see Exhibit A, Exhibit B & Exhibit C.) 

For us, there’s just something special about seam finishes (think French seams, Hong Kong bind and bias binding) that our unlined garment patterns tend to include. They have a way of elevating a design, and make it feel a bit fancy. Like, if someone looked on the inside of the garment they’d give an appreciative ‘Ooooh!’. Something that overlocking just doesn’t quite encourage. Plus, we think they’re fun to sew!

However, we fully appreciate that sometimes a lining may be exactly what a garment needs. In fact, linings offer a number of benefits to a garment, including:

  • Improved comfort

  • Enhanced durability

  • Improved fit and structure

  • Concealment of inner details

  • Ease of wear

  • Allowing for inclusion of additional features, like pockets and boning.

  • Improved finish

  • Ease of make.

Which is why we decided to create our latest series, Drafting & Sewing Linings. Across two in-depth resources, the Drafting linings Skills Kit and the Sewing linings Skills Kit, we teach you everything you need to know to draft and sew linings for a coats, skirts and tops and dresses, using our Barkly, Ormond, Cartwright and Stow patterns as the teaching patterns.

Today, we thought it would be great to give you a visual comparison of the Barkly skirt and Ormond chore coat, before and after lining, so you know exactly what you can expect to achieve with either approach.

Barkly skirt - Lined vs unlined

From the outside, it’s not obvious whether the Barkly skirt is lined or not. Unlike a jacket, which opens to expose the internal finishes, the inside of a skirt is probably going to remain unseen. 

What’s the purpose of lining a skirt? 

One of the main reasons is improved comfort. 

A skirt lining made from a slippery material allows the outer fabric to slide over the top, preventing clinging or bunching (both of which can cause chafing - ouch!) when moving. 

Skirts made of woollen fabrics are often lined with satin to create a barrier between the scratchy wool fibres and sensitive skin. Slippery skirt linings might also prevent static cling when wearing pantyhose or stockings.

On the other hand, skirts made from natural fibres (like cotton canvas or denim, and the Barkly skirt example above) may not require a lining because the fabric has enough inherent structure to not cling or bunch. 

But, any of the reasons we outlined above might be why you choose to line a skirt.

You might simply prefer the look of a lined garment. As you can see in Leanne’s Barkly skirt below, the finish is so beautiful that you could almost wear it inside out and no one could tell the difference!

Ormond chore coat - Lined vs unlined

When deciding whether to line a coat, some key things to consider are style and intended use. 

Is it a casual coat that’s going to be worn regularly, possibly all day, while working, doing chores or running errands? If so, an unlined coat with bound or flat-felled seams (like that in our original Ormond coat pattern above) may be preferable. (If you’re interested in learning more about seam finishes and their uses, check this post out.)

In our Ormond chore coat, the denim lends itself to an unlined design. The contrast of the right and wrong sides of the denim when the sleeves are rolled up may be a feature you want to show off. 

Is it a dressy coat that will be worn out to dinner, over the top of other garments and possibly taken on and off regularly?

Like with a skirt, a slippery lining will make it easier to take a coat on and off over the top of other garments. It also adds a level of refinement to a garment, and keeps ‘unsightly’ elements like pocket bags and seams hidden. (We don’t really think these things are unsightly, but some people do!) 

So, what do you think? Is a lined garment your preferred approach, or are you happy either way?


WHAT YOU’VE BEEN MAKING…

THE HIGHS AND LOWS OF WORKING REMOTELY IN THE SEWING INDUSTRY


Once upon a time, In the Folds was a business of one - it was just little old me working away at my computer doing all the things.

I remember complaining to my partner at one stage that a pattern release day felt so anticlimactic as I had no one to celebrate with or anyone who really understood how much work went into it. I also had no one pushing or helping me along and it meant that pattern releases were few and far between. I remember doing some freelance work in a cutting room around this time and one of the patternmakers asked me how many patterns I was releasing a week. To which I replied, “I’d be lucky to release one a year at the rate I’m going!”

Things have drastically changed since those early days and I wanted to talk about that in our Behind the Scenes email this week. 

Somewhere around 2018 (the business started in 2015), I realised I needed help. It wasn’t sustainable to do it all myself and I knew it also wasn’t the best use of my time. I needed to stick to the bits I did well (designing and creating thoughtful and engaging sewing patterns) and find people to do the other bits. 

Finding the right talent for the job

I started by finding someone to grade the patterns. Up until this point I was doing it manually and it was very slow. I trialled working with a few local patternmakers, but for different reasons it never worked out. There were issues with the workflow, or issues with the patterns themselves when they were converted to digital files.

Feeling like it was going to be impossible to find someone who would work on my patterns with the same level of love and care that I did, I started trawling through a freelancing website. And there she was! The perfect fit. A patternmaker with technical illustration skills and a very keen eye for detail. Just what I needed. She may be based in Europe, but this didn’t turn me off since I’d already tried the local route and knew I needed a different approach. With clear briefs of exactly what I needed along with lots of examples, we were on our way… and we’ve been working together ever since, without ever meeting face to face or getting on Zoom!

In 2020, when I was ready to make my first official hire, I decided I needed to find someone local who could work in the studio with me to cut and sew samples and bounce ideas off. And it worked like a dream! But when the whole world shut down due to the pandemic and we were forced to work remotely. I suddenly had to clean up our operations and processes so that it could be done anywhere. And although being in lockdown was a miserable time and a miserable way to work, the silver lining was that I got my business into a state that meant we (me and my assistant at the time, Alys) could work remotely, but also that we were set up enough that we could take on remote workers for future roles or parts of the process we wanted to contract out, like grading and illustrations.

The success of these early hires and our initial jump into working remotely opened my mind to the idea of looking for talent on a much broader scale. What I do, making sewing patterns for home sewists, is quite a niche, which means the skills I need in my team are quite specific. This means that when I hired for our next two positions - a Communications assistant (2022) and a Content Creator (2023), I opened up the positions to anyone from anywhere. 

Although there would be perks to hiring someone from Sydney (more about that later), I knew I could miss out on finding the best person for the role if I was to set my sights too close to home. This led me to hiring our Communications Assistant, Xanthe (based in QLD) and our most recent hire, Leanne, for Content Creation (based in Victoria). 

Now I also work with an Editor based in Canada, a Fit Model for our extended range based in the US and a Patternmaker for the extended range in the US. And Alys, has recently come back on to help with project work… all the way from the UK!

All these things that we set up meant that the business was already designed to be quite flexible when I had my first child at the end of 2022. As a first time mum I had no idea how grateful I’d be for the flexibility as I learned about the reality of juggling a small business with a small child! I can now work from home the majority of the time, and although I do like the change of scenery of my studio, I manage to get more done when I’m at home. I don’t have to worry about getting my daughter to daycare, getting myself ready for work, packing lunch etc. I can just jump straight on the computer and deal with the rest as the day goes on. 

The downsides of remote working

Okay, so this has all sounded quite hunky dory, right? Well it is, most of the time. 

With the help of great project management software (we use Asana), cloud storage (Dropbox) and great collaborative tools such as Google Docs and Zoom, things normally go off without a hitch. Until they don’t!

One of the major downsides of remote working is that there are too many ways to communicate. Although we try to keep in touch in Asana as much as possible, sometimes we end up on different platforms. We might be texting because the matter is urgent, or we’re on the run with our kids and then the conversation moves there. I am often guilty of this because our jobs aren’t at the computer 100% of the time. Leanne is often at her sewing machine or cutting table making content and I’m often patternmaking, so sometimes it’s just easier to pick up the phone and send a text. 

This was brought to light recently when in a long text thread I sent a file to Leanne that she was waiting on. I thought she had what she needed, but she didn’t realise she had it and then she spent a week asking me politely in Asana for the file… while I worked on patterns and forgot to check Asana! It was a good lesson in the importance of keeping everything on the one platform as much as possible, but also a reminder for me to check in with my Asana messages every day. 

I love leaving my team to do their work whenever they can (as long as the job gets done), but I guess due to the nature of remote work sometimes it means I can be a bit too lax! Rather than checking in to see who needs help or support, sometimes I’m just too busy getting on with my own work, assuming everyone is okay. Remote work also means you don’t see each other in passing or knock on each other’s door if you need anything, so messages and responses might not come through exactly when you need what you’re waiting on. It also means you might not see someone struggling or falling behind. It’s not unheard of for me to open my inbox on a day I’m waiting for a piece of work to be handed to me and see an email from one of our contractors requesting more time… because life comes up sometimes, right?

When the clocks change it gets tricky

Being in three different states, with eight(!!) kids between us, I feel lucky that our three team members manage to catch up for a check-in meeting most weeks. Not only is it a great opportunity to chat about work, but it’s also nice to just catch up about life. When you’re working remotely these small pockets of interaction help a lot! But when the clocks recently changed here in NSW, I realised it meant that it’s now one time for me and Leanne, but a different time for Xanthe in Queensland. Thankfully it's only an hour difference so we manage to make it work.

The time difference with the UK (where Alys is based) is much harder. We were managing a meeting once a week when she would kindly get up at 7.30am and I could talk to her at my 4.30pm before my toddler got home from daycare. Now with the time difference it would mean an impossibly early start for Alys, or me trying to have a meeting with an almost 2 year old clawing at me. So, until the clocks change in the UK in a couple of weeks, we’ll make it work when we can… which for this week means 10pm on a Tuesday my time!

Problems can be hard to solve remotely 

One thing that’s really tricky about working remotely is you can’t be right there to help fix a problem or figure something out. Xanthe and I have quite comical conversations fairly regularly when we’re in the backend of our email marketing platform trying to figure something out together (but apart) and going around and around in circles - often confusing each other more. Sometimes it takes going away and giving it some time or giving it a go independently and then getting back on the phone. If we were in an office we could just sit down together and work it out with it all there in front of us. 

Certain things are really easy to work on collaboratively. Indesign files (how our pattern instructions are made) can be packaged and shared so that Alys and I can work on the same file without losing any of the images or any of the work each of us has done. We can work on emails and content ideas very easily by sharing Google Docs where we can each leave comments with our thoughts. In Asana, we can plan out our days and communicate with the team what we’re working on and when things are complete. We can share digital patterns with our graders over Dropbox and get editing feedback with Adobe Acrobat. 

