The Acton sew-along : Making a toile

Welcome back to the Acton sew-along! Now that we've taken our measurements and worked out what size (or sizes) matches our measurements the closest, it is time to make a toile!

WHAT IS A TOILE?

A toile (also known as a ‘muslin’) is basically a draft version of a garment. A toile is normally made from a cheaper fabric, so that you can test the fit of a particular garment before cutting into your real (and normally more expensive) fabric. 

It is best to choose a fabric to toile in, that is similar to what you plan to make the actual garment in. If you are using a lovely sandwashed silk, then you will need something with a similar handle and drape as the silk, so you can get a good idea of what the final garment will look like. Making a winter coat? Choose something with a similar thickness and drape. For the Acton, it is designed to be used with 'drapey' fabrics, but to get a good idea of the fit of the bodice, I would use something stiffer than suggested - such as calico or cotton. 

WHY SHOULD I TOILE?

We all come in different shapes and sizes, and although I may have the same measurements as the girl next to me, this does not at all mean we have the same body shape. Some of us may have a sway back, forward sitting shoulders (that’s me!), narrow shoulders, longer torso etc. By making a toile, you can quickly see if any adjustment needs to be made. As you sew more garments for yourself, you will get better at knowing what to look for, as you will often notice the same fitting problem across the board. You may think that In the Folds patterns would fit me straight out of the packet. They don't! My patterns are drafted to fit a "standard" (is there such thing?) size 10 fit model, which means that before making something from one of my patterns, I must make a few alterations too... So I am right here with you!

HOW DO I MAKE A TOILE?

After choosing your size, printing the pattern, and making any alterations that are standard to you (such as an FBA or SBA), make up the garment in your chosen toiling fabric. You don’t have to add facings, collars or pockets etc when making a toile. I never bother with buttonholes or zips either, I just pin the opening closed when it’s on. For the Acton, if you're short of time, you can get away with just toiling and fitting the bodice. 

You just want to check the overall fit of the garment, so you will only need the main pattern pieces (in the case of the Acton, you just need to cut the bodice pieces, not the lining). There is no need to even finish the seams!

To Start

Cut out your bodice pieces in your chose size. Remove the seam allowance from the neckline and armholes, as well as the waistline seam. This will help you get an accurate idea of the fit, without getting confused by the seams that have not been finished. 

For loose fitting garments, that have enough ease to fit a wide range of shapes (such as The Rushcutter) you can go right ahead and cut out your toile and get sewing, but for fitted garments like the Acton, it is best to mark some guidelines on your pieces first. This will really help when it comes to fitting the bodice and working out what changes need to be made. 

Mark guidelines on your pattern pieces

Take your pair of SIDE FRONT BODICE pieces and draw a horizontal line through the fullest part of the bust. Transfer this line onto the CENTRE FRONT BODICE too (at the same level).

Draw a vertical line through each piece too. This doesn't have to be exact - these lines will just act as reference points when you are fitting. They will help you tell if the bodice is sitting as it should. 

It can be a good idea to try a toile on inside out, so transfer these guidelines onto the wrong side of the fabric too.

Do the same for the CENTRE BACK BODICE and SIDE BACK BODICE pieces. 

Sew the toile

Sew the bodice together, according to the instructions in the pattern (leaving the centre back seam open). When sewing, consider using a long stitch length, so that you can quickly and easily unpick any seams that need to be altered. You can also use a contrasting thread to make it even easier to see your stitches (and remove them if necessary).

Press all seams open before stay-stitching around the top edge of the bodice (neckline and armholes) - this will prevent the toile from stretching while you are fitting it. Press the centre back seam allowances in by 2cm - these creases will help you pin the bodice closed in the correct place. 

WHAT’S NEXT?

Tie a piece of elastic (or similar) around your natural waist. This will act as a reference point for your bodice so that you are able to check the bodice length, as well as act as a guideline to check that the bodice sits correctly.

Line up the bust line on the bodice with your actual bust line (the line that runs through the fullest part of your bust - or across your bust apex / nipples), and get pinned into the bodice (up the centre back seam) with the bodice inside out. It is a really good idea to have a friend around to help you with the fitting. It can be a little tricky if you're on your own! If you are on your own, try turning the bodice around so that the centre back is at the front and pin the back seam closed before twisting it around the right way.

As the bodice doesn't have straps yet, it can be helpful to try the bodice on with the fitted jersey top on underneath. This way you can pin the bodice to the top if it's not staying up on its own! 

Get in front of the mirror and take a look.

Fitting is a process, one change will effect another part of the toile, and so on and so forth - so it is important to do your fitting in a methodical way. When working on a full garment, work from the top down - fitting the bust, the waist and then the hips. 

Check the side seam

First things first, check the side seam. Is it sitting perpendicular to the elastic you have around your waist? If it is being pulled forward, it could be a sign that you need to do a FBA. 

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Check the bust

Check the overall fit of the bust. The Acton is designed to be quite fitted (there is only 2cm / 1" ease at the bust).

If the bust is too small...

A : If the bodice feels as if it's pulling across the bust (or you can't even get the bodice closed at the centre back), unpick the princess panels from the bust line up, and then the bust line down - releasing the fabric - but not unpicking the whole seam. Make sure you do this to both sides so you can get a correct gauge of the fit with the extra width added.

B : Measure how much your princess panels are opening up at the bust line. Measure the opening on both sides. If they are not the same, add them together and divide by 2 (to find the average), so that you add the correct amount when you do your Full Bust Adjustment (tutorial coming soon). Take note of this number, so that you can use it when doing your FBA.

If the bust is too big...

A : If you have the opposite problem, and the bust area is too big, carefully pin down the princess seams, removing the excess. Do this on both princess seams, being careful to remove an even amount from each side.

B & C : Take a pen or marker and draw the new panel line on both sides of the princess panel by following the pins.

A : On the bust line, on the CENTRE FRONT BODICE, measure the difference between the original stitch line and the marked line, take note of the measurement. Repeat for the other princess panel. 

B : On the bust line, on the SIDE FRONT BODICE, measure the difference between the original stitch line and the marked line, take note of the measurement. Repeat for the other princess panel. 

Add up these four measurements to find the total you need to remove from the bodice when you do a Small Bust Adjustment. 

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Check the bodice length below the bust

Once the bust is sorted, it is time to check the length of the bodice.

A : Measure down from the bottom edge of the bodice at the centre front seam to your waist. The bodice was designed to sit roughly 12cm above the natural waist. Take note if your bodice sits above or below the 12cm mark. In a later tutorial I will show you how to add / remove length to the bodice if your bodice is too long or too short. 

B : Measure down from the bottom edge of the bodice at the centre back seam to your waist. The bodice was designed to sit roughly 5cm above the natural waist at the back. Take note if your bodice sits above or below the 5cm mark. 

Check the bodice length above the bust

You may notice that your bodice is sitting in the right place in relation to the waist, but there may be too much (or too little) fabric above the bustline. 

I have two dressforms with very similar measurements, you will notice that in photograph B the bodice sits much closer to the neckline than in photograph A. This shows that the dressforms have different proportions above the bustline only (as the bodice sits 12cm above the natural waist on both).

Work out where the problem is, do you need to remove length above the armhole? Or is the armhole sitting too close to the armpit too? (if this is the case you will need to remove length from the side seam across the whole bodice)

Remove length above the bust

The best way to really work out the fit issues you have in a toile is to start cutting into your fabric and making changes. This way you can get a real idea of the changes as you make them, and hopefully save yourself from making too many toiles!

A : Cut through the bodice at the point that has too much length - this may be above the armhole, below the armhole but above the bust line, or below the bust line.*

B : Move the detached piece down until it is sitting in the correct position. Pin in place and measure how much length has been removed. 

*You may need to add length in more than one place

Add length above the bust

A : Cut through the bodice at the point that is too short - this may be above the armhole, below the armhole but above the bust line, or below the bust line. (Again, length may be needed in multiple spots).

