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…

Janice wears a pair of denim Darlow pants.

Darlow pants by @janice.makes

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…

Lise wears a blue linen Flynn jacket and is holding one side open to show the bias bound seams.

Flynn jacket by Lise, Curated by ITF member

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!!

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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!

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

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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!

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!

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…

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LEARNING NEW SKILLS AS A PATTERN DESIGNER

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“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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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…

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ITF SPOTLIGHT: From Collins top to Elwood dress

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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!

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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…

HACKING THE ELWOOD DRESS PATTERN

Is anyone planning to sew an Elwood dress top? I'm a nursing mom, and this month's pattern isn't nursing friendly. I know it's based on the Collins top, but I don't have that one. Thoughts? 

One of the things we admire about our Curated by ITF community is their readiness to hack a pattern into something new to make it suit them and their specific needs. Unsurprisingly, one of the first questions we were asked after releasing the new Elwood dress pattern was ‘Will there be an Elwood dress Hack Kit?’ 

And as much as we love giving our community EXACTLY what they’ve been asking for, we feel very much that the Elwood dress pattern is not in need of a specific hack resource to go with it. There’s a few reasons for this:

  1. Creating a resource like a Hack Kit is really only of benefit on patterns that have a lot of potential for hacking into different designs. Because of the panelling in the Elwood dress design, there isn’t really that much you can do with it without first removing the panelling. In which case, there’s probably a better pattern to start from, like our Cartwright dress pattern, for example! Check out the Cartwright Hack Kit here.

  2. If you do want to hack the Elwood pattern, you can use the techniques from our other Hack Kits. Once you know the basics of pattern hacking - adding or removing volume, moving or adding seams etc - then these techniques can be applied to any pattern.

  3. Finally, to us the Elwood dress in itself is a very resolved design. In fact, it came about because Emily felt that the Collins top pattern had more to offer. 

As we said in point 2 above, you can definitely still hack the pattern, and we love supporting our community to do just that as much as we can. Here’s some ideas!

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from Elwood dress to Elwood separates

By shortening the panels of the skirt pieces significantly you could create an Elwood peplum top, keeping or removing the panel lines as shown. Highlight the structure of the design in the lantern sleeves and skirt by using a fabric with a little less drape, or keep with the drapey fabric for a more relaxed feel.

Use the skirt panels of the Elwood dress to make a simple panelled skirt with an elastic waist or turn it into a pair of culottes!

Add a button placket

A centre front button placket is an easy hack that would definitely create a nursing-friendly alternative. We cover this particular hack in the Cartwright dress Hack Kit and the Neale jumpsuit Hack Kit, but if you don’t have those resources this YouTube video does a great job of explaining the process.

Add an invisible zip

As the seams of the Elwood dress pattern are quite straight, adding an invisible zip to create access is a great idea and not too difficult. Here’s a blog post that shows how.

The Elwood dress pattern has been so well-received, and we can’t wait to see what everyone does with it. (We’re already seeing Elwood makes popping up in our private community by some of our super-speedy sewists!)

If you make an Elwood dress and share it on Instagram, please tag us @inthefolds and use the hashtag #ElwoodDress so we can find you!

Happy sewing!

Emily

WHAT YOU’VE BEEN MAKING…

the hove tote: a love letter to our community

When planning projects for the year for Curated, we like to ask our community what types of projects they want to see and what skills they want to learn. This year one of our Foldies responded with:

"I would be interested in a pattern for a tote bag or work tote (like an LL Bean Boat and Tote or the Core tote, with interior pockets) and some small pouches for makeup or cords or corralling other small items. There are a lot of those patterns in the world already but I wonder what they would look like with the ITF vibe and style. Like if the Hove were a tote bag, what would it look like? Or if the Collins were a small zippered pouch?"

This idea inspired me instantly! 

Due to the ethos behind our patterns (designs that last the test of time by avoiding seasonal trends) I often find myself dreaming of revisiting past patterns and transforming them into new garments or expanding the pattern. So much time, love and care go into each of our designs, that it sometimes feels like a waste that certain elements can only be used once (or twice if the pattern has a variation).

When I was learning to use CLO3D (read this post if you’d like to know more about the digital garment design process) I used the opportunity to import some of my older patterns to see what I could create if I revisited some of the elements that I love and push them a little further. This is how I ended up creating the Acton with sleeves (above).

Collins top and Neale jumpsuit mash-up render.