But when it comes to helping each other with issues that arise when making garments, it’s really difficult. Recently, Leanne discovered an issue with some of the steps in our Sewing linings document as she sewed up a lined Ormond coat. She sent me a photo and I thought I knew what the issue was. I updated the instructions and sent them back to her. Then she followed a couple more steps and got stuck again. She sent me photos, an explanation of what was happening and even videos. I still couldn’t work out what was causing the problem. I had a half scale sample that I unpicked trying to work out what had happened. I had a patternmaker friend look over the photos and videos to see if she could figure it out. We got on FaceTime and I asked Leanne to show me her patterns and how things lined up. Yet, I still couldn’t find the issue. All I wanted was to teleport into her studio so I could pick up the sample and work out what the problem was. The only option I had was to sew up a sample myself and work out the problem, which was time consuming and frustrating. It meant Leanne was at a standstill while I worked it out, but it also meant the work I’d planned for that day had to go on the backburner. 

I think the biggest lesson I have learned from working with and growing a remote team is to remain flexible. The biggest pro of remote work is that you can do it around your other commitments, but it can also be the biggest downside. Kids get sick, files get lost, plans change and tasks get misinterpreted. So, we strive to learn from our mistakes and keep the lines of communication open. This means we can continue working with people who are great at what they do so we can create content and resources for our community! 

We’re always trying to give our community a realistic perspective on the sewing industry, and what goes on behind the curtains. If you’ve got any questions, please leave a comment and we’ll try to answer them!

Happy sewing,

Emily


WHAT YOU’VE BEEN MAKING…

ASK THE COMMUNITY: WHAT TO DO WHEN YOU LOSE YOUR SEWJO

Do you have tips for those of us whose creative/sewing mojo has evaporated?

Has it happened to you and if so how did you get it back?

I still like looking at websites, videos and social media but that isn't really creating when the sewing machine is buried in a cupboard.

Jenny O'Hara
Perth, Australia


Losing your motivation to sew isn’t uncommon. We don’t know what causes it, but we know it when it happens! It’s happened to all of us in the In the Folds team at different times across our sewing careers, and many have expressed their frustrations in our private online community when it hits.

But knowing that it’s a shared experience doesn’t make it any easier to negotiate.

So we thought we’d throw it open to our community to share their ways of overcoming lost sew-jo. There’s some real gems in there and we’ll definitely be using them ourselves when we lose our sewing motivation, because we can pretty much guarantee it will happen again!

WHAT TO DO WHEN YOU LOSE YOUR SEWING MOTIVATION

  • Try setting a creative pledge. Start by setting yourself a short term goal each week. It can be as simple as sewing for 20 minutes a day to help you finish a WIP. Don’t be too rigid with it - inflexibility may contribute to losing momentum, and we want that momentum to build up each week!

  • Link your sewing time to another activity to help in habit formation. Got a favourite show you love to watch or an audiobook that you’ve been wanting to listen to? Set up your sewing station so you can listen to the audio while you cross some sewing to-dos off your list. This works particularly well with old favourites because it doesn’t matter if you get a bit distracted.

  • Spend time preparing a project so that you’re ready for when inspiration / time / energy to cut strikes. 

  • Turn to some of the more mundane tasks, like mending or hemming. Sometimes doing something that requires very little of us in return (like making decisions!) can be a great way of starting the ball rolling again. And there’s nothing like getting a pile of mending out of the way to get those creative juices churning!

  • Give yourself permission to just take a break! Spend the time you’d usually be sewing learning something new. Knitting or crochet can be done while watching TV with others, and you might just find your next crafty passion…

  • Go into a clothing store and look for and try on clothes that you like. When you realise they don't fit properly and are outrageously priced you might just be inspired to start garment sewing again!

  • Watch someone else create something! TV shows like The Great British Sewing Bee are great for sparking creativity.

  • Maybe you’re just bored with the fabric and patterns you already have. Spend some time finding a new project that excites you, buy some fabric just for that project and strike while the iron’s hot! Try to keep the project simple so that you don’t burn yourself out.

  • Switch things up by sewing something for someone else.

  • Lost creativity can be a sign that it’s time to clean and declutter. Even though we creatives can often function quite well in what others would class as ‘mess’, there does come a point where a clean slate works wonders. And you might find a lost project that will be just what you need!

  • Rotate between projects that are at different stages. For example, one project might be at the preparation stage, another might be at the cutting out stage and another at point of finishing. 

  • Alternate between projects of different skill levels - challenging projects give you a chance to push yourself and up-skill, while the easier, more care-free projects let you have a breather and just have fun.

Got any sewjo locating tips you can share in the comments? We’d love to hear them!

Happy sewing,

Emily


WHAT YOU’VE BEEN MAKING…

BEHIND THE SCENES: THE PROS AND CONS OF DESIGNING PATTERNS IN HALF SCALE

When I first started planning our Sewing Linings Series (which kicked off this month with part one!), I decided I wanted to cover a lot of ground. As I delved into exploring everything to do with linings, I realised there were three main areas that I felt were important to cover - lining jackets and coats, linings skirts, and lining tops and dresses with and without sleeves.

And then I realised it was going to be a lot of work. Suddenly a project that I had envisaged as a one month project became a two month project - one month to work on drafting linings and one month to work on sewing linings. And even then it was still A LOT of content to create!

WHY WORK ON DESIGNS IN HALF SCALE?

I started thinking it might be a good idea to work in half scale to create the patterns and the sewn samples. This way I could save time on assembling patterns, cutting samples, drafting and sewing. As my patterns are already digitised, it’s easy enough to jump into Adobe Illustrator and transform them to half scale. I was overloaded with work at the time and asked a lovely friend, Melanie, who is also a patternmaker to get started on the project by drafting the Ormond coat lining patterns.

In terms of drafting in half-scale, the process is simple enough. If working with measurements or seam allowances, you simply halve the measurement for the smaller pattern. For example, if adding a 1.2cm (1/2in) seam allowance, this becomes 6mm (1/4in) in half scale.

Drafting in half-scale to be used as a reference for creating tutorials was great. If Melanie had been drafting in full scale it would have been difficult to photograph the pattern pieces and show all the details. Especially for the longer version of the Ormond coat that has quite large pieces. In half scale I could very easily see what was happening on the pattern and create the digital illustrations.

The next phase of the process was to make a sample, photograph the steps and take notes as we went. The notes were then sent to our illustrator who created all the illustrations for our sewing instruction booklets. When it came to sewing, the early stages were easy enough, and again, it was easy to take photos of all the pieces, a task which can be difficult in full scale. I often climb up onto a step stool to try to fit in as much of the sample in the shot.

However, as the process went on it got more and more difficult to sew with the small seam allowances. A 6mm (1/4in) seam allowance is only 2mm (1/8in) in half scale, which is almost impossible to sew! When I checked in on Melanie at this stage she said she would have preferred to sample in full scale as it would have been a lot easier and potentially taken the same amount of time as things would have come together more smoothly, but at this point it was too late and the patterns were already drafted in half scale.

Thankfully, Melanie has a little half scale mannequin, which not only meant we could see the little tiny jackets on a body (how cute!) but also catch any problems as we went. As you can see in the photo above of the Ormond coat, when the coat is worn open the point where the lining joins to the facing is visible. By catching this on the sample we were able to update the instructions to include a section on altering the facing so this would not happen.

When it was my turn to work on content (I did the Barkly skirt, Stow dress and Cartwright dress) I decided to stick with half scale (even though Melanie had warned me how tricky it was!). I was short on time and also had some figuring out to do while sewing the samples so thought it would be helpful. I could check things easily enough and if I needed or wanted to take a different approach I could easily re-cut the pieces and start again.


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For View B (the version with the side split), I wasn’t sure what the best way was to cleanly finish the lining at the side split. I made the half scale sample and when I got to this point I realised the lining was sitting much too close to the top of the side opening. By making the sample in half scale, I could quickly cut out another one and work on a different approach to the side split and compare the two. 

When it was time to make the Stow dress, sewing in half scale did speed things up, but what I hadn’t thought about was how impossible it is to turn out a facing / lining using the burrito method with a very narrow shoulder. It was almost impossible to feed the dress through the shoulder to get a clean finish at the armhole. As these photos are just used to send to our illustrator (who is a patternmaker and has all the skills needed to interpret these photos) I didn’t worry too much about the sample not being finished correctly at the armhole, as I knew in full scale this would be fine.

So would I create project content in half scale again?

It depends. 

What I have taken away from this process is that patternmaking in half scale is the best way to ensure all the details are clear in the photos, and I feel it makes the process of creating tutorials easier. 

As for the sewn samples, I think this depends on the garment. For more complex garments like the Ormond coat, working in full scale would have been much easier and cut down on frustration. I would also make the Stow dress in full scale if I were to do it again. But the Barkly skirt and Cartwright dress worked a dream in half scale so I’d stick with that

As a sewist, there are some advantages of working in half-scale. If you want to learn a new skill but are not sure you’d use the pattern, then following the tutorial in half scale is a great idea. You’ll learn the skills without having to use all the paper, time and fabric it would normally take to work in full scale. Working in half scale is also handy if you want to try something out but you’re not sure how it’s going to work. I often do this if I am testing out an alteration on a specific pattern and I need to see what will happen to the design lines. Once I’m happy with how it’s working I can do it in full scale and not waste any time or get any nasty surprises.

So what do you think, will you try your next patternmaking project in half scale?

Happy patternmaking!

Emily


WHAT YOU’VE BEEN MAKING…

ITF SPOTLIGHT: HOW TO SEW AN ELASTIC BACK WAISTBAND

Our latest pattern, the Malvern culottes, includes two waistband options - a straight all-in-one or an elasticated back. Since we’ve been asked a few times how to sew an elasticated back waistband, we thought we’d share our process, plus a few tips.

HOW MUCH ELASTIC DO YOU NEED?

The saying ‘How long is a piece of string?’ comes to mind when trying to answer this question because there are a few variables! And, as is often the case, we suggest trying and adjusting as you go, but here’s what you need to know to start with…

If you’re sewing a waistband with an elasticated back waistband, you won’t actually need a piece of elastic the length of half of your waist measurement, although this might be a good place to start.

Apart from your waist measurement, the amount of elastic required will also depend on where the side seams of the garment actually sit. For example, do they sit exactly on your side, or are they slightly to the back? On the Malvern culottes pattern, the waistband side seams align with the side pleats, and not the culottes side seams themselves, meaning that the back waistband section is actually smaller than the waist measurement halved.

Also, elastic stretches, so in order to make sure your pants stay up, you’ll need less than half your waist measurement. But because the stretch of elastic is variable, this is where you’ll need to test a length out, try your pants on and adjust accordingly.