B : Take a strip of scrap fabric and pin to the lower portion of the bodice. Move the detached piece up until it is sitting in the correct position. Pin in place and measure how much length has been added.  

Repeat the process of cutting and opening (or cutting and closing) to add / remove the length from the places it is needed. If you want to get a really good idea of how the new bodice is fitting, you can stitch the strips of fabric in place on the machine, before trying on the bodice again. 

Add the straps

Once you have the bodice right, use thin straps of fabric (or bias binding or tape - whatever you have around) to make two "straps" (this will save you sewing up straps) and pin in place. Getting the right strap length is crucial to getting a good fit with the Acton. Make sure your straps allow the bodice to sit comfortably, and the peak of the bodice (the bust guideline) remains on the peak of your bust. Take note of the strap length so you have it for when you are making the real thing.

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What's next?

If this fitting has revealed that you have lots of changes to make to the pattern, make the changes and make another toile. It is always good to check the fit of a pattern after making significant changes.

And don't worry, I won't leave you hanging now that you know what pattern alterations need to be made!

In the coming days I have the following tutorials lined up for you:

January 12 and 13 : Lengthening the bodice

January 16 and 17 : Shortening the bodice

January 18 : Full bust adjustment (FBA)

January 19 : Small bust adjustment (SBA)

January 20 : Grading between sizes

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The Acton sew-along : Selecting your size

To kick off the Acton sew-along series, we'll be talking about selecting your size.

The Acton sewing pattern is available in sizes A - K (approximately equivalent to AU size 6-24).

TAKE YOUR MEASUREMENTS

To select the appropriate size, first take your measurements.

It is best to take your measurements while wearing only underwear, or otherwise very tight clothing, so that you can get true measurements. Get someone to help you, if you can. Otherwise take your measurements in front of the mirror, so that you can check that your tape measure remains parallel to the floor, and is not twisted, as it is wrapped around your body.

First, measure your bust and take note of the measurement. 

As the Acton has quite a fitted bodice, you should also take your high bust measurement. This will help you determine whether or not you will need to do a Full or Small Bust Adjustment. The 'high bust' is the area above your breasts and under your arms.

Measure your waist... and (if you want to be able to eat in your Acton) don't suck in your tummy like me!

And then measure your hips. Make sure you are measuring your low hip (i.e. the fullest part of your hips - that includes your butt!)

BODY MEASUREMENTS

Now look at the size chart and circle where your measurements lie. Your measurements may lie across several sizes or between sizes - that's no problem at all!

Before going ahead, we need to check that you are choosing the right size for your bust measurement (you may need to select a different size to your measurements and then to a full or small bust adjustment to get a good fit).

WILL YOU NEED TO DO A FULL / SMALL BUST ADJUSTMENT?

Most indie pattern companies (including In the Folds) draft for a B cup bust. There are of course exceptions to this rule (such as Cashmerette and Colette), so make sure you check on your pattern before assuming the bust cup size.

This means that if your bust cub size is smaller than a B you will need to do a Small Bust Adjustment, otherwise known as a SBA (tutorial coming soon), and if your bust cup size is larger than a B you will need to do a Full Bust Adjustment or FBA (tutorial coming soon). 

WORK OUT YOUR CUP SIZE

Your cup size in sewing patterns may not always correspond to the bra cup size you wear. To be safe, check your measurements before deciding if you need to make any adjustments to the pattern. 

Find the difference between your bust measurement and your high bust measurement.

If the difference is 2.5cm (1") your bust is an A cup, 5cm (2") it's a B cup, 7.5cm (3") is a C cup and so on. 

CHOOSE YOUR SIZE

Now, go back to your high bust measurement and add 5cm (2"). This is what your bust measurement would be if you were a B cup and therefore the size you should be choosing from the pattern.

Change your size selection on the chart if necessary.

For example, let's say your upper bust measures 81cm (32"). Add 5cm (2") to this measurement to find out what size your bust measurement falls into on the In the Folds sizing chart (and what size you would be if you had B cup breasts). 81cm + 5cm = 86cm which corresponds to a size C. Your actual bust measurement is 89cm though - 3cm (1") larger than the cup size of the pattern. This means you will need to do a Full Bust Adjustment and add this 3cm (1") to your pattern. 

An example - looking at my measurements

I thought I'd show you my measurements and how I go about selecting my size, to give you a concrete example of this process. As my patterns do not fit me straight out of the packet! Some designers use themselves as a fit model, but I choose to use a "standard" size 10 model as a base, which means I have to make alterations to my patterns before I can get sewing too.

Bust : My high bust measurement is 82cm. I will add 5cm to this measurement to check whether or not I need to do a FBA or SBA. The result is 87cm - which puts me in a size C. My actual bust measurement is only 84cm though (not the 86cm of the size C bust measurement), which means I will need to do a Small Bust Adjustment to remove the excess 2cm from this area.

Waist : My waist measures 72cm. This is slightly bigger than the size C waist measurement (which is 71cm), so before choosing to use a size C, I will check the pattern's finished garment measurements to see if that will work. 

Looking at the "Finished Measurements" table, you can see the finished waist measurement of the size C is 81.5cm (there is about 10cm ease in the waist), which means that the fact that my waist measurement is 1cm bigger than the size C measurement, is absolutely fine.

Hips : My hip measurement is 100cm, which moves me from the size C, up to the size D. Again, my measurement is 1cm over the size D measurement, but by looking at the Finished Measurement table, I can see that again this won't be  problem due to the amount of ease in the hip, so I can stick to a D.

NOTE : The wrap on view B is deigned in such a way that there is A LOT of extra room at the hips (to allow for the wrap). If your hip measurement is only slightly outside your waist size range, I would not bother grading up at the hips (there will be ample room). If your hip size is more than a size bigger than your waist I suggest grading up. For my measurements, C at the waist and D at the hips, for the wrap version (view B), I just made a straight C (with only alterations made to the bust). 

What size to print?

The pattern has been made with embedded layers so that you can just print the size/s you need! Layers make it much less confusing to cut the right size, and also saves on ink (and paper, in some sizes). Take note of the size or sizes you need to print and then check out this post how to print and assemble your PDF pattern. 

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The Acton sew-along is coming!

I am officially back in the studio today (I did do a few sneaky hours in here last week) and getting myself and my little business organised for 2017. I am so excited about all that I have planned, with the first thing being the sew-along for the Acton, which will start this week! 

Will you be sewing along with me?

Here's the schedule so you can stay tuned to the posts you would like to see:

January 10 : Taking your measurements and selecting your size

January 11 : Making a toile

January 12 and 13 : Lengthening the bodice

January 16 and 17 : Shortening the bodice (Post 1 and Post 2)

January 18 : Full bust adjustment (FBA)

January 19 : Small bust adjustment (SBA)

January 20 : Grading between sizes

January 23 : Sewing with silk (or other slinky fabrics)

January 24 : Sewing princess seams (assembling the bodice - both views)

January 25 : Sewing in-seam pockets

January 26 : Attach the skirt to the bodice (view A)

January 27 : Inserting an invisible zip

January 30 : Making and attaching the straps (View A and View B)

January 31 : Attach the lining

January 1 : Hemming

February 2 : Attach the skirt to the bodice (view B)

February 3 : Adding the waist ties

February 6 : Finishing up (view B)

February 7 : Pattern hack - add a full circle skirt

New Pattern : The Beach Coverup - in collaboration with Peppermint Magazine

It just ticked over into Summer here in the Southern Hemisphere and I'm celebrating the turn of season with the release of a new pattern in collaboration with Peppermint Magazine!

If you have been following my blog this year, you would have seen the Sweater Dress we released together in Winter and then the Peplum Top that followed in Spring. And the best bit is, you can download them all for free! 

The Beach Cover-up is a simple summer kaftan with a comfortable and relaxed fit, perfect for hot summer days on the beach.

It features a scooped neck, high-low hem and an optional waist tie (that can give you a range of different silhouettes).