During this time I also played with the Collins top pattern, first mashing it with the Neale jumpsuit and then playing with the idea of a Collins dress. I won’t give too much away because the Collins dress experiments were actually so successful that I decided to create a pattern that will be one of our projects next year! But never had I thought about bags inspired by our patterns, and suddenly it was all I could think about.

Getting started designing the hove tote

We like our December project to be about gift giving. Whether it’s for yourself or someone else, our aim is to create a project that doesn’t rely too heavily on good fit so that it can be easily made and easily gifted. A bag fits this brief perfectly!

I first thought I would jump straight on the computer and use the finished Hove jacket pattern to draft something in Illustrator or Clo3D, but after a few attempts it was not getting my creative juices flowing. I decided to go back to my favourite way of creating interesting shapes - through drape.

I took my Hove jacket and used a hair elastic to tie up one section so I could create a rough bag shape and voila! I suddenly saw it taking shape. At the time I didn’t know this would become the bag design, so the photos I shot were more for my own reference (rather than sharing on the internet!), rather than explaining the design process, but I think it’s important to show the reality of what the design process is really like. 

As I was playing like this I realised I wanted to draft a bag that wasn’t a conventional shape. I wanted it to have pleats and volume and panel lines with seam finishes on the outside. I instantly felt excited when I thought about how our Curated community would respond to the design.

When I started the Curated by ITF subscription, I felt the need to add some simpler pieces (in design, not necessarily in construction) to our collection. Up to that point all our patterns had a lot of design lines going on, which I love and is exactly what the ITF design aesthetic is. It’s my personal design aesthetic and it’s how I’ve designed since long before I started In the Folds. But, I felt we needed some more basic pieces that worked well with what was already in our collection. A dress to go with the Flynn and Hove, a shirt to go with the Darlow pants etc. Pieces that also allowed our members to focus on building their skills.

But I know our community loves to come back and sew one of ‘signature’ pieces - a pattern that is just something a little bit different. It has interesting panel lines and an interesting construction process - something that you would like at and instantly know it was one of our patterns! I hadn’t created a pattern like this since I had my daughter last December, and the process of going back to this way of designing felt liberating and like a chance to get back to myself. It also felt like a chance to reconnect with our community through design.

This feeling continued throughout the creation of this pattern. Each time I made a decision or ironed out a problem, I would think “That’s for you, Foldies!” (Foldies is affectionate name for our community members.) I started to think about the process of making this pattern as a love letter to our Foldies. With each interesting technique or section of the pattern, I thought about our community excitedly sewing that section too, and the confidence and skills they would gain through the process. 

How the hove tote pattern was made 

To make the pattern I took my draped Hove and traced it as well as I could onto pattern paper using a tracing wheel. I wasn’t worried about it being perfect because what I had at this point wasn’t anything like a bag. What I needed was to translate the essence of the drape into a bag design, rather than copy it exactly. I traced the shapes onto paper and then set out to work out what pieces would join to become panels.

When I work in this way I try to figure out as much as I can, without overwhelming myself. So I create as much of the pattern as I can, but if something doesn’t quite work yet, that’s okay. I’ll stop at that point and make a toile so I can figure it out through making. This way of designing means that I am not trying to resolve all issues at once and can just tackle one problem at a time.

Sewing a toile to figure something out is my favourite problem solving technique. It takes time - as the pattern needs to be cut out and then sewed, but it very quickly shows me where the problems are and what I need to do to solve them. It also means I can try different ways of putting something together and over time see what techniques will be the best for our community.

It was through this approach that I decided to develop my own type of seam finish. I had planned to sew the seams as regular bias bound seams, with the seams on the outside, but after sewing one of my samples I realised that it can be tricky to get a nice consistent distance between the bias binding and the seam, especially when working on curves. This isn’t such a big deal if your seams are on the inside, but when on the outside it stands out.

Although we like to encourage our community to not obsess over perfection, I’m the first to admit that it’s easier said than done. We all want to wear (or carry, in this case) a garment we can be proud of, and this normally means something that doesn’t look homemade. I also realised, after experimenting with an alternate seam finish, that by putting the row of stitching inside the bound seam, the bag looked less like it was inside out and more like the seams are supposed to be like this.

When I work in this way - using pattern making and toiling to test ideas and solve problems, I like it to be a completely hands on process. I try not to stop to solve problems. I just take note of them and continue on until I can’t go any further without another toile. To keep track of the changes I need to make, I write directly on the toile or pattern pieces so I won’t forget, or I take photos or videos to remind myself of what issues need to be resolved (if they are things I can’t write on a pattern piece).