We always advise getting more elastic than required, just to be safe! The leftovers can always be used on another project.

HOW TO SEW AN ELASTIC BACK WAISTBAND

Once you’ve figured out a starting length for your elastic, it’s time to start sewing! The waistband of your pants pattern should be attached and pressed, as below.

Step 1a

With your pants (in our case, the Malvern culottes) inside out, and the BACK facing up, lift the waist seam allowance out of the way.

Slide the elastic between the waistband and the seam allowance.

Place one end of the elastic 1cm (⅜in) past the waistband side seam towards the FRONT WAISTBAND.

The elastic needs to be sitting about 3mm (⅛in) above the waist seam. Pin in place.

Put a safety pin through the loose end of the elastic to give you something to grab ahold of when adjusting the elastic.

Step 1b

Turn the pants right side out and pin the elastic through the side seam. Remove the pins on the inside. Stitch in the ditch to secure.


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Step 2a

Turn the pants inside out. Turn down the WAISTBAND so that the folded edge sits just past the waist stitch line. Pin in place starting at the front opening, enclosing the elastic inside at the back. Continue pinning until you get to the side seam on the other side (where the elastic is not attached yet).

Step 2b

When you are just past the side seam on the WAISTBAND, place a vertical pin through the WAISTBAND.

Step 3

Turn the pants right side out. Pin through the ditch along the bottom of the waistband. Stop pinning when you get to the vertical pin. Remove the pins from the inside. Stitch in the ditch or right next to the ditch on the WAISTBAND. Start at the vertical pin and sew the remainder of the waistband closed.

Step 4

Pull the elastic through to the side that is open using the safety pin. Check that the elastic is sitting flat and wiggle the elastic so that the end is sitting about 1cm (⅜in) past the WAISTBAND side seam. Pin in place and remove safety pin.

This is where we recommend trying on your pants to see how they fit. You can then adjust the elastic to get they fit you prefer!

Step 5

Turn the pants right side out. Pin the elastic through the WAISTBAND side seam. Remove the pins from the inside. Before securing the elastic, do a fit check, using pins to secure the waistband in the correct position. Adjust elastic length until they fit well. Stitch elastic in place through the ditch in the side seam.

And you’re done!


WHAT YOU’VE BEEN MAKING…

BEHIND THE SCENES: THE JOURNEY FROM PATTERN TO PRODUCT

Each month we like to give you a bit of a peek behind the curtain in our Behind the Scenes email. As our team discussed ideas for this month, we thought it would be good to share the challenges I faced when creating the Malvern culottes pattern as this isn’t something that many pattern designers do. 

With how many designers there are in the world, you might think that sewing patterns come together really easily, but a lot of the time, that’s just not the case. With Malvern, I ran into a few issues when drafting the actual pattern, and that’s pretty normal, but the main challenge was when I had to turn it from pattern to product.

What do I mean when i say from pattern to product?

In theory, I am a patternmaker; but not in the traditional sense. 

In the traditional sense, a patternmaker drafts patterns that are used to create ready-to-wear garments. This means the end-user (the person who buys the finished garment) never sees the pattern, and a lot of people don’t even know a pattern is used to cut a garment!

When it comes to making patterns for home sewists, the pattern is the product. So, the pattern not only has to be functional (as it does in ready-to-wear), but it also needs to look good and lead to a positive user experience. 

In this way, I sometimes think of myself more as a product designer, and maybe (at a stretch) an experience designer. I am constantly thinking about the experience of using our patterns and doing everything that I can to make sure that the experience is interesting, thought-provoking, positive and confidence-building. 

This is a lot to keep in mind when designing a pattern! I try to pull back and take it one step at a time, knowing that it’s all the parts working together (the design, the pattern, the instructions, the support in our community group) that will create a successful project. But it is pretty hard to juggle all those balls and do it well!

The intention behind the Malvern culottes pattern

When I set out to create the Malvern culottes, I had a couple of things in mind. 

Firstly, I wanted to create a garment that was unique and interesting, while still being comfortable to wear. I also wanted the pattern to be fun and interesting to make, and for it to include some new sewing skills for our Curated by ITF members.

I have two pairs of RTW culottes in my wardrobe that I love. When I wear them I always feel like I’ve stepped my outfit up a notch compared to how I feel when I’m just wearing jeans. And they have a serious comfort factor that many garments worn on the lower half of my body do not! 

The idea of a pair of In the Folds culottes has been hovering in the back of my mind for a long while, so I was excited to have the opportunity to give it a go for this month’s issue of Curated.

Creating the Malvern culottes pattern

I wanted to create an oversized silhouette that almost looks like a skirt, with deep pleats that would hide the seams. So that was the basic premise I started out with.

But I’m not going to lie - I struggled creating this pattern! 

There were a number of times when I was working on it that I wondered if what I was trying to achieve was too complex, or if the lack of sleep (I have a toddler that does not sleep well) had finally caught up with me. 

Thankfully, I kept at it, because I love the finished product (and apparently, so do lots of makers!).

I am always mindful of other patterns that are already available on the market and try to make sure what we are offering is something new and different. 

Although I often do preliminary design and drafting work in CLO3D, for this design I just felt I needed to do it by hand. This gave me a feel for the depth of the pleats in the flesh, allowed me to see how the pleats fell in fabric and adjust as I went. I made 4 or 5 toiles, pushing the design further and further each time. And then, sometimes, pulling it back.

In this photo you can see that I toyed with the idea of having a horizontal seam. I realised the design was enough without it, and having the seam wasn’t adding anything more to the design.

One thing I noticed as I was making all these toiles? It was very important to make sure I was folding the pleats correctly and folding them in the correct order. 

Often when you fold pleats into fabric you just fold one at a time, working along the fabric or the garment consecutively because the pleats don’t impact on each other. 

However, in the case of Malvern, the pleats interact with each other AND the seams, so they have to be sewn in a particular order. For example, the pocket has to be stitched to the side seam and the side seams sewn before the front pleats can cross the side seam to the back. The centre back pleat is created by layering up the fabric at the back.

In patternmaking, pleats are indicated with notches, and arrows show which way the pleat is folded. This seemed clear enough on the original pattern that I sent to our pattern grader, but I had it in mind that with all the sizes overlapping into a nested pattern, there was potential for it to get pretty messy.

I suggested to our grader that we label each notch with A - Z, so when folding the first pleat you fold from notch A to B, then C to D and so on.

When the graded pattern came back, I began to worry this wasn’t going to work. Although normally some tweaking and formatting is required when I receive the pattern back from the grader, this didn’t seem like a little reformatting issue. As you can see, the letter C is somewhat clear between sizes, but letters A and B are basically illegible. 

At the same time, I was chatting to our other pattern grader, the one who looks after our size G-P range. After looking at the pattern, she wrote:

“I admittedly have no idea how these are intended to go together. I'm lost, lol. I'm trying to match up letters in alphabetical order, following the arrows, but I can't quite wrap my head around how the views are different in the back. The front is a bit of a mystery as well because it looks like the panels overlap, but I'm not sure what the overlapping points are. It's kinda hard to tell from the photos as well. 

I know you are probably deep in sewing directions with the labels as is...but just food for thought - I have another client that does lots of tucks and they number the tuck notches so you would match number to number (IE- 4 to 4, and 2 to 2, etc). I'm just a little concerned when I can't tell how to put a pattern together without instructions.”

The realisation that a professional pattern maker had no clue how to put this pattern together made me go back to the drawing board. Although we include very thorough instructions with our patterns, I do like the idea of our patterns saying as much as possible and giving makers a good idea of how the garment is going to come together.


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I had also realised that after grading the waistband had become very confusing. Notches are very important when pinning a waistband to a skirt, pants or pair of culottes. They help you make sure you’re not stretching the garment and that the waistband is lined up correctly. I realised that we were going to have to label the notches with the name of each of our sizes (letters) which just confirmed the decision to number the pleats.

With this decision, it meant we lost the labels that were marked on the graded pattern, and although I initially tried not to include this information for ease of use, when our Content Creator, Leanne, gave the pattern a go, she suggested that would have made the process easier if she knew which notch was supposed to line up with which seam or notch.

Rather than adding any more information to the pattern (as there is already a lot!) I decided it made more sense for this information to go in the instructions, which is what you can see in the image above.

I then returned to working out how to label those pleat notches. 

To start with, I tried our grader’s suggestion of labelling them 1 to 1 etc, but realised it didn’t help with pleat direction, which is very important in this pattern. Although the arrows would always be marked on the pattern, I didn’t want to leave anything up to guesswork. So, I started playing with the idea of labelling each notch with a different number - 1 goes to 2, 3 to 4 etc. 

While updating the pattern, I realised this was always going to be the better option, as letters are used for our pattern sizes and having letters for our pleats too was just going to cause A LOT of unnecessary confusion. And here is where I was reminded of my mission to create patterns that are enjoyable to use and leave makers feeling confident.

Once I started putting the numbers onto the pattern, it was a careful balance of trying to get the numbers large enough to see, but not so big that they ended up overlapping each other and creating more confusion. It took some time to update all the notches with the correct information, but in the end I was left with a pattern that was legible and had clear annotations for how to use it.

While working on this pattern, I realised that the sewing of the culottes is not what is tricky about this project. Rather, it’s understanding the pattern, particularly because it’s an asymmetrical design, and what you do to one side is slightly different to the other side. But that excited me, as I know our community is always up for a challenge and keen to learn new skills. I was confident that this pattern was going to push their pattern interpretation skills, while giving them a new-found confidence in garment sewing, which is a big success.

Some tips for working with the Malvern culottes pattern

These tips will help you work through any complex sewing pattern!

  • If possible, only print the size or sizes that you need.

  • Read the instructions from beginning to end before getting started. Even if you are a proficient sewist, this will help you understand the process so when you get started you know what lies ahead.

  • Leave pattern pieces pinned to fabric until you are ready to sew the piece. This means that pieces don’t get mixed up and you also have the pattern right there to refer to.

  • When working with complex pleats, pin small pieces of paper (or use masking tape if it won't damage the fabric) to the notches on the fabric to record the pleat number. This will mean you don't need to keep referring back to the pattern when folding the pleats.

  • Trust the process. This is one of those patterns (like the Darlow pants and the Hove tote) that may not feel intuitive at times. Be encouraged to slow down, read the instructions carefully and trust that it will all make sense soon enough!

I hope this has given you a little more insight into what goes on behind the scenes of designing sewing patterns.