Through the creation of this garment you will gain confidence in:
- sewing with light-weight woven fabrics
- sewing straight seams
- sewing curved seams
- attaching bias binding
- attaching trims

Download the pattern now for free from the Peppermint Magazine website (along with heaps more free sewing patterns). 

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New images : The Rushcutter

When I decided to do a shoot for the release of the Acton dress, I thought it would be a good time to get some images of the Rushcutter too! So today I'd show some of them too, as you may have missed the updates to the product listing.

For View A I chose to use a beautiful mid-weight denim. Really, since I made my own denim Rushcutter, it's just hard to think about using anything else!

It really holds the shape beautifully - especially the pockets - and it shows all the details really well. And I knew it would work beautifully with my model's (Caz from Useful Box) lovely red hair. So that was just a no brainer!

For View B it was a little trickier. I wanted something summery, but also something that wouldn't overtake the details. Enter cotton stripe! I am really pleased with how this one turned out. I had lots of fun playing with the stripe direction and I think overall it works really well.

The only problem was that I din't realise how sheer it was until I got it home, which meant I had to omit the in-seam pockets and my model (my sis') had to wear a nude slip underneath. Lesson learned for next time!

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The Acton : Tester round-up

As you have probably seen by now, last week I released The Acton dress pattern. This pattern was a long time in the works, as I really wanted to fine tune my process, so there was  a lot of learning and experimenting to be done. I tested the pattern earlier this year, along with some incredible makers, and today is the day that I can finally share these pictures with you (I know they are all pumped to finally share their Actons too!) and a few of the comments that were made about the pattern.

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Andreia - In a Manner of Sewing

"The pattern is perfectly designed and i really need to try it on a fabric that is more suited for my skills, because all the notches, pivots, seam allowances match so perfectly it´s just impossible not to enjoy sewing it."

Check out Andreia's blog (and Acton review) here. 

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Henna - Stitch Study

"I like that you listed the pages I needed to print for my view and size. I just plugged it in and printed, and everything was there. I also like that the pattern is arranged in chunks. I have limited space for taping, so this helped tremendously."

Check out Henna's blog here. 

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Erin - Brooklyn Pattern Co

 "What I liked about making the Acton was how well the pieces came together. It made it very satisfying to finish with all things lining up. I really nailed the CF point and that felt great."

Check out Erin's blog here. 

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Megan - Pigeon Wishes

"I love the way this dress fits on a pear shape and I think the bodice is really flattering. The skirt hangs in a very elegant way and moves beautifully (I made my garment in Cupro so it feels very floaty too)."

Check out Megan's blog here. 

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Sue - Sewin' Steady

"It's a unique bodice style for me, not falling across the natural waistline, and I think the result is flattering, helping the skirt skim across any lumps and bumps in ones midsection. I also appreciate the princess seams making it easy to adjust the fit."

Check out Sue's blog (and Acton review) here.

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Shannon - Adventures in Ordinary

"Really like the shaped, paneled bodice and A-line skirt. I think it'll look good in various lengths, too (I have a maxi-length in mind next!)."

Check out Shannon's blog here.

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Katina - I'm Not Tina Wheeze

"I like the option of having the sizes on different layers (although I didn't use it because I got my husband to print it for me this time and didn't want to complicate the request). I also really like the way the pieces were arranged so you could just tape together the pattern parts that you needed."

Check out Katina's blog here. 

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Helen - Helen's Closet

"The Acton dress is very figure flattering and comfortable to wear. I can even wear it bra-less because I chose a heavier fabric! The length is very nice, not too short or too long. I love the princess seams and the tiny straps. The way the straps angle up towards the neck is beautiful."

Check out Helen's blog here. 

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Kate - Sewing with Kate

"I enjoyed the second version much more. It came together very quickly. I have never sewn a princess seam bodice before. I thought it would be hard. It wasn't!"

Check out Kate's blog (and Acton review) here. 

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Caz - Useful Box

"Emily - I love your patterns and how they fit together. Especially how the corners are prepared and then fit together nicely. It reminds me of all my pattern making classes at college. They appeal to my logical brain! ... I love the princess bust line - that fits me perfectly. I also love how the bodice to waist seam is so flattering. I also love there is lots of room in the skirt for hips and bumpy tummies. Also love the pockets - everything should have a pocket!"

Check out Caz's blog here. 

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Åsa Maria - Made by A M Borg

"I especially like the a-line skirt and the narrow neckline and the shape of the bodice. I feel very comfortable in this "shape". Looking forward to summer here in Norway so I get to use it. It's way to cold here now."

Check out Åsa Maria's blog (and Acton review) here. 

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Suzanne - Dressed in Pretty Little Things

"The Acton dress is exactly what I have come to expect from an indie sewing pattern, well executed with a whole lot of love and attention behind it... I really like the fit of this pattern, being bigger busted I normally avoid higher necklines and under bust seams as they normally sit on top of my bust. But this a beautifully drafted pattern."

Check out Suzanne's blog here. 

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Sarah Walker 

"I love bodices that are shaped with seams rather than darts - somehow just more satisfying to sew. And the lined bodice meant sewing was quick as you didn't need to worry about finishing seams... I love the design - it's actually different, rather than another fit and flare dress, and the instructions strike a good balance between explaining the steps and understanding nobody wants to spend half of their sewing time reading!"

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Marie-Fleurine - Sew Marie Fleur

"The fit is great, I love having the pattern both with and without seam allowances and the instructions are detailed. It's definitely one of the indie patterns with high quality fit and instructions."

Check out Marie-Fleurine's blog (and Acton review) here.

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Cindy - Caliana Design

"It is super detailed and each notches line up perfectly. As I made my muslin and my final dress, I thought how quick and simple it seemed to be when I was sewing it together. After the initial fit issues, I was able to complete the dress in less than 2 hours, kids interruption included ;)."

Check out Cindy's blog here.

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Lilith - Old Maiden Aunt

**Lilith added an extension to the bodice. This section is not part of the pattern.  

"I learned a couple of things about curved seams as it's my first time sewing a fitted bodice that joins a curved line to a straight line (joining the two front bodice pieces together) - it creates a really flattering fit!"

Check out Lilith's blog here. 

Think you'd like to make yourself an Acton? Take a look at the product listing. 

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The Acton pattern is finally here!

I am so excited to let you know that the Acton pattern is finally here!

For those of you who have been following along with me for a while, you will know that this lady has been in the works for a long time! But I must say that after all the hours spent on it, I couldn't be happier. She is a real beauty and I am ecstatic to be sharing her with you today.

The pattern is available in 10 sizes, from bust 76cm (30in) - 131cm (51.5in). 

View A features a fitted bodice with a low back and thin shoulder straps. The skirt is A-line, and includes (optional) in-seam pockets in the side seams.

View B features a fitted bodice with racer-back and thin shoulder straps. The skirt is a wrap that can be tied in a number of ways to achieve different silhouettes.

By working through this pattern, you will gain confidence in: achieving a great fit, working with tricky fabrics, sewing princess seams, inserting an invisible zip and lining a garment. 

I also chose to do things a little differently this time, and decided to illustrate the instructions (after I learned that the general consensus is for illustrations instead of photos). 

Check out the pattern now.

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How to : Lengthen a pattern

You may have seen that earlier this week I did a post on "How to Shorten a pattern," so today I thought I'd do a post on how to lengthen a pattern! The principle is exactly the same, you just need to add access length, instead of removing it. 

As I said in the previous post, sometimes you can simply add some length to the hem of a garment, I would use this method in the case of a straight skirt, sleeve or trousers. But there are times when you may want to add the excess length to the interior of a pattern piece, so that the piece still fits properly with the rest of the pattern. For example, if you wanted to lengthen a sleeve that had a cuff, you wouldn't want to just add the extra length to the bottom. You would be extending the length of the placket too, and maybe even changing the shape of the sleeve overall. This is also the case if you have a pattern with an interesting shape - such as an A-line dress. You would not want to just add the extra length to the bottom of an A-line dress, as you could end up with a shape far more extreme than you anticipated!