For any pattern issues that I notice as I go, I write on the pattern pieces. This means that when it’s time to make the alterations to the pattern for the next toile, I can do them all at once as the notes are all there on the pieces. An example of this is where I realised that the binding could poke through the seams on the inside if you aren’t careful (image above). Making a sample with the correct seam finish was crucial to noticing this as I would never have considered it otherwise. I continue working in this way until all the issues are resolved and the pattern feels complete.

When I finished making the paper pattern and then digitised it, it felt like I’d answered the brief. I could see parts of the pattern that reminded me of the Hove jacket - that long sweeping curve and the pleats, for example. The seam finishes (although this time on the outside) was a nod to the Hove - even the facing that finishes the top edge reminds me of the hem facing on the sleeves. It also has that sense of playfulness in its construction which our customers have come to expect from our patterns. Even the most seasoned makers will get a surprise or two when working with one of our patterns, and that is the thing that I love about designing in this way. It means that you can make a piece like this over and over (Hello, Hove totes for everyone this holiday season!) and never get bored of the process.

Was this what you expected for a fashion designer’s process? I’d love to know - leave a comment below!

season’s greetings and happy new year!

With the end of the year rapidly approaching, we’re wrapping up our weekly emails until mid January so our team can have a much-needed break. We wish you all a wonderful holiday season and hope you are able to take some time for rest and relaxation, and of course, a generous helping of sewing!

Happy sewing,

Emily

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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!

WHAT YOU’VE BEEN MAKING…

Our top ten handmade gift ideas for 2023

Our top 10 handmade gift ideas to inspire your gift-giving this year!

As lovers of making, many of us are also lovers of giving the things we make. So, in no particular order, here's our top ten hand-made gift ideas for 2023 to inspire your creativity and help you get some boxes ticked (and wrapped! 🎁).

We know how busy life is for everyone, so we've included a combination of quick projects you can whip up in just a few hours (because gift-giving should NOT be a stressful experience!), and more involved projects for those who've got more time on their hands (you lucky thing!).

Got some ideas we haven’t included? Leave a comment to help inspire your fellow makers and readers!

#10 - whip up a whitlow robe

We’re pretending we’ve all got way more time on our hands than we probably actually do and starting strong with the Whitlow robe.

But hear us out!

Firstly, there’s still about 3 weeks til Christmas, which is plenty of time to raid your stash and whip up a seasonally-appropriate Whitlow. (Think linen or cotton for the southern hemi or something a little weightier, like a cotton terry or waffle, for our northerners.)

But also, you gotta know that whoever you gift this to is totally gonna love you, forever and ever. Amen.

#9 - mend their clothes

We know our community, and we know that you love to find ways to show your special people how much you care for them in ways that also care for the earth. So why not give them a voucher for clothes mending?

With our Introduction to Garment Repair resource you can give their current wardrobe and fave garments a new lease on life, which we know they’ll love you for.

(And you could possibly even nose in a bit of quality time under the guise of teaching them how to mend their own clothes. Double the fun!)

#8 - give the gift of lounging around

The Gibson loungewear pattern was last December’s Curated by ITF project and we stand by it for the perfect handmade garment for gifting.

It’s relaxed and loose-fitting style means you don’t have to stress about fitting alterations when making it for a friend or loved one. So long as you know their general size, you’re good to go!

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!

#7 - lavender sachets

Granny Chic is totally in right now, which means lavender sachets are back, baby!

Of course, WE know they never really went out, because who can say no to little bags of flowers that make your clothes smell pretty and stop moths and other naughty things from eating all your handmade hard work??

#6 - sulis hat by pattern fantastique

Help your loved ones stay sun safe this year by gifting them a Pattern Fantastique Sulis Hat.

We LURVE this hat design so much. It’s got uber chic light-house keeper vibes that we just can’t get enough of!

#5 - organise your space pattern weights

Gifting to another sewist? A jar of pattern weights is a no brainer.

(And you’ll also be pleased because this gift can be whipped up in under an hour and will empty out your pantry of those pesky pulses you don’t know what to do with. LOL.)

Grab the pattern for these nifty little sewing tools (and more!) in the Organise Your Space issue of Curated by ITF. Find out more about our sewing subscription here.