Happy sewing,
Emily


WHAT YOU’VE BEEN MAKING…

Neale jumpsuit hacked by Curated by ITF member, Rachael.

ITF SPOTLIGHT: LEANNE'S KEBAYA-INSPIRED WEARABLE TOILE & SEWING JOURNEY

A couple of weeks ago I shared my experience using the Copy Your Clothes resources to modernise and personalise a Kebaya blouse, a garment with a lot of cultural sentimental value to me. 

This week, I’m really excited to share some of my toiling journey with you, along with the lessons I’ve learned through the process. If you’re keen to see the entire process, I’ve shared it all in great detail in the Curated by ITF private online community (I recommend joining us!), but here’s a brief overview for context.

After analysing the original Kebaya blouses I had in my wardrobe (watch the video I created about this here), I used the techniques I learned in last month's Copy Your Clothes Skills Kit to trace the garment and draft a base pattern. Here you can see the drafted front bodice, back bodice and sleeve pattern pieces. 

Pattern pieces drafted from a traditional Kebaya blouse.

I then graded my pattern up two sizes using the slash and spread method. As the original blouse was a little tight I felt that moving one size up would deal with this tightness. The additional size up was a personal design ease preference, taking this from being a form fitting blouse to a more relaxed and casual light layering jacket. Here’s my graded Kebaya pattern.

Graded pattern drafted from a traditional Kebaya blouse.

I quickly proceeded from this stage to whip up my first toile!

Leanne trying on her first Kebaya blouse toile.
Close-up of Leanne's first Kebaya blouse toile.

I used this first toile to gauge what kinds of style changes I wanted to make, as well as how I wanted the garment to fit. I realised that, despite grading up two sizes, I still needed to make a broad shoulder adjustment. (This is why it’s so important to make a toile or two!)

Leanne testing out lengths for Kebaya on toile.
Back view of Leanne's Kebaya toile showing shoulder tension.

With my notes from toile number one in hand, I proceeded to make the modifications to the pattern and dived into toile number two. I was really happy with the boxier fit that resulted from the adjustments I made to the original pattern.

I then made a third Kebaya toile, choosing a fabric from my stash which I thought fit the bill but that I wasn't overly precious about (should things not work out well). I had 1.2 metres of this fabric (140cm wide) which, as it turns out, was the precise amount I needed! Sadly, by the time I finished my garment, I found myself questioning why I chose this temperamental fabric for a toile, wishing I'd chosen something better behaved. 

Leanne's Kebaya blouse on a bust - front view.
Leanne's Kebaya blouse on a bust. Back view.

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It wasn't a complete disaster, and I do love the breezy, elegant drape of fabric like this; it's wearable, with a touch of special. But, this Ochre Moonstone Viscose from Atelier Brunette was a bit shifty and liked to fray. 

Attempting to hem it had me shaking my fist at those fabric gods though. I applied interfacing to the bodice facing, as well as 3cm strips of interfacing to the bodice and sleeve hems to add a bit of heft to this slinky fabric. I folded up the hems and then tucked the raw edges under, using hem tape to help keep things place. 

Leanne wearing her third Kebaya blouse toile.

This turned out to be a mistake as when I went to steam the garment in preparation for taking these photos, the tape shrank and made the fabric pucker. I had to unpick the hem and remove the tape. 

But this experience got us thinking. One thing about copying a ready-to-wear garment is that you don’t have sewing instructions to refer to. There’s no notes about the best fabric to use, or how to approach tricky situations like these. So what do you do?

WHAT TO DO WHEN YOU DON’T HAVE SEWING INSTRUCTIONS

  • Most sewists have a decent stash of sewing patterns, and this can be a great resource for trying to figure out what you need to know. Find a pattern that has a similar style or perhaps uses similar fabric and see what approach it uses to solve the problem you’re having.

  • Ask the fabric store you bought the fabric from if they have any advice. Most people who work in fabric stores are also avid sewists, so there’s bound to be someone who can help!

  • Ask your sewing community! Having a community to turn to, like we have with Curated by ITF, is great because there’s a wealth of knowledge just in the sewing experience of all the members. In Curated by ITF you can also ask as many questions of our team. (We love helping our Foldies!) When I posed the question to our community we came up with two solid solutions to my tricky fabric problem.

Back view of Leanne's hacked Kebaya blouse toile.

HOW TO HEM SLIPPERY VISCOSE FABRICS

  1. Double-rolled hem - Check out our tutorial here.

  2. Hem facing - Adding a facing to a shifty fabric like this will give it more structure and help it sit nicely. The concept of drafting facing is pretty straightforward - we shared this tutorial a while back and it can be adapted to any garment edge you’re working on. It's often a good idea to add lightweight interfacing to give the facing stability which will help support the structure of the garment.

We’ve also shared a couple of other posts about working with tricky fabrics, which might be of interest if this is something you’re navigating at the moment. This one is about cutting linen, or other tricky fabrics, and this one has some tips for working with difficult fabrics.

For a minute there I was getting frustrated about the hem, but looking back I feel like I learned more from the mistake than I would have if it had gone smoothly. It also gave me an opportunity to be supported by and cheered on by our community which gave me the boost I needed to get this project over the line. 

Overall, I am so happy with my Kebaya project, but if I’m honest, it’s less about the finished garment and more about the learning journey behind this entire process. 

The Make It Your Own Skills Kit has equipped me with the tools to:

  • Analyse how a garment is constructed. 

  • Accurately copy a loved garment.

  • Draft an accurate and finished pattern.

  • Grade a sewing pattern.

  • Modify a garment by adding ease, cropping length, eliminating darts and changing curves.

  • Pattern hack by drafting additional elements like ties and facings.

  • Make a garment without instructions.

  • Explore optimal finishing methods.

  • Toile methodically in order to fine-tune my vision.

In just a few short weeks I have gained so much more pattern-making knowledge and confidence–I no longer feel I have to rely solely on bought patterns and I'm more inspired to go 'off script' to materialise my ideas into reality.


WHAT YOU’VE BEEN MAKING…

Libby wears her Marden shirt toile in a quilting cotton.

Marden shirt made by Curated by ITF member, Libby.

Cady sits in a red chair wearing her striped Attwood pants.

Attwood pants by Curated by ITF member, Cady.

BEHIND THE SCENES WITH LEANNE: HOW TO USE OUR MAKE IT YOUR OWN SKILLS KIT

The Make It Your Own Skills Kit (part two of our Copy Your Clothes series) is jam-packed full of tutorials to help you individualise your wardrobe. But sometimes we need a little help to understand exactly HOW to use a resource like this. So, I thought it could be helpful to share some of the projects I considered making to share in our Curated by ITF private community.

While I’ve only moved forward on one of these, the rest have been added to my to do list. If you’re in need of a little inspiration, read on!

INSPIRATION FOR HOW TO PERSONALISE READY-TO-WEAR COPIES

Grade loved garments into new sizes

Grading is one of those skills that many sewists wish they knew how to do. (We know because we’ve been asked about it a LOT in our Curated by ITF community!)

And while it is definitely a specialist skill in industry, there’s absolutely no reason why home sewists can’t add it to their repertoire. And it’s the perfect skill to have if you’ve got growing kids who are always in need of the next size up!

I recently inherited a stack of stretch towelling/velour type fabrics in pastel shades, which I knew I wouldn’t wear, but would be perfect for comfy kids trackies. 

If you already own basics like this that you love, consider copying the pattern and just grading it up to the next size. 

Add length for a perfect extra tall fit

At almost 2 metres tall, my husband has a really hard time finding clothes to fit. He needs extra length, but when he sizes up in RTW clothes everything that’s long enough ends up being too wide. It’s very frustrating.

With a bomber jacket that fits fairly well, but is slightly too short, already in his wardrobe, I considered copying the design using the Copy Your Clothes Skills Kit, and then using the tutorials in the Make It Your Own Skills Kit to grade up in size and add the extra length where necessary. And a bomber jacket is a great opportunity to be a bit adventurous with fabric choices - what a fun project!


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Trendy two piece

Having already traced off a favourite t-shirt of mine during Copy Your Clothes month, I felt I was already halfway towards a matching set! 

And I knew exactly which much-loved pair of comfy pants to trace off to complete the outfit. The only question was, which fabric? 

Having recently moved to Melbourne I’ve been enjoying discovering local sustainable fashion brands. During my explorations a theme started to emerge–matching sets in stretch velour. Pretty out there, but also kinda cool. 

Alas, the price tags were often quite high, but luckily we sewists possess a certain “I could make that myself” mindset and voila! The idea for a stretch-velour #TwoPieceSpectacular was born. 

I am still very-much inspired to bring this idea into existence, but since both of the RTW garments I would be using as base patterns fit me perfectly, this project offered little opportunity to explore those pattern drafting techniques I’m so keen to learn, such as grading sizes and other fit modifications. 

Plus, I love a good story, and ultimately it was the narrative behind my final idea which sent it straight to the top of the list.

Modernise a sentimental garment and make it more suitable for everyday wear and lifestyle

Thanks to my part Chinese-Malaysian heritage, over the years I have come into the possession of several traditional Peranakan Kebaya blouses, handed down to me from my mother, grandmother and aunties.

These garments have a very special place in my heart, and happily, I got a decent amount of wear out of them while I was a teenager, before I (very sadly!) outgrew them. 

As I was preparing for this month’s project, and considering what garment I’d like to personalise using the Make it your own Skills Kit, I was really inspired to create something very unique to me. 

As someone whose daily life is spent dedicated to caring for a family, my creative pursuits are a chance to be myself in the moment. They’re an opportunity for mindfulness, self-care and self-therapy. A project focused around my Kebaya blouses seemed to be the perfect fusion of all these elements. It would give me the opportunity to express my own personal modern style, while honouring my family’s traditional ceremonies and celebrating my cultural heritage. I also loved the idea that an everyday staple could be imbued with a touch of sentimental nostalgia.

I often find that my most successful projects are a result of a spark of an idea channelled thoughtfully into something with purpose. For me, the best handmade garments are a combination of having an interesting narrative, being aesthetically beautiful and serving a clearly defined function. And this definitely ticked those boxes!

What is a Kebaya?

A Kebaya is an elegant blouse worn throughout South-East Asia to formal events and ceremonies. (There are variations of this traditional garment – in my description here I will be referencing the particular ones I have inherited.) It is commonly paired with a sarong skirt, essentially a tube of fabric, tucked to fit.