For the case of the example, I will use the simple summer top pattern I showed you how to draft a few weeks ago. 

Trace the original pattern

Take a copy of the pattern, with seam allowance. Normally when making alterations to a pattern I suggest to remove the seam allowance, but with something as straight-forward as this, there's really no point removing it. Take note of any important details, such as pattern markings (notches etc.) and the grainline.

Draw a horizontal line through the pattern, roughly half-way between the armhole and the hem, on the side seam. If you are using a ready-made pattern, it is likely that your pattern will have a "Lengthen and shorten line" already on it, so you can skip this step. 

Cut through the horizontal line, splitting each piece in two. 

Add paper to compensate for excess length

Work out how much length you would like to add to the pattern. This is when a toile can really come in handy!

For the sake of this example, I will be adding 5cm (2") to the length of the top.

Take two small pieces of pattern paper (this is a great way to use up those scraps of paper you have laying around) and stick  to the back of the top half of both your pattern pieces (ensuring you have enough room below the pattern piece to add the excess length).

On the paper that you just attached, draw a horizontal line 5cm (or whatever length you are adding) down from the cut line (parallel to the bottom edge of the pattern). 

At this stage you can also extend the centre front and centre back lines of both your pattern pieces onto the attached pieces of pattern paper (if your pattern doesn't include the centre front or centre back - for example, on a sleeve - you can just extend the grainline).

Add length

Take the lower pieces of your pattern, and using the lines as guides, stick the pieces in place on the paper.

Re-trace pattern

Take a separate piece of pattern paper and trace the new pattern pieces, creating a new side seam that runs smoothly between the underarm and the hem. 

Finalise the pattern

Be sure to add all pattern markings, as well as the grainline. And you're done!

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How to : Shorten a pattern

There are times you are going to want to shorten or lengthen a pattern, and I thought I'd show you how to do that today.

Sometimes, you can simply cut off some length from the hem of a garment, but there are times when you may want to remove (or add) the excess length to the interior of a pattern piece, so that the piece still fits properly with the rest of the pattern. For example, if you wanted to shorten a sleeve that had a cuff, you wouldn't want to just lop the excess off the bottom. The sleeve would no longer fit the cuff correctly, and you could also lose important details like the placket position. This is also the case if you have a pattern with an interesting shape - such as an A-line dress. You would not want to just cut the excess off the bottom of an A-line dress, as it is likely you would lose the shape of the A-line. 

For the case of the example, I will use the simple summer top pattern I showed you how to draft a few weeks ago. 

Take a copy of the pattern, with seam allowance. Normally when making alterations to a pattern I suggest to remove the seam allowance, but with something as straight-forward as this, there's really no point removing it. Take note of any important details, such as pattern markings (notches etc.) and the grainline.

Draw a horizontal line through the pattern, roughly half-way between the armhole and the hem, on the side seam. If you are using a ready-made pattern, it is likely that your pattern will have a "Lengthen and shorten line" already on it, so you can skip this step. 

Cut through the horizontal line, splitting each piece in two. 

Work out how much length you would like to remove from the pattern. This is when a toile can really come in handy!

For the sake of this example, I will be removing 5cm (2") from the length of the top. On one of the pieces, draw a horizontal line 5cm (or whatever length you are removing) from the cut line (parallel to the cut line). 

Now, simply move the lower half of the pattern up to the line drawn on the upper half of the pattern and tape (or glue) in place. 

Take a separate piece of pattern paper and trace the new pattern pieces, creating a new side seam that runs smoothly between the underarm and hem. 

Be sure to add all pattern markings, as well as the grainline. And you're done!

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Pattern hack : Add sleeves to the peplum top (or any other sleeveless top pattern)

You may have seen (or even already made) the Peplum Top that I released a couple of months ago in collaboration with Peppermint Magazine.

When it was first released, a number of people asked whether sleeves could be added, and I thought it would be a great tutorial to do, as I'm sure for a lot of you there are sleeveless patterns you would love to add sleeves to. This tutorial will walk you through adding sleeves to this particular pattern, but could be used for almost  any sleeveless pattern.

Why can't you just add a sleeve to a sleeveless pattern?

It's not a difficult process, but unfortunately it's not as simple as just adding a sleeve to the sleeveless top and hoping for the best. Above I've drawn two very basic tops - one with sleeves and one without. You can see that the armhole on each pattern is not the same. 

When you place one pattern on top of the other, you can clearly see this difference (which is highlighted in red on the illustration on the right). If you were to put a sleeve on the sleeveless top, without making any changes to the armhole, the sleeve would have to reach across the difference (the red area), which would leave you with an awkward looking garment and an ill-fitting sleeve. 

To rectify this, you will first need to change the armhole on your front and back pattern pieces, and then you will be able to fit the sleeve.

For this tutorial you will need a sleeveless top pattern as well as another top (or dress) pattern that has sleeves that you like the fit / style of. 

Trace a copy of the pattern

Trace a copy of your sleeveless top pattern without seam allowance (it is much easier to make alterations to a pattern without seam allowance). Mark any design features and notches.

The Peplum Top pattern has a seperate shoulder panel. To make this alteration easier, you will need to reattach the shoulder panel to the front and back pieces (I will show you how to get it back later on in the tutorial). To do this, draw a line (or fold a line) through the middle of the shoulder piece and cut the piece in half. Label each piece so you don't get them mixed up - as they are very similar in shape. 

Attach the shoulder panel pieces to the front and back of the top, so that you have to complete pieces - the front and the back. 

Take the front and back pieces from your other pattern (the one with sleeves) and place on top of the sleeveless pattern pieces, lining up the centre front / centre back, shoulder seams and side seams (as close as you can). This is when transparent paper helps!

Use weights to hold pieces in place.

Trace the pattern

With a fresh piece of pattern paper, trace the lines from each pattern piece needed for the new pattern. Begin by marking the centre front and centre back - taking the lines from the original (sleeveless top) pattern.

Next, trace the front and back neckline - using the lines from the original pattern. 

Re-draw the shoulder seam - starting at the neckline end of the seam on the original pattern (sleeveless top) and joining with the end of the shoulder seam from the second pattern (top with sleeves). This will ensure that the neckline binding still fits the neck of the top, whilst the sleeve will fit in the armhole. 

Trace the armhole curve from the pattern with sleeves - being sure to also transfer the sleeve notches. 

Transfer the side seam - starting at the new armhole and joining to the side seam of the sleeveless pattern at the hemline. Trace the original hemline. 

Before removing the pattern, transfer the shoulder panel lines onto the new pattern. 

You now have the pattern with armholes ready for sleeves!

Re-create the shoulder panels

You will need to re-cut the panel lines to re-create the shoulder panel pieces. Before cutting through the lines, add notches to the panel lines on both the front and back (you can transfer notches from the original pattern if you like).

Seperate the shoulder panels from the main front and back pieces. 

Re-attach the front and back shoulder panel pieces at the centre line, before tracing a new copy of the piece onto a seperate piece of pattern paper. Use a smooth curve down either side to remove any sharp points.

Complete the pattern by adding seam allowance to each piece. You will be able to use the original pattern to transfer the seam allowance to the hem, side seams and neckline. You will need to add seam allowance on your own to the armhole, shoulder panel and sleeve - this tutorial will help with that!

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Pattern release : The Peplum Top

You may have noticed that recently I have been releasing seasonal patterns in collaboration with Peppermint Magazine.  

The first one I made was a sweater dress (perfect for those of you in the northern hemisphere) and then just recently our Spring pattern was released - a nice little peplum top, perfect for warm summer days. 

The best bit about this collaboration, is that the patterns are free! You can just jump on their site, browse through their pattern archive and take your pick.

This pattern is a nice easy one - sewing up beautifully in light-weight summer fabrics like cotton, linen, silk or viscose/rayon.

Perhaps my favourite thing about this pattern is the v-neck back. The pattern includes a bias cut pieces to help you get a really nice finish on the 'v,' without too much fiddling.