#4 - davis crossbody bag by elbe textiles

The Davis Crossbody Bag by Elbe Textiles is making us shiver it’s so cool! Brrrrrr.

(And we kinda wish we’d come up with it ourselves, we love it so much.)

We reckon a Davis would be THE PERFECT GIFT for those teenagers (also, grown-up humans) who roll their eyes at anything ‘homemade’.

In fact, don’t even tell them you made it until after they’ve raved about how awesome it is. That’ll learn ‘em.

#3 - SCRAP-BUSTING HAIR ACCESSORIES

As waste-conscious makers we’re always on the hunt for projects that help us use up those fabric scraps that aren’t quite big enough for garments.

Hair accessories like scrunchies and headbands provide a great opportunity to dive into your stash and do some serious scrap-busting!

There’s plenty of free tutorials all over the interwebs, but here’s one we found just for you.

#2 - tied with a ribbon pj pals

We simply couldn’t resist these PJ Pals by Tied with a Ribbon.

Just imagine the smiles you’ll get when your son/daughter/grandchild/niece/nephew/friend’s kid tears off the wrapping to find this!

Serious points.

(And we’ll award you bonus stash-busting points too.)

#1 - curated by itf hove tote

We couldn’t possibly have a top ten gift ideas list without including our sewing subscription, Curated by ITF, right?! So, if you’re one of our beloved members, consider making and gifting our current project - the Hove tote.

Although, we appreciate that once you’ve made it, it might be hard to let it go, so an alternative is to gift a Curated by ITF subscription so they can just make one for themselves! (Now THAT’S a good idea!)

WHAT YOU’VE BEEN MAKING…

MAKER SPOTLIGHT: SHUAY'S CURATED BY ITF JOURNEY

Hi everyone! It’s Shuay here.

I was both thrilled and hesitant when Emily asked if I would be interested in writing a blog post about all my ITF hacks and how being a member of Curated by ITF has helped my sewing process. 

The hesitation is in my lack in writing an article. I remember how I struggled with my essay writing in school. But the thrilling thought of sharing my sewing enthusiasm overruled. That evening, I said 'Yes!' to Emily.

WHERE SHUAY’S CURATED BY ITF JOURNEY BEGAN

I was attracted to Emily's black and white buffalo check Neale Jumpsuit back in 2021 when Curated by ITF first got started. And wished I could sew up a similar jumpsuit for myself too. 

That was my very first issue of the Curated by ITF subscription. The Neale Jumpsuit Fit Kit blew me away. It is so comprehensive, with a whopping 102 pages of pattern adjustments! 

HOW CURATED BY ITF HAS HELPED SHUAY

The gaping neckline adjustment is one of the few that amazed me. Adjusting the crotch length is my must-have essential skill I picked up. Crotch adjustments from Issue 14 on Pants Fitting helped me tremendously in getting a better fit in my pants sewing journey.

Checking out inspirations from Pinterest has become my new hobby ever since, and sharing them on Mighty Networks is so fun! (Side note: Mighty Networks is where we host our private, online community for Curated by ITF.)

Sometimes, when I don't understand how to hack a pattern inspired by a design I have found, Emily offers graphical illustrations to help. She is so generous in sharing her knowledge. I remember hacking the Whitlow robe into a collared wrapped jacket. It was a great learning experience.

PATTERN HACKING: A BIG PART OF SHUAY’S SEWING JOURNEY

Curated by ITF promotes and encourages pattern hacking. On occasions, when I get stuck, Rosey (a valuable Foldie) reaches out to me with fresh ideas that I have never thought of.

I love the Foldies community so much!

Inspirations from fellow members of Curated by ITF often get me excited too. Shelby, another valuable member, hacked the Neale jumpsuit into a stunning maxi dress! I explored the slash and spread method and learnt from her. Pattern hacking works on the basics and it has been a big part of my sewing journey.  

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!

eleven SAWTELls AND COUNTING…

There are so many great issues from Curated by ITF that I love. I can't believe I made eleven different versions of Sawtell! It has become my favourite dress block.

My last 2 Sawtell dress hacks are beyond recognition! I also referenced the Cartwright dress Hack Kit for help. I love that the Hack Kits are versatile and applicable to everyone's own basic dress or top block. Here are three designs I created using all the information I have learned through Curated by ITF.

This month the Marden shirt Hack Kit covers eight wonderful designs with a comprehensive step-by-step pattern drafting guide and I've been very excited to try out 2 hacks I had in mind.