Typically made from sheer materials, like silk, cotton or nylon, and embellished with intricate and often colourful embroidery and lace, a Kebaya has a tailored fit with fisheye darts in the back bodice. It has a deep v-neck and is usually fastened with a brooch around bust height, with the bodice lower front hanging freely and the centre front often tapering to an elongated point. The sleeves are 3/4 length. 

My Kebaya project - Blending tradition, cultural heritage and personal style

Apart from grading up in size to fit my adult body, there were a few must-have modifications that the finished garment needed to include. Using the original and traditional Kebaya pattern as a base, I want to:

  • Create a neutral version suitable for everyday wear and not limited to special occasions. (Sadly no embroidery or delicate/ sheer fabrics.)

  • Potentially incorporate front ties to eliminate the need for a brooch fastening. Brooches don't fit into my daily lifestyle looking after my little kids, and in the past I found the brooch damaged the fabric leaving a visible hole in the garment.

  • Modernise the feel by cropping the length and removing the darts to create a boxier fit. I like the length and feel of the Kebayas below, they seem more casual and jacket-like. I'm going for a light layering piece rather than a form fitting blouse. 

  • Either finish the edges with bias binding to mimic the front ties or draft a facing and possibly leave off the ties.

  • Consider the amount of design ease to take the garment from being a blouse to a light layering piece or outerwear jacket.

Short kebaya with peacock embroidery.
Cropped kebaya in red with floral embroidery.

The Kebaya below is a more recent one I bought when visiting Singapore 5 years ago. It was intended to be a present for my mum but unfortunately it was too small for her, and it's a little snug on me too. This is the one I'm choosing to trace off for my pattern, as it is the one closest in size to my current measurements.


When it comes to sewing garments, the Make It Your Own Skills Kit really opens up a world of opportunities. I hope I’ve given you some ideas for how to use the resource to personalise your wardrobe, and make your garments suit your style and life.

I can’t wait to share the finished Kebaya project with you. Stay tuned!

Happy sewing,

Leanne


WHAT YOU’VE BEEN MAKING…

FIVE MINUTE GUIDE TO SEWING & PATTERNMAKING RULERS

If you’re planning to embark on the journey that is learning how to draft patterns, there are a number of tools you will absolutely need in your toolkit. 

And, while we’re pretty big on making do with what you’ve already got, a good pattern drafting ruler (or two) is an investment we don’t think you’ll ever regret.

Like with all sewing tools these days though, there is a huge range of sewing rulers out there to choose from. 

Is there one ruler to (ahem) rule them all? Or, are they all just a different take on the same story?

Since learning to sew can be an expensive endeavour, we thought it might be helpful if we put together a quick overview of what we think makers should consider when investing in a ruler for sewing and patternmaking.

But first things first.

WHY YOU SHOULD HAVE A GOOD SEWING RULER OR TWO IN YOUR TOOLKIT 

If you’re setting up your sewing toolkit, or have been dancing around whether you should invest in a ‘proper’ sewing ruler, here’s your permission. (Or at the very least, three reasons why we think you should!)

A patternmaking or sewing ruler:

  1. Will improve the overall finish of your garments by enabling you to draw smooth and accurate straight and curved lines, and remove the need for ‘eyeballing’.

  2. Is much more versatile than a regular drawing ruler. Most patternmaking rulers come with a variety of elements included. For example, different shaped curves, a set square and various different measurements and markings for adding seam allowances of different widths (to name a few).

  3. Is absolutely needed when drafting patterns from scratch, making fit alterations or hacking patterns. (There you go, you only need one reason!)


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WHICH SEWING RULER SHOULD YOU BUY?

As we said above, there’s always lots of options to choose from, so here’s where we give you our opinions, tell you what you should consider and share what we use.

Grading ruler

A grading ruler looks just like a regular drawing ruler (a long rectangle), but is a lot longer, allowing sewists to draw nice long lines in one go. 

Normally around 50-60cm in length, grading rulers are transparent (making them great for adding seam allowance) and flexible (perfect for measuring and marking curves when turned on the side). 

Some grading rulers have both centimetres and inches marked, and some have commonly used seam allowances (eg. 1.2cm) marked for easy reference.

Pros: 

  • Can be used to draw straight lines and curves

  • Lightweight and flexible

  • Great for adding seam allowances

  • Can be handy to have when doing things such as folding and pressing a hem accurately.

  • Can be used for squaring off 

  • Accessible and affordable - with a quick Google you shouldn’t have any trouble finding one within your budget.

Cons: 

  • Doesn’t have any curves, but you CAN use a straight ruler to draw curves! It takes some practice and might not be for everyone. Check out this tutorial if you’d like to know more about this technique. And FYI - these kinds of tutorials are exactly what we share in Curated by ITF community!

  • Lots of lines and grids can take some time to get used to

  • Bear in mind that some come with metric measurements, while others use imperial. Not necessarily both.

(As a technically trained pattern designer who uses rulers all the time in her daily process, a grading ruler is Emily’s pick!)

French curve

A French curve is a handy tool for drawing necklines, armholes, side seams, hem lines, waist lines and sleeve caps. Any curve a pattern has, for that matter! It’s just a matter of practice. 

If you find it tricky to draw smooth curves, this might just be the tool you need in your patternmaking toolbox. 

Pros: 

  • Very versatile - can be used for drawing straight lines and all kinds of curves.

  • Light and flexible

  • Handy for adding seam allowances to curved seams.

Cons:

  • Can be tricky to get the hang of as it requires practise to master the various curves. (But we don’t think that’s really a reason to not get one!)

Patternmaster

If you only have the space or budget for one pattern making ruler, a Patternmaster is a great choice because it covers so many bases.

Pros: 

  • Versatile - can be used for all kinds of straight and curved lines.

  • Includes a set square which is very handy when drafting your own patterns or checking your patterns.

  • Has a 45 degree marking on it which is handy when making your own bias binding.

Cons:

  • On the heavier side, particularly when compared with a French curve. This may not be a problem for home sewists however, but is definitely something to consider if you’re planning on doing a lot of pattern drafting.

  • Quite thick (which is why it’s weighty). You may see this as a pro as it’s definitely a sturdy tool.

Hip curve

As the name suggests, these rulers are used to draw the hip curve when drafting fitted pants and skirts. They are a softer curve than the French curve and can also be used for hem lines and other areas on your pattern that you might need a softer curve. 

Pros:

  • Lovely gentle curve that can create an accurate hip curve and side seam curve without second guessing yourself

  • Will fill a gap between straight ruler and French curve - just what you need for those gradual curves 

Cons:

  • Limited by what you can do with it.

  • This ruler is likely not a necessity in your kit, as with a little practice most French curves and Patternmasters can be used as a hip curve. (The practice is needed to understand how to pivot the ruler to achieve the correct curve.)


General things to consider when adding to your ruler stash

  • Is it transparent?

  • How heavy is it? How will this impact its use?

  • Does the ruler have the correct measurements for what you need (i.e. centimetres vs inches or do you want both?)

  • Where will you store it? (i.e. does it have a hole or opening so you can hang it on a hook?) Can you accommodate more than one ruler or is an all-in-one ruler more practical?

  • Is it more cost effective to get one Patternmaster rather than multiple single purpose rulers?

  • Do some rulers just feel more intuitive to use?

  • Aesthetics - Rulers come in all different colours and styles, and some colours are more optically pleasing than others. Consider whether you actually enjoy engaging with the object. Is it worth investing a little more for something that will bring you more joy to work with?

Random ruler tips

  • Masking tape can be applied to a ruler at a particular measurement to help you know what to line up with at a a glance.

  • Don’t leave them on the dash of your car. They may melt (Emily learned this the hard way!)

Happy patternmaking and sewing!

Emily


WHAT YOU’VE BEEN MAKING…

BEHIND THE SCENES: EMILY'S THOUGHTS ON COPYING YOUR CLOTHES

Since starting the Q&A series a number of years ago, we have consistently received questions about how to make a pattern from an existing garment. 

And I get the appeal. 

We all have a piece in our wardrobe that we love, but for some reason or another can’t purchase again. It may no longer be available in the shops, it might be vintage, we may have picked it up in a market overseas. Or, we may have a piece in our wardrobe we just love but the fit is not quite right, or there’s just that one thing that would make it so much more practical.

But any time I thought of making a resource about it I just couldn’t wrap my head around how to go about it. It felt like such a huge topic and one that would be new to almost everyone in our community. Although it’s not terribly difficult to do, it does involve knowing some pattern making concepts and also being able to then assemble a garment without instructions. 

It takes some troubleshooting and problem solving to trace a garment correctly and then make a pattern that will actually work. I banked it away in the back of my head and just kept making projects that felt possible and achievable. 


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Three years into Curated and I have watched our community go from strength to strength with their skills. Although most of our community have not been there since the very first projects, I still see our community of Foldies like a living organism that is learning and growing collectively. There is something about the skills and confidence of our founding members that spurs on new members to jump in and give things a go. As members share their projects (and more importantly the learning journeys that got them there) new members feel inspired and encouraged to try the projects themselves.

Then it came time to plan the projects for 2024 and I was going through the suggestion list again. The concept of copying clothes came up again, and suddenly it didn’t feel daunting. After doing such an amazing job with our other pattern making resources I knew our community had the skills to draft patterns. In fact, I’ve seen them create patterns that are so far away from the original and so creative that I knew the skills for copying clothes were already there, it was just up to me to create a resource that showed how to do it in the clearest way possible. And I must say, as an educator that is my jam.

HOW EMILY GOT STARTED ON THE COPY YOUR CLOTHES SKILLS KIT

I don’t remember learning how to draft a pattern from an existing garment. I must have learned it at university but I don’t remember the specifics. It feels like something I have always known how to do though, and it’s a skill I use regularly in my creative process if there is a design feature or shape I love on a piece in my wardrobe that I’d like to incorporate into a new design. 

Like any project, before getting started I like to check what’s already available. I don’t want to replicate patterns or content that already exists. That’s boring for both me and our community. I found there were a number of online blog posts and videos about copying your clothes. Some encourage you to unpick your clothes (I didn’t want our community to do that), while others go through the concepts quite broadly, but don’t provide the detail that I have found is helpful to understanding the process fully. Others didn’t have the level of professionalism in the drafting of the pattern that I always want to encourage in our community. 

I realised that what I needed to create was a process that started out with the very basics and then built on that with a number of tutorials, whilst also referencing pattern making techniques that aid in the process. For example, how to use a French curve, how to check and true a pattern etc. 