Think this top is for you? Download it for free now!

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Are you a photographer or illustrator who loves sewing?

As a lot of you would know, I recently hit my one year in business milestone. I'm one of those people who, when I hit some kind of big milestone - whether it be a birthday, ten years since finishing high school (this year.... ahhhhhhh!!), even just new years eve, I can't help but look back and reflect on the time that has passed. Which means that this last few weeks has included a lot of reflection time as I think about how far this little business has come, as well as what hurdles I need to overcome to keep this little gal going. 

The main thing that keeps coming to mind is that I just can't do it all. No matter how much I think I can, no matter how diligent I am, no matter how many hours I work, I just cannot do it all, and I think that (maybe) I have finally accepted that. If I want this business to grow, it can't be up to me to do every little task involved in the process. There is truly not enough hours in the day, and to be honest. I started 2016 thinking I could release 6 patterns in the year. You may have noticed that I have not even released one (except for a couple of patterns in collaboration with Peppermint Magazine)! Obviously something is not working how it should.

As some of you may have read on social media, I recently held a photo shoot for my upcoming pattern (which is coming in two weeks! Yay!) The photos look great and I am really pleased with how it went, but all the photos need a little retouching. Nothing major... a bit of overall brightening up, removing a bra strap here, some stray hairs there etc. My first thought was 'I am sure I could work out how to do it myself.' Although I can use Photoshop, I am by no means an expert, but generally if I apply myself (and watch a tonne of YouTube videos and read a few blogs) I can work most things out. And then I really thought about it. I could spend days learning how to do it and days actually retouching the photos, and at the end, they probably wouldn't even be that good. Because, as I said, I'm not a pro. And that's when I realised I really had to change my mindset about these things get serious about finding someone to help me do the job. I jumped online, scoured the internet for possibilities and found a company I was happy with. Then they edited the photos (for not too much money at all) and I saved myself hours of frustration and heartache. Job done!

This little transaction made me realise that with the growth of online freelancing sites like Air Tasker, Freelancer, Upwork etc. there just has to be people out there in the world that have the skills to help me with some of the tasks that make up my business. And that is why I am coming to you!

I have been thinking about all the jobs I do in a day, and have been trying to think about the things that are really important that I do myself (blogging, social media posts, designing, pattern making, writing pattern instructions) and those that just aren't (illustrating pattern instructions, photographing sew-alongs, cutting samples, sewing samples) and trying to work out how to get help with the steps I need so that I can focus on other things. I have put a couple of positions on a freelancing website, and then it occurred to me that I should also ask here. I know a lot of you are great sewers, but I don't know what your other talents, hobbies or jobs are, and maybe it's illustrating or photograhy! (Which are the two things I am looking for help with first) 

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So if this sounds like something that may interest you, read on ...

Illustrator - technical illustrations needed for sewing patterns

I am currently looking for someone to help with the technical drawings that accompany the instructions for my patterns. The illustrations need to be created in Adobe Illustrator as I would want access to the original files so that I could tweak them if necessary. 

Each pattern requires around 40 - 60 illustrations - depending on the complexity of the pattern. I have previously done the illustrations myself so will hand over my illustrations for reference (as they need to be in the same style for the sake of consistency) as well as a document with all the strokes etc. that I want used. I really need to them to be at the same level as they are currently (or to a higher standard).

The complexity ranges, depending on the step - some being quite simple and only taking a few minutes, while others take a bit longer. I will provide digital copies of the pattern pieces, which I find are handy to start the illustrations with, as well as photographs of each step of the process for reference. I will also provide written instructions to make it very clear what each illustration needs to include.

I am really hoping to find someone who I can work with on an ongoing basis. I would like to get started straight away with 1-2 patterns that are ready to go, but I plan to release patterns regularly in the new year and having someone reliable, who I can count on to do this work to a high standard is my ultimate goal.

Is this something you might be interested in?
- Great sewing and construction knowledge is required
- You will need to have strong Illustrator skills
- Job will be done remotely through email communication, so I really need someone trustworthy and reliable
- You need to have a great eye for detail and the ability to understand a brief
- I want the illustrations to be drawn in the same style that I have done so far so that things remain consistent for my brand - so you must be able to do this

If you want more examples of the kind of illustrations I am talking about, please check out the free pattern I released with Peppermint Magazine a few months ago. 

I would love to work with someone who loves sewing as much as I do, is friendly, organised and willing to go the extra mile to do a great job. If this sounds like you and you have all the skills previously mentioned, please get in touch (email hello@inthefolds.com) telling me a little about yourself, why you think you´d be a great fit for this project and some examples of your work.

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The second thing I am looking for is a little trickier. I am not sure if I will find the right person for this one, but I did want to put it out there to see! 

Photographs required for sew-alongs

I am looking for someone to take step-by-step photos for tutorials on my blog (as well as an aid to the illustrations that are created for pattern instructions).

I am currently taking the photos myself, but don´t have a great set-up, so would love to find someone who has the set-up, skills and creativity to take some really great photos for the blog.

I would provide the freelancer with the pattern and fabric (or we could discuss you purchasing the fabric at my expense), as well as written instructions and you would need to make the garment, taking clear and beautiful photos of each step in the process. Some of my patterns can be quite tricky, so you will need to be a great sewer. 

I am really hoping to find someone who I can work with on an ongoing basis. I would like to get started straight away with one pattern that is ready to go, but I plan to release patterns regularly in the new year and having someone reliable, who I can count on to do this work to a high standard is my ultimate goal.

Is this something you might be interested in?
- Great sewing and construction knowledge is required
- You will need to have strong sewing and photography skills
- Job will be done remotely through email communication, so I really need someone trustworthy and reliable
- You need to have a great eye for detail and the ability to understand a brief

Photos would need to be up to the same standard (or preferably of a higher standard) that I currently have on my blog. I don't really mind where you are based as it could all be done online through email and the occasional Skype call. 

If it sounds like you tick all the boxes, please send me an email (hello@inthefolds.com) telling me a little about yourself, why you think you´d be a great fit for this project and some examples of your work / link to your blog.

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A round-up of the most popular posts from the past 12 months

As this week is a time to celebrate the first birthday of In the Folds, I am also seeing it as a good time to reflect on all that I have done this year. It's been a very busy year, with a range of different projects and collaborations and a fair number of blog posts. I dived into my blog analytics today so that I could share the 10 most popular posts of this last year. 

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I'd love to know what you would like to see on this blog in the next 12 months! Let me know in the comments or send me an email!

The Ruschutter - 20% off Birthday special

As I mentioned yesterday, In the Folds turns one this week!

The day I launched my business is also the day I launched The Ruschutter sewing pattern. Which means this beauty is also turning one this week!

To celebrate, I have decided to offer a 20% discount on the pattern. All you need to do is head to my Etsy shop and enter the coupon code 'BIRTHDAY20' at checkout.

The sale will last for a week (ending Friday October 14), so get in quick! 

Talking About: 1 year in business

I cannot believe today marks the day that exactly one year ago I launched In the Folds as well as The Rushcutter dress pattern. Part of me feels like no time has passed at all, while the other part feels like I have been steering this ship for ten years! I cannot believe how naively I took the plunge into starting my own business - and how much learning I have had to do this past year just to survive. I thought that a good way to wrap up the year would be a little reflective post about all that I have learned this first year, as a reminder to myself about how far I have come, and hopefully some tips for you if you are about to start this crazy journey too. 

1. Sometimes not having a clue is a great thing

Thank goodness for the blind faith of a beginner. It's so easy to jump blindly into something when you have absolutely no idea of what is involved. And this truly is a blessing. If I knew when I started what I know now about running a business (which is still not a great deal), I don't know if I would have been brave enough to do it at all. I see this trait in so many parts of life, sewing in particular. New sewers often jump right into projects far beyond their skills, because they have no way of judging what's involved and have no fear, or knowledge, of what could go wrong. I think this is fantastic, and something to really aspire to. I wish this was something we could control and bring into our lives more often, because fear really does stifle our potential. So see it as a bonus when you don't have a clue about something - it often will work in your favour. Step naively into the face of it, and take the challenges one by one as they come.