I hope I inspire you to join us in our sewing and pattern hacking journey inside Curated by ITF!

Thanks so much, Shuay! We absolutely loved seeing inside your wardrobe and hearing about the skills you've learn through Curated by ITF. Every time you post in our Curated by ITF community we’re so inspired and motivated by your courage and excitement for trying new ideas you’ve come up with. You’re such a valuable member of our community and we can’t wait to see what else your sewing journey holds.

If you'd like to find out for yourself what it is that Shuay loves about Curated by ITF, join over 700 other makers and sign up to Curated by ITF today!

Happy sewing,

Emily

WHAT YOU’VE BEEN MAKING…

BEHIND THE SCENES OF OUR PRIVATE ONLINE CURATED by itf COMMUNITY

I’m currently thinking about the way we create and share content within our private, online community as we recently hired our first Content Creator (more about her to come!). So we thought this would be a fun behind the scenes topic to share with you, in case you’ve been wondering what goes on in our Curated by ITF community group (aka the home of our ‘Foldies’).

When I came up with the idea of Curated, having a community platform to go alongside the monthly project was high on the list of priorities. Deep community (rather than just likes on Instagram), interaction and feedback were the things I was missing in my own working life and I imagined our customers might be feeling the need for this too.

Thinking about starting a community is a daunting thing. To start with, there was the fear that no one would show up. That it would just be me and Alys (my one employee at the time), and maybe one die-hard fan in there with us…

But when I interrogated that fear (which is something I have to do daily as a small business owner!), I realised that one of two things would happen.

1. It would just be the three of us in the group (which actually sounds rather lovely), and I would realise our customers do not need a community platform and therefore could focus my attention on creating things they actually do want.

Or…

2. People would join and we would be able to connect with our customers in a way we had never done before, AND I would get the thing I was craving - deep connection with our community. 

It seemed worth the risk to give it a go!

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Choosing the platform - Mighty Networks

A screenshot of our community's log in page.

Making the decision to forge ahead with the idea led to another decision - what platform to use.  I already knew I didn’t want to use Facebook. I’d realised when using Facebook groups to pattern test, that a lot of people choose not to use Facebook, and I didn’t want people to miss out on being part of our community as a result. 

I also don’t like how Facebook groups handle posts. There’s no way to organise them, and we needed a platform that would allow us to easily organise the information we shared, such as sew-alongs and tutorials related to specific patterns.

After looking at a few options, Alys took a deep dive into a couple to see which would tick all our boxes and Mighty Networks came out on top. In Mighty Networks we can organise information by project, which makes it easy for our Foldies to find what they are looking for, and also means that we can grant access to specific content to active subscribers only.

How we plan our community content

We like to plan content for our community in a collaborative way. Normally, when I am creating the project I take note of the things I’m thinking about at the time, such as what inspired me and the elements I found challenging. These show us where we’ll need to provide extra resources (like videos or photo tutorials) to support our community. 

I put this into our project management software so that when it’s time to plan content for the month, it’s all there ready to go. Our Content Creator (formerly Alys and now our new hire) then looks through the project booklet and pulls out areas they think will be important to have support material for. We then jump on a call and chat through the project to make sure we’ve got everything covered.

We also try to plan content around a specific theme each month as this helps guide us. For example, this month’s project is a Hack Kit and the theme is ‘Design your own shirt’, so we’re sharing lots of inspiration in the community to get everyone’s creative juices flowing! This theme also runs through our email and Instagram content for the month.

We also try to respond to requests from our community members where we can. We now post a schedule at the start of the month (usually on the 2nd) because they told us it helps them structure their time and gives them an idea of when they can expect certain information.

Once we have a clear idea of the specific content for the month, we like to get it into our content calendar so we can see how it looks and wiggle things around to create a schedule we are happy with. Towards the end of the month we try to slow down the content we’re sharing so we can tailor our content creation to the needs of the community. This is when questions tend to pop-up about things like fit and fabric choice, and we love to deep dive into answering these questions because we know it’s really helpful for our members!

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The kind of content you’ll find in our private Curated by ITF community

When we release:

  • New patterns or Skills Kits - We like to think about what aspects we found tricky when sewing the garment or samplers, or what we imagine our community will find difficult or perhaps even confusing. Even though our patterns include a lot of illustrations to guide you through the sewing process, sometimes having photos or a video of a technique being done makes a huge difference!