This project makes sense as the next skill for our community to learn because it doesn’t only teach pattern making skills. It also means that our community can draft exactly the kind of patterns they want to wear.

Our Hack Kits include a huge amount of options, but the designs included are always going to be the ones I am drawn to as the designer of the content. Whereas, by learning to copy your clothes, the sky's the limit with the types of garments you can create!

I hope this inspires you to join our community this month - we’ve had lots of new members with the release of this project (which is ALWAYS encouraging!), and we can’t wait to help them level up their patternmaking skills.

Happy patternmaking and sewing!

Emily


WHAT YOU’VE BEEN MAKING…

Cady wears a denim Ormond coat with big wooden buttons.

Ormond coat by Cady, a Curated by ITF member

Morag wears a blue Ormond chore coat.

Ormond coat by Morag, a Curated by ITF member

MAKER SPOTLIGHT: RACHAEL’S RETURN TO SEWING WITH CURATED BY ITF


There are many sewists in the world who have a love/hate relationship with sewing clothes, and often it’s because their expectations exceed their skills. When it comes down to it, we all expect to wear clothes that make us feel good. Nobody goes about their life expecting to wear clothes that make them feel yuck. (That would just be a bit strange!) 

But what does this actually mean? What is it specifically about our favourite garments that we love so much? What expectations are they meeting?

In many cases, the reason we fall head over heels for some garments and not others is to do with the way they fit our bodies and how we feel when we wear them. Poorly fitted garments can make us feel terrible. Anyone who’s worn a top that cuts in at the armpits for more than an hour will know exactly what we mean.

On the other hand, a garment that fits well can make us feel great. We might love how it looks on our unique body shape because we find it hard to get clothes to fit a certain part of our body the way we like. Maybe it’s something more specific, like not having excess fabric sitting in places we don’t want it to. Perhaps it doesn’t choke us at the neckline or slide off our sloping shoulders. 

However you look at it, there’s no denying that learning how to fit clothes to your body measurements and shape is a great step towards meeting your garment wearing expectations. But what do you do when you’re sewing your own clothes and your skills don’t allow you to meet those expectations?

When we see a member making the absolute most of the full value of our membership (patterns, resources AND sewing mentorship in our private community) we have to share it. Rachael’s journey is the perfect example of someone who is doing what is needed to make her skills meet her expectations.


get to know rachael

Rachael wears a top she made and fitted using the Cartwright dress pattern & Fit Kit.
Hi all, I’m getting back into sewing after about a 25 year hiatus. I stopped back then because I kept running into fit issues I didn’t know how to address and I’m so excited by all the resources available to help us with those issues now! I thought joining here would help me work on things I might otherwise avoid due to complexity and potential issues. I am hoping the support offered here will help me get over those humps!
— Rachael

Rachel began her journey of skill-building when she joined Curated by ITF in 2023, and since then has become one of our most active members, fitting and hacking her way from an advanced beginner to just-plain-advanced in only 8 months!

Rachael’s Cartwright dress fitting and toiling process

Rachael dived straight into our Cartwright dress and top pattern and Fit Kit, and with input from the In the Folds team, began working through the step-by-step tutorials, the process of toiling and making fit adjustments. She posted her toile updates regularly in the community and asked questions to help her continue to improve.

Toile #1

Rachael's Cartwright fitting process.

Looks likes I need a FBA (hmmm, right?), so I made a dart in the armscye, moved it to the side seam and ended up here.

Toile #3

Rachael's Cartwright fitting process.

...Did a little more reading and decided that it might make more sense to start with a size in between my upper bust and full bust, do a broad back adjustment for the back… I started with size D, graded down to C for the waist and hips front and back, added a total of 1.5” to the back, removed a total of 1.75" from the center front along the fold line, then pinched out a dart in the underarm and rotated that to the side seam.

Toile #5

Rachael's Cartwright fitting process.

I think I am moving in the right direction. I see a few things and have a few questions.

Does it look like the back shoulder (not the back, the actual shoulder where the sleeve meets at the top back) is too wide? It looks a bit baggy. Or is that just the nature of this slightly oversized top?

It is a bit tight now across the upper bust in the front, and across the bicep when I move in specific directions. This is not a tight bicep right? The bicep itself is not tight. Assuming it's actually the bustline, I could add 1/2" back to the top center and taper down to the full 1.5" removed - if I did that would I still be able to cut it on the fold or would I have to put in a center seam? Here is a photo that demonstrates where it feels tight.

I feel really close here, and I totally acknowledge that I could sew this up as is and it would fit me better than things I've purchased RTW!!


Join Curated by ITF - find your new community!

If you're looking to be supported, motivated and inspired through your sewing journey our Curated by ITF subscription might be just what you're looking for.

As well as a monthly sewing project, you’ll gain access to our private member platform where you can receive feedback and advice from the ITF team and other experienced makers, participate in sew-alongs and make sewing besties all over the world!


But that wasn’t good enough for Rachael! She was in it for the long haul (and to get it right!).

Toile #(who’s counting?)

One final tweak to get the bust darts better aligned and here is the version of the Cartwright that I'm going to make a block out of. My first pattern block, very exciting! (It took me 8 weeks from my first attempt, hopefully I've learned enough that it will never take that long again!)

RACHAEL’S BEAUTIFULLY FITTED WARDROBE

Since then, Rachael has used her new fitting skills to create a number of garments that fit her just right. This button-up shirt was designed using her Cartwright dress block and the Cartwright dress Hack Kit.

This teal shell top was created using the Neale jumpsuit pattern and Hack Kit. (Would you check out that amazing fit!)

The fit of Rachael’s best RTW shirt compared to handmade

One of the things we love about Rachael’s journey is that all her hard work has taught her how to identify ‘problem’ areas when fitting, and has also given her a strong foundation on which to start her fitting process. 

Here are some learnings Rachael shared in the community.

Here is my best fitting RTW button up. (Facial expressions included for the entertainment value of a before and after photo).

I mean, yikes, right?

Armed with my new understanding of fit, here is what I see wrong in the RTW fit.

1. My shoulders are too broad for the shirt and are pulling horizontally from the neck. You can also see that the seam line is actually up on my shoulder instead of at the very outside edge of my shoulder. (I had no idea I had broad shoulders!)

2. Stress wrinkles all around the bust indicating that I need an FBA.

3. Too big in the waist and hips making me look heavier in that area than I am.

I guess I've been buying the middle size, in which I could *sort of* move my arms and shoulders and it didn't drown the rest of me, which meant I was wearing at least one size too small for my upper body and a size too big from the waist down.

And looking at my Cartwright hack…

Is it perfect? Not even a little bit. And yet, it's SO MUCH BETTER than the RTW. Not even in the same universe of fit descriptors. 

I am SO HAPPY you guys! I feel like I just won a contest! I owe so much of this to the help this group so generously provided when I was trying to fit the Cartwright. I feel like - LOOK AT ME MOM! LOOK WHAT I DID!!!! (And she has seen all these photos too, and she of course knows about my fit issues, so she is thrilled for me :).)


I hope this has given you some insight into what you can expect to find when you join our Curated by ITF subscription. Learning with the support of a community means you not only get the mentorship of the In the Folds team, but you get the combined experience of hundreds of other sewists who want to see you succeed like they have.

If we’ve peaked your interest you can find out more about this month’s project here. May is a great month to join because YOU get to choose your project from entire catalogue.

We’d love to see you in there!

Happy sewing!

Emily


WHAT YOU’VE BEEN MAKING…

BEHIND THE SCENES: USING PROCREATE TO PLAN YOUR MAKES

For many creative sewists, planning makes is half the fun of sewing!

Getting the spark of an idea and mulling it over… Day dreaming about it non-stop while we should be getting on with other things… Keeping our eyes peeled for that perfect fabric… These steps are all part of the creative process.

But, sometimes a project idea comes along which is trickier to wrap your head around or is just outside your comfort zone. This is what the Attwood Pants were for me! 

Our team decided we needed to add a sew-along for the Attwood pants pattern to the extra resources we share in our Curated by ITF community, and I was tasked with the job of sewing them up and documenting the process.

Together we decided that the sample needed to be light and bright, with fun pops of colour, as a contrast to the samples we already had, and to showcase the panelled element of the design. I think (and hope!) I managed to nail the brief, but it didn't happen without considerable planning. So I wanted to share the process I used to help me figure it out.

I found it challenging to imagine how various colour blocked combinations would look in reality, and needed a way to compare and contrast my jumbled ideas in a more concrete way. I was also working to a deadline within the limitations of the fabric selections available to me (preferring to source my fabrics from the same place to ensure speedy delivery as well as consistency in weight and quality).

After weeks of uncertainty and procrastination, my way of problem solving came about in the form of the Procreate App on my iPad. (I had dabbled around in Procreate a little in the past teaching myself how to make repeat patterns for fabric.) Procreate turned out to be a great way to test out my options before settling on a final design.

I started off with the technical drawing of my intended project: the ITF Attwood Pants.

I took a screen grab and imported it as a jpeg into Procreate. I then traced around each separate element on its own individual layer: pockets, waistband, and all the different panels.


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Here is an image from later on down the process where you can see all those different layers in action:

Once I had my technical drawing base template I then grabbed a colour swatch of potential fabrics - namely a selection of linen from Spotlight.

I then hunted on the internet for some inspirational images to better visualise the direction I wanted to take, and hone in on a colour palette. This was the main inspo pic - a colour blocked chore coat from a few years back by the clothing brand, Arcade Clothing:

I cross-referenced the inspo pic with the Spotlight online fabric swatch to investigate which colour combinations might work.

Cross-referencing image colours with fabric options.

I narrowed it down to a provisional colour palette and had a play around with placement.

Once I settled on a preferred placement I made a colour blocked view for the back of the pants as well to check how things would look from behind.

At this stage of the process the weather in Melbourne swiftly nosedived from summer seemingly straight into winter. Suddenly, the thought of breezy linen pants made me shiver. Back to Spotlight for a more substantial fabric choice in the form of a sensible cotton drill. Of course the colour choices were different! So it was back to the drawing board for me.

After all of that I ended up switching a couple of the colours around once more (since my kids' school uniforms are green and gold, I didn't want the yellow and green to appear 'adjacent' when viewed from the side, preferring instead to visually separate them with the pink pocket).

This was the final design, front and back view, which I kept close to hand throughout the sewing process. It was an invaluable visual aid and helped me not to mix up all the different panels of the Attwood Pants. 

And this was the final outcome. It was an involved planning process but one which I thoroughly enjoyed and which helped me to really clarify my objective. I am over the moon with the result! 