2. You can learn a lot from the internet

When I did start to lose my naivety and started realising the beast I was creating, I also learned that worrying about what you don't know is just pointless. Because basically there is going to be A LOT you don't know, and there's just no point dwelling on it or getting worked up about it. Soldier on and face each obstacle as it comes. It is incredible what you can teach yourself with the help of a good Google search (I learned how to draft patterns digitally by trawling the internet for blog posts and tutorials) or a podcast. If you break whatever is daunting you down into small steps, suddenly it looks much more manageable and achievable and then you can face each challenge one by one. 

3. Sometimes you're just not ready for the information

This leads me to the point that sometimes it's best not to know something. There's only so much brain real estate we have, and there's no point filling it with useless things that you may not need until a year down the track. For example, before I started In the Folds I did a small business course. The teacher harped on and on about marketing. I listened, but I just couldn't wrap my head around it. Of course I knew it was important, but it all just seemed too big and too daunting for me to think about. So I didn't. I chose to focus on more pressing issues. At the beginning the most important thing I had to do was learn how to make a great digital product (I have always been a pattern maker, but only knew how to draft patterns manually). There would have been no point spending hours working on marketing when I didn't even have a product to marker. Twelve months on, and now that I have mastered creating a PDF pattern, it's time to take the next step. I am finally realising what a huge impact marketing has on your business's success and I am ready to learn. I am ready to take it all in. I have been reading marketing books, and listening to marketing-related podcasts, and actually understanding them, and even enjoying them. Because I am ready for the information now. 

4. Having your own business can be very lonely, but that doesn't mean you have to do it alone

Photo care of Louisa Eagleton Photography

While I was still at university I did work experience with a local fashion designer. I went to her studio one or two days a week to help out with anything and everything she needed help with. Early on I was struck by what a lonely working life this designer led. She spent her days in the studio with no-one around but her dog, and me when I was there. At that moment I vowed I would never have my own business - it would be far too lonely for me. I need to be around people all the time. Or so I thought. Fast-forward seven years and here I am sitting at my desk writing this post. Totally alone. And extremely happy to be doing it. What I have learned is that although you may get lonely running your own business, it doesn't mean you have to do it alone. I choose to work in a shared studio space, so that I am surrounded by others. I choose to collaborate with businesses that believe in the same things that I believe in so I can bounce ideas around with other creatives. In the past twelve months, I have met more like-minded individuals than I had met in my entire life pre-business. I may not get to see these people every day, but when I do see them, they re-fuel my energy and inspiration in a way that sustains me in the lonely times. And then of course I have my friends and family, who have been absolute troopers throughout the journey so far. 

5. People generally want to help you

And this leads me to another major lesson I have learned. People generally want to help you. There is something about "the little guy" (or gal) who has said 'Stuff you normal job / normal lifestyle' that excites and inspires people. They may not want to take the leap themselves, but they will often want to be part of the journey. I find it really difficult asking for help, but what I am slowly learning to accept is that I cannot do it alone and people do actually want to help. There are always going to be times when I'm going to need to call in a favour. And that's okay. 

6. Starting a business forces you to look internally

The biggest surprise to me this year is how much having my own business has made me look internally. If you mentioned the term 'self-help' to me a year ago, I would have actually laughed in your face. I didn't understand it, I didn't get it, and didn't believe there was any need for it in my life. Then I started a business and realised that when you pour your heart and soul into something, it becomes part of you, and any cracks or strains in the business are often reflections of some part of you that needs to be looked at a little closer. Blocks in my business often relate to personal blocks I have. For example, when I started In the Folds I wasn't too worried about how many patterns sold. Money wasn't driving me. I thought this was a good thing, it meant I could be creative and free without thinking about money. Then I realised that it wasn't liberating to work like that. Having no money doesn't give you freedom, it limits you and your potential. I wasn't worrying about money, not because I had risen above to some higher plane where money wasn't an issue, but because I felt I didn't deserve it. This was a huge revelation to me and something I must continually think about and work on. I now work on different things internally, as I realise how these things manifest externally. It is a never ended process, but a very rewarding one. 

7. Creating a routine is really important

Photo care of Louisa Eagleton Photography

When I tell people I have my own business, they often remark about how great it must be 'being able to work whenever you like.' Any business owner will know that it's not like that at all. Having your own business encourages you to work ALL THE TIME - whether you like it or not. There is always a million things on the to-do list and only you to do it, so you just work and work and work and work. I definitely have work-aholic tendencies. I love to work. I have always enjoyed working, and working for myself has made me love work even more. I truly love what I do and it makes me feel incredibly happy and fulfilled. But that doesn't mean it is good for me to work all the time.

I do not want to be defined by what I do for a living. I want to be defined by my relationships with others, by what I give to the world, the stories I share, the places I go. This article from Womankind that I read recently resonated so much with me - and was a great reminder that I cannot let work absorb me, nor should anyone. This means trying to find some work-life balance.

I am definitely not going to pretend I have worked it out. I haven't. But I am getting better. And the main thing that has helped is the routine I have created for myself and my work. I try to work normal working hours. I get to work between 9am and 10am. I have lunch around 1pm, just like I would do if I worked in an office. I leave work around 6pm so that I can spend time with my partner or friends in the evenings. I work weekends when I have a deadline, but I try to refrain from  working so that I can spend time with my friends and family, and just relax and re-group. This work takes a huge mental toll on me, and I like to have the weekends to reflect and gear-up for the week ahead. I went to a great talk earlier this year and the speaker discussed the idea of our "Golden Hours." By this she meant the hours in the day where you do your best work. Realising that my "golden hours" are first thing in the morning and later in the afternoon / evening has been a great lesson. I now plan my days around these peak times. First thing in the morning I do my most important work, the things that have to be done, while I am full of energy and ready to go. After lunch, when I am feeling like crawling under my desk for a siesta, I try to do my favourite work. The work that I don't find challenging and I love to do no matter how exhausted I am - sewing and pattern making fall into this category. And then in the evening (if I have a deadline and need to work) I get back to the important stuff. 

8. Put everything into it - it's so much easier than only going halfway

I worked in London for two and a half years or so a couple of years ago. I moved there with the grand dreams of interning in the fashion industry and working out what I wanted to do with my life. I got there and realised that although it would be easy to find an internship, a paid one was almost impossible to come by, and if I wanted to eat I was going to have to find another job. After calling my parents and having a mini melt-down on the floor of a 12 bed dorm in a backpacker hostel I remembered that I had been tutoring kids for years back home, and maybe I could find some part-time nannying work. Fast forward a couple of weeks and there I was at the park with three gorgeous young children who were now my responsibility four afternoons a week. It was not ideal, but it would pay the bills and let me do what I wanted each morning (i.e. interning). A year or so later I started working on my first pattern making blog and although I loved my job as a nanny, I quickly realised how hard I was finding it to focus on the job at hand. All I could think about was working on my blog. Pushing a child on a swing, I would be thinking about the next tutorial I would write. Walking through the park with the stroller, I would be thinking about what I would sew next. Then I would finally have time to do all that I had been dreaming about and I was just too exhausted to do the work. Now that I work in my business full-time, I finally feel focussed. No longer do I catch myself (as often) day dreaming of the work I want to be doing, while eating dinner with my partner or while talking to my Mum on the phone. By being 100% in in my business it is no longer a chore to do the work. It has become a non-negotiable. I work every day. And then I rest on the weekends and evenings, and actually give my attention to the people around me that deserve it. Here is a great article that illustrates it really well. 