  • Fit Kits - We spend a lot of time in our community providing one-to-one feedback and answering questions about garment fit, particularly when members are making toiles. We also like to create some easy content to help them get started with the fitting process, so we share some of the booklet pages because it helps to break the content down into easily digestible components and makes it feel way less overwhelming (because learning how to fit clothes can feel daunting at first!). The most important thing during fitting months is ensuring people feel comfortable to share photos of their toiles because there is so much learning to be had through this process!

  • Hack Kits - We love sharing design inspiration. Prior to the creation of a new project, I normally have a lot of images saved on a Pinterest board which is where we often draw our inspiration from. We also create tutorials and share resources about particular hacks that makers might want to try that we haven’t covered in the project resource itself.

  • Resources, such as the Slow Sewing Planner - We go through the booklet and pull out areas that would be fun to discuss in the community group. With projects like this we find our community has quite a lot to talk about as it is based on reflection and contemplation of their wardrobe. We also like showing how we’ve done something related to the project - e.g. what our workrooms looked like when we released the ‘Organise Your Space’ project.

The core value of our Curated by ITF community

Sometimes it can get overwhelming to think about ALL the content we want to create and share in our community, but it is important we come back to the core value of the community, which is connection. This community exists so that we can connect deeply with our community and our community members can connect with each other.

Each monthly project we release contains loads of valuable content for our members to work through, so we try to keep the platform about supporting makers to use that content in a way that works for them and their own creative practice, while connecting with other makers through the process.

This is when we remind ourselves that adding a quick question, discussion or asking people to share their experiences can be just as valuable for people as creating a piece of content like a sewing tutorial. One example of a piece of content that started a great discussion was a question about favourite shirt sewing tools. Everyone loved sharing their go-to tools, what they couldn’t sew without and things they’re hoping to add to their sewing tool kit.

I hope this has answered any questions you might have had about our online community! We love how engaging and interactive it is, and that it’s a safe place for our members to share their makes without feeling exposed. 

The only thing that’s missing is you! So come and join us - we’d love to have you in there.

Happy sewing,

Emily

WHAT YOU’VE BEEN MAKING…

Sheany wears a colourful animal print Acton dress.

Acton dress by Sheany, Emily's friend.

MAKER SPOTLIGHT: CHECK OUT THESE MEMBER MARDEN SHIRTS!

We don't expect our Curated by ITF members to make every project we release the moment it drops into their inbox. That's just not our jam.

But when they do? Golly, WE LOVE IT!

And this month we've been seeing some amazing Marden shirts popping up in our private online community. So, we thought we should share a few with you, in case you need some #sewinginspiration.

Sue’s Marden shirt - View B

One of our founding Curated by ITF members, we had an inkling that the Marden shirt would be right up her alley… and we were right! Sue made View B with the short, capped sleeves and chose a printed Liberty poplin, which turned out to be perfect for this piece.

What Sue Said about Marden

“I took my time sewing this great new pattern from @inthefolds. A little bit of sewing each day meant I could really enjoy all the lovely design features and clear instructions. It comes together beautifully. French seams, mitred splits and concealed button placket - lots to love!

I’m so glad that the ITF team led the way on playing with stripe direction because it gave me the courage to play too. 

The splits and placket are a delight. One of my favourite things about the construction was that the hem and buttonholes were done before the finish. It made them seem less of an inconvenience at the end, and more a part of the process. 

Do yourself a favour - make a Marden!”

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Lynn’s Marden shirt - View A

A committed In the Folds maker (with a collection of 9 Sawtell dresses at last count), we’ve featured Lynn’s creations before (you can read her ITF Spotlight post here). So, we weren’t surprised when she casually posted about her latest ITF make, a Marden shirt (paired beautifully with her Attwood pants).

WHAT LYNN said ABOUT MARDEN

“I played around with stripe placement in this thrifted linen and really enjoy the final shirt. 

Cutting it out was slightly mind-bending because of the multiple pieces, but it was a very very fun sew. I loved the mitred corners on the hem facing, and enjoyed piecing the whole thing together - it was also my favourite instructions for a collar that I’ve made thus far! And also the first time doing a concealed placket, for which the video (in the private online community) was really helpful.