The complete process for using Procreate to plan my makes is one of the extra resources we shared in the Curated by ITF community this month for Me Made May. Interested? Find out more here!


WHAT YOU’VE BEEN MAKING…

BEHIND THE SCENES OF THE ORMOND CHORE COAT

When it comes to fashion, the old saying “There’s nothing new under the sun” definitely applies. What was once in fashion usually gets its time again - for better, and sadly, worse! And while we’ve been seeing chore coats getting their moment in the ‘fashion’ sun again of late, to us chore coats have never really gone out. 

There’s a couple reasons for this, so we thought it would be great to talk about the history of the chore coat, and then Leanne will share why she loves her Ormond chore coat so much.

What you may not know about the chore coat, and why it hasn’t ever gone out of fashion 

Reason 1: Designed with purpose

The chore coat is an iconic piece of workwear with humble beginnings, and traces its roots back to the French countryside of the 19th century. Originally designed for labourers, this garment was an essential part of everyday attire for farmers and railroad workers alike. Featuring practical pockets tailored to hold tools and other necessities, it became an indispensable part of the working man's wardrobe. 

Reason 2: Designed for versatility

Crafted from sturdy, durable fabrics, the chore coat was designed to withstand the rigours of manual labour, but its boxy silhouette and fabric choice made it a versatile piece that was suitable for wear in a variety of weather conditions. 

As you can see, this outerwear garment was more than just clothing - it was a tool in itself, tailored to the needs of those who wore it.

And THIS is exactly why we think it has never really gone out of fashion.

Over time, this piece of workwear, with its timeless design and functionality, transcended its initial audience and found its way into the wardrobes of people from all walks of life, occupations and gender. It’s the perfect example of why garments that are designed with purpose and function in mind tend to stick around, and don’t become subject to fashion cycles.

(There’s some great chore coat reads if you’re interested in diving deeper into the history. We recommend these posts - Carhartt, The Times and Heddels.)

Leanne shares her denim Ormond chore coat

The Ormond chore coat is hands down my favourite ITF make to date! I have worn the coat on repeat since finishing it. 

I used a midnight indigo denim (from Spotlight) and classic golden contrast topstitching. This was my first time using an official topstitching thread: it's thicker and more substantial than regular thread, and stands out beautifully against the dark background. I used Guterman top-stitching thread in colour #412, and a matching regular thread for the bobbin.

My measurements put me between a size D and E in ITF patterns and I decided on a size E for my coat, as I like a relaxed and boxy fit in this particular style garment.


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I am obsessed with raglan sleeves and love the way the contrast topstitching really highlights these design lines. I opted for bronze buttons (also from Spotlight) and am really happy with the result. Sometimes you can't go past a classic choice, it just works!

I love how the Ormond Coat looks with the sleeves rolled up for a more casual look and for my next coat I might add a couple of centimetres.

I love to wear this coat fully buttoned or undone, sleeves up or down - testament to a well balanced design!

The Ormond chore coat has become an absolute staple in my wardrobe, and I have a feeling I’m going to love it to bits for many years to come.

We can't wait to see your Ormond versions too! If you share them on Instagram, be sure to tag your photos with #ormondcoat so we can see!


WHAT YOU’VE BEEN MAKING…

MAKER SPOTLIGHT: JO'S APPRECIATION FOR THE CURATED COMMUNITY & STAYSTITCHING


The Curated by ITF private community is a wonderful place where members get to share their love of sewing, inspire and motivate each other, and help others when they’ve hit a roadblock in their sewing journey. We are so impressed by the knowledge that our members hold, but also by their camaraderie and willingness to share their wisdom and love for sewing.

But, unless you’re a member of Curated it’s not something you can really appreciate. Sure, we can tell you how wonderful it is, but unless you experience it you’ll never really know! So this week, we’re giving you a peek into our online community through the eyes of a long-standing and valued member of Curated by ITF - allow us to introduce you to Jo!


get to know Jo

Lifelong maker, passionate about sewing and gadgets… especially sewing gadgets... and tinkering with vintage sewing machines… and collecting fabric.
— Jo

Hi there!

I am #SewOver50 and have been sewing my whole life. When I was a teenager, I was lucky enough to take several units of a certificate course at TAFE, which set me up with the skills and confidence to tackle any sewing project. I love how the internet makes sewing a social activity and at the same time opens up access to indie patterns like In the Folds, gorgeous fabrics and supplies, along with many new skills, previously never available to home sewists.

As a Sydney local, I originally joined Curated by ITF to support Emily, but I stayed for the lovely community and the reference library of techniques and patterns I am building! The ITF community feels very friendly and easy to engage with. Members are encouraged to share their process as well as their finished makes, ask for help or just start a conversation. So many supportive like-minds!


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If you're looking to be supported, motivated and inspired through your sewing journey our Curated by ITF subscription might be just what you're looking for.

As well as a monthly sewing project, you’ll gain access to our private member platform where you can receive feedback and advice from the ITF team and other experienced makers, participate in sew-alongs and make sewing besties all over the world!


Jo recently shared a post in the community entitled ‘An ode to staystitching’ and we thought it needed to be shared more broadly, so read on to hear some of Jo’s hard-won sewing wisdom!

an ode to staystitching

(Written by Jo M, originally shared in the Curated by ITF private community.)

I am about to (finally!) embark on my first Whitlow Robe, as a gift for a special friend, and am reading everyone's wonderful posts from 12 months ago. (Editor’s note: Jo is referring to the content shared in the community when the Whitlow robe pattern was first released back in November 2021.)

So much inspiration and information!

A few mentions were made about the front neckline section of the Whitlow stretching out a bit with handling. I notice that staystitching is instructed in the pattern first up (which I LOVE!!), but I want to suggest a slight tweak in technique might help - the clue is in "directional sewing" - more below…

I was fortunate to have some training early in my sewing "career" back when the Readers Digest Complete Guide to Sewing was our text book. Staystitching can make a huge difference to our finished product and how it wears, so I thought I could share a little technique round-up (referring to the book) here in case it helps others.

If you see this book in a second-hand store, run and buy it. Mine is a 1984 edition. I have read that some later editions might be less comprehensive. I could write an ode to this book too... it is the BEST. (Editor’s note: Jo did, in fact, write an ode to this book, also shared in our private online community!)

Staystitching is generally a permanent addition to the garment that supports the garment structure during construction but also during wear. 

Generally we use staystitching (sometimes along with other methods like interfacing, tape etc) to stabilise shaped seams for woven garments. Sometimes I also use it for knits if the particular seam needs to be stabilised (ie the seam is required to not stretch during wear or construction, such as when installing a placket, a staystitched edge can provide stability and better accuracy).

Another place it helps me is, for example, when doing a baby rolled hem, that first pass of stitching gives you a stable line for a clean first fold!

My staystitching tips

  • It is best to staystitch shaped seamlines as soon as you remove the paper pattern from the cut fabric and before any other construction. This is one of the reasons I feel a bit unsure about using a projector for cutting out, as I like to leave my paper attached to pieces for as long as possible for identification and to avoid distortion. 

  • Generally, use your standard stitch length (2.5mm most often for medium weight fabrics) and try to place the staystitch line in the seam allowance about 1 to 2mm inside the final stitchline.

  • Before/during staystitching be as careful as possible to avoid over-handling your fabric piece, ensure you don't allow the fabric to "hang" as it feeds into the machine. I kind-of ‘pool’ the fabric in front of the presser foot and allow the foot to pull the fabric through with only gentle guidance.

Staystitching should be done directionally. That is, Readers Digest says we should generally stitch from the widest to the narrowest part of the garment as this supports the fabric grain rather than distorting the grain. They are quite helpful and detailed about why (see image).

So, for an angled front like on the Whitlow robe, I will staystitch from the bottom (widest part) to the top of the angled front neckline (this is my suggested little tweak to the instructions).

Staystitching for round necklines should be done from the shoulder to the centre front (and similarly for the centre back) - that means you need to stop stitching at the centre, flip the piece and stitch the opposite side to meet in the centre, not stitching it all in one go which might be prone to distorting the shape as you sew up towards the opposite shoulder.

Conversely, staystitching for V necklines should start at the bottom of the V, up to the shoulder.

Facings should also be staystitched the same way as the particular garment section - so for a neckline facing, I stitch shoulder to centre. The only difference is that I apply the interfacing before staystitching as this helps anchor the interfacing to the fabric and I can trim the interfacing back to the staystitch line easily if desired. 

Hope this detailed (nerdy!?) technique is a helpful reference for my fellow Foldies! Interested to hear your thoughts and experiences.


I hope this has given you some insight into what you can expect to find when you join our Curated by ITF subscription, If we’ve peaked your interest you can find out more about this month’s project here. We’d love to see you in there!

Happy sewing!

Emily


WHAT YOU’VE BEEN MAKING…

LEARNING NEW SKILLS AS A PATTERN DESIGNER


I’d love to hear more about how you learned a new way to sew a pocket; kind of like, how does the expert learn or get inspired to try a new technique?
— Curated by ITF community member

This week someone from our community asked this question and with this month’s Curated by ITF focus on learning new techniques with our Sewing Coats Skills Kit and Ormond apron pattern, I thought it would be a great one to discuss in the Behind the Scenes post.

It probably won’t surprise you to learn that even professionally trained garment designers don’t know the best way to sew EVERYTHING. Of course, a lot is covered in our degree and the experience we gain in industry, but like any profession, unless you’re using those skills and techniques daily, you either forget them and have to re-learn them when you need them, or you realise that you actually need to figure out a better way.

When it comes to designing a new project or pattern, I often don’t know what sewing techniques will be included until I get started. As I do my research and sketch out ideas (manually or using Clo3d), the design starts to dictate what needs to be included, and then I can add in what I want. This is where I consider what techniques might be new to our Curated community members (and possibly even to the home sewing space in general). I like to think about what would be interesting for them to learn and what can broaden their understanding of garment construction and finishing.

When I started working on the Ormond coat pattern (next month’s Curated by ITF project!), I knew I wanted it to feature classic coat details like welt pockets and a centre back vent. I also knew I wanted it to be unlined. For me, there is nothing more special than how amazing an unlined coat, finished with bias binding, looks. You can see all the details and all the work that has gone into it and it’s something special that most of the time only the wearer sees. It’s like a little secret that makes you feel so proud of yourself every time you see it.