9. You just can't do it all

When I started In the Folds I just knew I had to do everything myself. I didn't have the budget to pay anyone for help, so I didn't even think about it. I learned how to do the things I didn't know how to do and just got on with it. Until I hit a road block. I wanted to change something on my website and I just couldn't. I trawled forum pages and blogs, trying to find the solution, wasting hours and hours and not coming up with an answer. I finally bit the bullet and decided to call an expert for help. His rates seemed astronomical at the time, but I knew I didn't have a choice. Then he did the job in no time at all and it was perfect. And suddenly I had no problem handing over my credit card details. I have learned that my time has value and can often be spent doing something far more useful than trawling the internet for a solution that may not exist. I am now learning that it is a good investment to outsource some of the work, even when my budget is very tight. I sent my last pattern for Peppermint Magazine to a pattern digitser and grader. I couldn't believe how much time and frustration that saved me. For future pattern releases I plan to hire someone to illustrate the instructions. I know that I can do all these tasks myself. But I also know that I could find someone that could do it better than I can, and I can carry on doing the things I couldn't outsource to anyone. 

10. Having a plan is great, but you've got to be flexible

When I did the small business course I mentioned earlier, we had to write a business plan. It was a tough exercise, but I found it so useful in getting my head around what I was setting out to do. I handed it in and then haven't looked at it since. How come? Things changed. I realised that I couldn't pump out the ten patterns in the first year like I had planned. Things took far longer than I thought they would. Things cost far moe than I had planned and I needed to take on an occasional freelance job just to get by. And that's okay. It is really difficult to make a plan when you have no idea of what processes you will use and how long they will take. There is no point sticking to a plan just because it's there. To me, business is about constantly pivoting and adapting to what's going on around you. I do plan to write that business plan again though. With a year's worth of experience under my belt, and finally a clue about who my "ideal customer" is, I think I am in a much better place to put pen to paper. But I will be flexible with that plan too.

11. Enjoy the process and celebrate the successes along the way

And the final lesson, and perhaps the most important. Celebrate the victories along the way - however small they are. Our definition of success is constantly changing, as we move the goal posts back each time we achieve something. So I am learning to celebrate the moments along the way. Like today when I'll be having a glass of champagne and giving myself a pat on the back and saying "Girl, you did it. You survived your first year in business."

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How to: Draft an all-in-facing

In the last couple of weeks I have been showing you how to draft a simple summer tank top. Today I thought it would be a good time to show you how to finish the armholes and neckline. 

There are generally two methods used to finish the armholes and neckline of a sleeveless top - you could finish them with bias binding (shown in the image above), or draft a facing. I use both variations and make my choice depending on the fabric I am using and the style of the top (or dress) I am making. 

Where to start

Drafting a facing is really easy, and only takes a couple of minutes. Take the pattern you would like to make a facing for - in this case I am using the sleeveless top pattern that I showed you how to draft in this tutorial. 

Consider how deep you would like your facing to be. When it comes to facings, I don't think there's anything worse than a really shallow facing that pops out of the neck or armhole at any opportunity it gets. For this reason, I always draft a nice wide facing.

On your front pattern piece, measure down the side seam the depth of your facing. I would suggest anywhere between 7-10cm (3-4in), but have a look at your ready-to-wear garments with facings, and get an idea of what you like (or don't like). Also mark a point on the centre front (this doesn't have to be exactly the same as the measurement on the side seam, just have a think about how far down you would like the facing to run at the centre front).

Draw the shape of the facing onto the pattern. You will want it to be a smooth curve so that the edge is easy to finish (with bias binding or overlocking). 

The section above the curved line is the facing piece.

Take a separate piece of pattern paper and trace off the facing piece.

Before removing the facing piece, mark a notch on the armhole (this will come in handy when you are sewing the facing to the body of the top). Using a tracing wheel, transfer the notch onto the top front. 

Mark a notch on the shoulder seam and side seam too. 

To complete the pattern piece, add the grainline and cutting instructions (cut 1 on fold). Repeat process to create the back facing, and you're done! 

When attaching the facing, make sure you understitch it to get a really nice clean and professional finish. 

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How to : Draft a top with yoke

Recently I have been well and truly in summer sewing mode, as I have been working on another pattern for Peppermint magazine (see my first pattern for Peppermint here). As it's a quarterly publication, the next release will be in Spring, which makes me feel as though spring is just around the corner. And makes me very excited! I am not a winter person at all, so I have been very much enjoying pretending it's spring and using luscious linen to make the sample. 

So, to keep the dream alive, that it is actually spring (I know I shouldn't whinge as winter in Sydney is very mild) I thought I'd post a follow up post to the post I did a couple of weeks ago on drafting a summer top.

I thought a good place to start would be with a few simple adjustments you can make to your simple top pattern (or even an existing top pattern you have) to add a bit more interest, starting with adding a yoke. 

What is a yoke?

A yoke is a panel that is inserted in the top of a garment to add interest. For example, yokes are often used on the back shoulders of shirts, but can also be found on blouses, tops, skirts and trousers. 

Trace the pattern

To start, trace a copy of the pattern you would like to add a yoke too. I am using the simple sleeveless top pattern that I drafted from my basic bodice block. 

Style lines

Think about the shape of the yoke you would like to create, and draw the style line on the pattern. I have included a few examples, but there are countless options of what you could do. Be sure to bring the style line to a right angle at the centre front (more details about this can be found here). 

For the sake of the example, I decided to go with a simple straight yoke through the armhole.  Before going any further, put a notch on the style line. This will help match the two pieces back together once they become two separate pattern pieces. 

Cut along the style line (or trace each piece onto paper) to create two independent pattern pieces.

What next?

There are a number of things you could choose to do now. You could leave the pattern as is (just add seam allowance and pattern markings) for a simple tank with a yoke panel line (which you could choose to also repeat on the back pattern piece).

You could consider adding volume to the lower panel to create more of a trapeze silhouette. You can do this by cutting and spreading the pattern until you achieve the desired silhouette (look at this tutorial for more details about how to do this).

Or even consider adding a box pleat at the centre front (this is a personal favourite of mine).

Finish the pattern by adding seam allowance and cutting instructions.

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Notes on adding seam allowance

One of the first tutorials I created for this site was about how to add seam allowance to a pattern. If you are going to draft your own patterns, this is really something you are going to need to know how to do (and it's also a greta place to start if you want to learn some basic pattern making principles). In today's tutorial, I'd like to expand on the basics a little. I'd suggest checking out the previous tutorial first if you are unsure how to add seam allowance, and then come back to this tutorial. 

I did work experience with a local fashion designer while I was at university. One day a week I would go to her studio and help out with whatever tasks she needed help with. I learned a lot about things like how to cut fabric, how to trace patterns etc. (which have all really come in handy), but I'd say the best lesson I learned was about marking seam allowances. I remember being asked to add seam allowance to a particularly strange shaped pattern and realising I didn't know what to do when the pattern came to a point at one side. The designer I was working for told me to think about how the piece needs to sit once the seam is sewn and pressed and that should help me work it out. This now seems very obvious, but at the time it was a real 'wow' moment. From that moment on I never struggled, and it is a way of doing seam allowances that I have brought into my patterns. Over time, I have learned this is not always the way it is done and users of my pattern always get really excited about it and see it as a nice little detail in the process, that helps you achieve a really beautiful and professional finish in your hand-made wares. So I thought I'd share it with you today!

An example

Here is an example of what I am talking about from the Rushcutter sewing pattern (as the old saying goes, a picture really is worth a thousand words). This is the pattern piece for the raglan sleeve, and you will notice that at the seam where the sleeve joins to the centre front panel the seam allowance comes to a strange looking point. 

The reason for this is that, after this seam is stitched and then pressed open, with the seam allowance cut like this, it will be able to sit flush with the edge of the sleeve. This will help you get a lovely clean finish when you attach the sleeve to the armhole of the dress. 

How to do it

Take the pattern you are adding seam allowance to. For the sake of the example, I have just used the front pattern piece from a sleeveless top pattern. (which I showed you how to make last week).

Start by adding seam allowance to the straight seams. I'd suggest between 1.2cm (1/2in) and 1.5cm (5/8in).