These design constraints began to direct my pattern development. Because the coat was going to be unlined, I knew this was going to make the features I wanted to include a little trickier to do. For example, welt pockets on a lined coat are often not even finished around the pocket edge. (If you’re a sewing nerd, you might have realised this if your hand has popped through a pocket bag on a lined coat!) And that’s totally fine, because no one can see it. On an unlined coat, however, it’s a totally different story. The welt pockets WILL be seen, and they really need to be as neat on the inside as they are on the outside. Durability is also a concern. Garment linings protect the inner workings of a coat, which means the exposed elements of unlined garments need more protection.

EMILY’S RESEARCH AND DESIGN PROCESS FOR THE ORMOND COAT PATTERN WELT POCKET

I started doing some research on what techniques are already available online and what features I do and don’t like about them. I liked the look of this pocket, but didn’t like that it had top stitching to hold the welt in place. I think it can end up looking messy and is also quite tricky to sew. 

Next, I came across this welt pocket, which also looks great. But then I saw that the ends of the welt pocket were hand sewn. I have nothing against hand sewing, but when I see a feature in a pattern that is hand sewn, I like to interrogate whether it’s actually required. Sewing a garment completely on a machine is usually going to lead to a more professional looking finish, so I like to figure out solutions that involve machine sewing. Interestingly, as I continued researching I began to see that a lot of the welt pocket tutorials out there use hand sewing to enclose the ends of the welt. I was beginning to see it as a challenge to come up with a better solution.


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If you're looking to be supported, motivated and inspired through your sewing journey our Curated by ITF subscription might be just what you're looking for.

As well as a monthly sewing project, you’ll gain access to our private member platform where you can receive feedback and advice from the ITF team and other experienced makers, participate in sew-alongs and make sewing besties all over the world!


I decided to go back to basics and look in my sewing reference books - Reader’s Digest Complete Guide to Sewing and How to Start Sewing by Assembil books. (Yep, even professional pattern designers use reference books!) I still couldn’t find what I needed. They showed how to sew welt pockets, but not with a French seam, so I continued my search on Google. 

When I came across this blog post, I realised it was possible. Sometimes all I need is to see that something is possible and it spurs me on to give it a try. In this case, I was still struggling to get my head around how to go about it, so kept going down the Google rabbit hole. I came across this post which broke down the steps. Now, I know the technique comes from a pattern, but I’m rarely concerned that the result I end up with will belong to someone else. What I have learned over time is that no matter what, once I start sewing and experimenting with a new technique, it always deviates away from the original inspiration. I really like pushing a technique as far as I can and achieving the neatest finish possible, so even just having a starting point or some hints along the way is normally enough.

I had basic pattern pieces drafted, but knew they were likely to change throughout the process. I cut the pieces from calico and got to work. I’ve looked for some photos of the original pocket process and realised they have all been deleted. Although this is slightly frustrating because I can’t show you the progression, it’s an important part of my process. I photograph the steps as I go, but if I realise a technique is not going to work as I hoped, I delete the photos. This means I don’t get confused between processes and I know which ones are correct and most up-to-date when I’m referring back to the photos to create the instructions and tutorials. 

One of my goals with all my patterns is that anyone should be able to understand it, regardless of how long they’ve been sewing for. While someone may not have the technical skills just yet, I don’t want the wording or the process to scare them off. Often this means sewing an element many times until I believe I’ve found the clearest, simplest and neatest way possible to sew it. I think I sewed about six welt pockets before I came up with a technique I was happy with!

EMILY’S RESEARCH AND DESIGN PROCESS FOR THE ORMOND COAT PATTERN VENT

When it came to working out how to sew the vent, I decided to sew a sample the traditional way to see how it would look. I found a video on Youtube and followed along, but when I got to the end I was unhappy with how it looked. It was messy and would get messier with bulkier fabrics. I started thinking about what would happen if I added a shield to give the vent more structure and also tidy up the look of it on the inside.

Back to Google I went and came across this video. The finish of this coat is exceptional and I thought I’d find a solution straight away. But after watching the video I realised many of the steps involved cutting into the fabric and deviating away from the pattern. Although this works for an expert sewist, for our patterns I like to give as much information as possible on the pattern and leave as little as possible to chance. That way our patterns are accessible to both advanced home sewists and those who are wanting to level up their skills.

Emily's design process for the Ormond coat vent.

I decided to go back to the drawing board and sew a vent in the most basic way. By sewing it like this, I had a sample I could work on and continue to develop. I worked out what area needed to be enclosed and set to work drafting a shield. It took another few goes to finalise the pattern and technique, but again, by then I was happy to know I’d found an approach that gave a professional finish and left nothing up to guess work or chance.

As you can see, improving your sewing skill set is something that all sewists can be doing, regardless of experience. With each garment, sewing techniques can be applied in different ways and to varying degrees, which is why we continue to develop Skills Kits and Hack Kits for new projects as part of our Curated by ITF subscription. The more skills you learn, the more confident you become with knowing what you’re trying to achieve, what options are available to you and where to look to find more information. I love this about sewing and pattern making - you’re never done learning!

I hope this has given you insight into my own learning and skill development process! And if you have any other questions, please leave them in the comments. I’d love to answer them.

Happy skill-building!

Emily


WHAT YOU’VE BEEN MAKING…

ITF SPOTLIGHT: From Collins top to Elwood dress


As you’ve probably heard, the Collins top pattern was the starting point for this month’s Elwood dress pattern. After releasing the Collins top pattern back in 2017, I knew the design still had more to offer, so while planning for Curated by ITF projects I was excited to get back to it and see if I was right.

In this post I’m sharing the design’s progression from Collins to Elwood, and explaining my thoughts as I go because I thought you might like a ‘fly on the wall’ experience! We shared this in our private Curated by ITF community and the feedback that it was really helpful. I’d love to hear your thoughts and questions too so be sure to leave a comment.

Using Clo3d to brainstorm

I drafted the Elwood design using Clo3d (a 3D pattern drafting software) because I had a good starting point with the Collins top. I prefer not to use Clo3d unless I’m starting from a block or pattern I know is accurate, as things can easily go wrong. I felt safe using it for this project however, because the Collins top is a finalised pattern and I knew I would still sample the pattern and fit on an actual person. So, for further exploration of the Collins top design, Clo was perfect. 

Here are some of the ideas I explored…

Elwood dress design process in Clo3d.
Elwood dress design process in Clo3d.

Can you see which two patterns I mashed up to create this design? It's the Neale jumpsuit with Collins sleeves!

Elwood dress design process in Clo3d.

I really love this idea but got stuck on what to do for a closure. It would need a centre back zip which is not ideal as it can be tricky to get on and off.

I also wasn't sure how the panelled sleeves worked with the body of the jumpsuit that didn't have any panel lines, and I was also exploring a waist seam to see if it would improve the design.

Elwood dress design process in Clo3d.

Don't ask me why I thought it would be a good idea to have pants with a gathered waist! 🤦‍♀️ It's moments like these when I’m happy I've got the option to try out new things digitally and didn't waist a load of fabric making this toile!


Join Curated by ITF - find your new community!

If you're looking to be supported, motivated and inspired through your sewing journey our Curated by ITF subscription might be just what you're looking for.

As well as a monthly sewing project, you’ll gain access to our private member platform where you can receive feedback and advice from the ITF team and other experienced makers, participate in sew-alongs and make sewing besties all over the world!


Elwood dress design process in Clo3d.

Can you see that this one is where the Elwood sleeve starts taking shape? This is where I started creating the lantern sleeve. I was toying with putting elastic in the sleeve cuffs for a more dramatic shape, and this is actually something you could easily do if you wanted to!

Elwood dress design process in Clo3d.

At this point I started thinking about how it would work as a dress. I still really like the look of this and can imagine it in my wardrobe. I'm currently breastfeeding though, so unfortunately big sack-like dresses without openings are off the table for a little while!

Elwood dress design process in Clo3d.
Elwood dress design process in Clo3d.

It was at this point that I got clear about what I was designing. I had settled on the lantern sleeves and then went back to play around with the bodice shaping of the Collins top and added a skirt. There was still a bit too much ease at the waist which I ended up removing to slim it down a bit - about 9cm from each side seam in the end! 

As you can see, I hadn't yet added the back yoke seam or the panel lines to the skirt, and there was still a centre back seam in the bodice.

Elwood dress design process in Clo3d.
Elwood dress design process in Clo3d.

Seam lines added! It was at this point that I felt really good about the initial draft and printed it out to check the fit on a fit model and see how it sewed up.

DESIGNING THE ELWOOD DRESS WITHOUT A DIGITAL PROGRAM

The thing is though, you don’t actually need a digital pattern design program to do this kind of work yourself. Of course, doing it manually is going to take more time, and there will be a lot of back and forth between pattern designing and making toiles and then trying again and tweaking and testing, but this is how it’s been done for hundreds of years. It’s also the fun part, and it helps you learn. I’m still amazed at what I can learn by playing around with different alterations and trying different things. The reason digital pattern making works as part of my process is that I already know how to draft by hand, so it speeds up the process. You can read more about how I find the balance between digital and physical patternmaking here.

Because patternmaking skills are exactly what we teach in Curated by ITF, I took some time to create some videos for our subscribers that show exactly what alterations you would make to the Collins top pattern to create the Elwood dress if you were doing it manually. So, I thought I’d share a couple here too.

Making the Elwood dress pattern your own

Already we’ve had Curated by ITF subscribers can make the Elwood dress their own by hacking and we LOVE that they’re always looking to take a design that next step further. We talked about this in last week’s post which you can read here, but here’s a couple of finished Elwoods that have had some subscriber love added to them…

Shuay's hacked Elwood peplum top.

Here is Shuay’s Elwood make which she hacked into an Elwood top with a cute peplum. 

Michelle's floral Elwood dress with ties at the back.

Michelle added some ties to the waistline that allows her to add more shape to the design. Such a simple, but effective, way to make a design your own!

Another member, Martina, explained that she’s not really into dresses and has been sharing her progress as she hacks and toiles her way to turning the Elwood dress into something that suits her style more. It’s a fascinating process and we’re loving working through it with everyone. 

So, what do you think? Is patternmaking something you’ve been too scared to try? Do you wish you had somewhere you could go to get your questions about patternmaking answered? If your answer is yes, then Curated by ITF would be a great place to start. We have so many past issues you can work through to help you slowly build your skills. You can also check out our free patternmaking tutorials here. Otherwise, just come and join us while we make the Elwood together!

Happy patternmaking!

Emily


WHAT YOU’VE BEEN MAKING…