Add seam allowance to the curves. Curved seams require a slightly smaller than standard seam allowance (as this helps when you are sewing them) so I'd suggest 6mm - 1cm (1/8in - 3/8in). If you're not sure how to add seam allowance to curves, there is information about it in my previous tutorial on adding seam allowances. 

What I didn't go into in the last tutorial was what to do at intersection points. It's not a problem if your pattern piece is made up of straight seams on all sides, but if, like in the example, your pattern has a mixture of straight and curved seams, you will have to add one extra step to the process.

Focus on one particular area to start. I will start with the shoulder seam. Fold along the shoulder line. This is the original shoulder line, not the seam allowance line. By folding along the shoulder line you are able to see what will happen when the seam is stitched and pressed open (which is normally the case with shoulder seams).

Take a tracing wheel (or awl) and trace over the lines that indicate the seam allowance on either side of the shoulder seam (the armhole and the neckline) for approximately 2-3cm (1in).

Unfold the pattern and you will see that you have transferred the shaping to the shoulder seam. 

Use a ruler and pencil to join the dots created by the tracing wheel. 

You will see that when you fold back the seam allowance on the shoulder seam, it now sits flush with the armhole and neckline.

Next, we'll move onto the side seam.

Again, fold along the stitch line. 

Use a tracing wheel to trace along the armhole and hem line (the seam allowance line, not the stitch line) for approximately 2-3cm (1in). 

Unfold to see the lines that have been transferred to the side seam and mark with a ruler and pencil.

Repeat process form all pattern pieces, and that's it, you're done! 

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How to : Draft a simple summer top

Summer is here for all of you lucky people in the northern hemisphere, and I thought it would be a great time to show you how to draft a quick and easy sleeveless summer top! You may wonder what I'm thinking, as most of you know I am based in Sydney, where it is currently quite chilly (well at least as chilly as it gets here), but I really wanted to start showing you how to turn your bodice block into a functional garment (as who really wants to wear a bodice block?) and I haven't shown you how to draft a sleeve yet, so sleeveless top it is!

This is a really simple tutorial and a great place to start if you are trying your hand at pattern drafting.

Where to start

Trace a copy of your front and back bodice blocks without seam allowance. Be sure to also mark both darts on each piece.

Relocate shoulder darts to the waist

Relocate the shoulder darts on the front and back bodices to the waist, using this method or this method. 

You won't actually be needing the darts in the waist, so you can redraw the hem with a smooth curve, removing the darts altogether. 

Trace the pattern

Trace the pattern pieces onto a separate piece of pattern paper, leaving enough space in between the pieces for alterations. 

LOWER THE ARMHOLE

It is likely that you will want to lower the armhole of your top for a more comfortable fit. The bodice block is designed to sit right under your arms, and I'd say for a summer top you will want a bit more breathing room. 

Decide how much you would like to lower the armhole by. Mark this distance on the side seam, measuring down from the armhole. Mark this point on both front and back patterns (this is your new underarm point). This is when it's great to have a toile (muslin) to refer to, so you can see exactly how low you want your armhole to be.

It is a good idea to reduce the length of the shoulder seam too. As it stands, it is a decent sized shoulder seam and for a summer top it is likely that you will want something a little slimmer. Remove some of the length from each side (the end close to the armhole and the end close to the neckline) to keep it balanced.

Work out how much you would like to remove from the shoulder and mark this distance on the shoulder seam, measuring in from the armhole. 

Create the new armholes by joining the points marked on the side seam and shoulder seam with a smooth curve. 

Cut along the new armhole line to remove excess from both front and back armholes (or trace off separate to create a new pattern).

LOWER THE NECKLINE

For the same reason I suggested lowering the armholes, I suggest also lowering the neckline. Use the same method used for the armholes. On the front shoulder seam, measure in from the neckline and mark the point where you want your new neckline to be. Mark the same distance on the back pattern piece. Also work out how much you would like to lower the neckline by and mark this point on the centre front and centre back. This doesn't need to be the same distance - you may want a low front (or even a low back).

Re-draw the front and back necklines by joining the points marked on the shoulder line and centre front/back with a smooth curve.

Cut along the new necklines to remove the excess from both front and back pattern pieces (or trace off separate pattern, with lower armhole).

Lengthen the pattern

At this stage, the pattern is still only waist length. If you'd like a cropped tank then you're done, but if you'd prefer some extra length then keep working your way through the tutorial.

The best way to lengthen a pattern is normally to slash the pattern horizontally and then add length through the middle of the pattern, so that the hemline stays intact and the silhouette of the garment doesn't change too drastically. In this case though, I'd suggest just adding length to the bottom of the pattern, as it is likely that you will need a bit of extra width around the hips. 

Work out how much you would like to add to the pattern, and extend the centre front, centre back and both side seams by this length. 

Join the lines with smooth curves to create the new front and back hemlines.

Remember to meet each side with right angles so that you get smooth lines when you sew the pattern together. For more on this, check out this tutorial on checking patterns. 

To complete the pattern, add seam allowance and pattern markings and you're done! 

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Finished project : Winslow Culottes

A month or so ago, Helen from Helen's Closet put out a call for pattern testers for her upcoming pattern. I jumped at the chance as she had recently pattern tested for me and I wanted to return the favour, and (more selfishly) I wanted to force myself to sew something new for myself. These days I get very little free time to sew, as most of my sewing time is consumed by pattern development and sampling for upcoming releases. I do know though that I work very well under pressure, and a deadline is a great way for me to make time to do some (semi)selfish sewing.

We were given two weeks to test the pattern, and of course about three days before the deadline, I decided to start sewing my Winslows. Thankfully the pattern isn't made up of too many pages (and does include a copy shop version), so doesn't take to long to assemble, and it's a quick and straightforward sew. 

The details

'The Winslow Culottes are wide-legged pants designed for ultimate comfort and style.  This pattern is intended to be made at any length, from shorts to full length palazzo pants. The design features inseam pockets, an invisible zipper, a waistband, and inverted box pleats.  Make above-the-knee or midi-length culottes in tencel for a chic, professional look, shorts in cotton lawn for active adventures, or full pants in viscose poplin for comfortable weekend wear.' (Helen's Closet)

I decided to make view B (the knee-length version) as I wasn't too sure about the whole culottes thing and I thought this style was the least drastic, and therefore probably the most wearable for me and my lifestyle. Since it started getting cold in Sydney, I have been living in jeans, so I had been on the hunt for some different bottoms I could make, for days when I need something a little more formal (but still comfortable).

The Fabric

I used a mysterious fabric that I bought second hand form The Fabric Cave. It has lovely loose weave that gives it a beautiful texture, although I am not at all sure what the fibre content is. It definitely has a polyester component as it didn't want to press well (but is also good because it doesn't hold creases, which is a real plus when we're talking culottes). 

Techniques used

I used a couple of different techniques in my Winslows to make them more winter appropriate (the pattern is designed for lighter fabrics) finish. I added 5cm to the length and turned this up for the hem - this extra weight in the hem helps them sit nicely and also makes them less likely to blow around too much in the wind. 

I also bound the inside edge of the waistband and sewed it flat (rather than tucking it under) to minimise on bulk in the waist area. (Sorry about the shoddy photos. It is really hard to photograph black garments!)

The verdict

When I finished my culottes, I wasn't totally convinced that I'd wear them much, as they're quite different to my usual style. But I must say I've worn them five or six times since I made them! 

If I made them again I would think about changing the straight waistband to a shaped one (using this tutorial), but apart from that the fit is great. I know this is totally a matter of preference, but straight waistbands just never sit very well on my curves.  

This is a really straightforward sew, with fantastic instructions that guide you through the process. I really enjoyed testing for Helen, she was so supportive and positive throughout the whole process and was very open to feedback, which I thought was fantastic. She somehow managed to coordinate testing with over 40 testers, and then released the pattern in no time (I wish I could take a leaf out of her book!)

All in all, a great pattern. Head over to Helen's blog for more details and inspiration (she has made so many pairs!)

What are your thoughts on culottes? Are you still sitting on the fence, or have you been converted like me?

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