I was surprised by the closer fit around the neck as well as the armholes, which serves as a good counterbalance to the oversized fit overall. It’s a very comfortable shirt and fun to style, and I look forward to wearing it all the time! Already have another cut out in a soft polka-dotted cotton lawn and can’t wait to see how it fits, before potentially working on a hack for a shirtdress.”

shuay’s marden shirt - view a

Our resident hacker, Shuay is not afraid to give an idea she has a go, and we can usually find her sharing design inspiration she’s come across, along with her ideas for hacking an In the Folds pattern into something completely new. She can also often be found making her Mum clothes (isn’t she the best!?) and this time it was a Marden shirt!

WHAT SHUAY said ABOUT MARDEN

“Mum is delighted to see my message this morning. She likes this style more than the other shirts she owns. She likes the opening on the sides, the roomy bodice and formal collar.

I made this in 2 metres of Nani Iro double gauze. I like the oversized look of the shirt on me. “

I hope these Marden makes give you some inspiration, if you’re lacking in sewjo at the moment. And join us in our Curated by ITF subscription before the end of the month to start your shirt sewing journey!

Happy sewing,

Emily

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WHAT YOU’VE BEEN MAKING…

OUR COLLABORATIVE EXTENDED SIZE RANGE DESIGN PROCESS

You may have seen that this week we released our latest pattern, the Marden shirt. An In the Folds twist on the classic tailored shirt, Marden has lots of details that make it fun to wear (boxy, stylish comfort) and sew (think panels for fabric play and skill-building techniques like a concealed button placket, collar and stand!), and we can’t wait to see them pop up in social media feeds around the world!

If you’ve got a keen eye for detail (like some of our eagle-eyed Foldies!), you may have noticed some subtle differences between the pattern in the size A-J range in comparison to the G-P range. Specifically, the addition of bust darts and a curved hem line to the G-P size range design. These differences weren’t originally part of the plan for our Marden shirt pattern, and what you see in the design for the A-J size range is pretty close to what our In the Folds team came up with in our initial sketches. 

Now, you may be surprised to hear that we work with a pattern maker, when I (Emily) am a pattern maker. However, drafting patterns for the plus size market requires very specific skills, which I do not hold as they weren’t part of my training. It’s very important to me that our extended size range is drafted with the same love, care, attention to detail and accuracy as our original size range, and to be able to do this I could see that we needed to work with someone who specialised in it. (If you’re interested in hearing more about the process of extending our size range, you can read about it here.) As a result, we now have a collaborative drafting process for our extended size range that involves the In the Folds team, a patternmaker and our fit model. And I wouldn’t have it any other way.

It was through many discussions with this highly-skilled team that we came up with the Marden shirt pattern as you know it today, and I am so happy with it! We received fantastic feedback from our sample maker and model, Sara from @fabric_scraps, who made two in the blink of an eye because she loved it so much! 

So, in this week’s post I wanted to highlight the collaborative process we have with our patternmaker and fit model and hopefully give you some insight into the decision-making process and how important it is to the quality of the finished pattern. Because without this team approach, Marden simply would not be what it is today.

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Marden shirt pattern - version 1 pattern

Like the current A-J size pattern, the first iteration of the G-P size pattern didn’t have a bust dart. When adding in the extra width needed to accommodate a size D bust cup size, we found that this impacted the hem line negatively, making it uneven, which was definitely not the look we were wanting. Our patternmaker stepped in at this point to (in her words) ‘cheat the shape to try to make things appear level using a shirt-tail shape’. 

The other thing we were on the lookout for in this initial version was to see how much ease to have in the shirt. Because the original pattern has considerable ease in it, our patternmaker gave us the following advice, “When your model tries this on I would definitely compare photos side by side to judge body length, hem band level and shoulder. This style is much more proportion driven rather than a numeric conversion.” With this in mind we sought fit feedback from our plus size fit model.


Marden shirt pattern - version 1 feedback

We weren’t surprised to hear Marden G-P version 1 was much too wide in the body, as this was something we were already on the lookout for. The extra width in the body impacted the length of the shoulder seam (making the shoulder seam far too long). Because of this, the armscye was basically at the model’s elbow, which then resulted in the sleeve causing restriction in movement.

The other issue that was raised by our fit model was that the hemline was riding up in the front and dragging down at the back, and she suggested the addition of bust darts to improve the fit. Our patternmaker agreed that ‘it will continue to fall back without a dart as an anchor point’. This is when it becomes a truly collaborative process - a conversation between me, the designer, the person that makes it happen from a technical standpoint, the pattern maker and the wearer / end user, our fit model.

Side note: We’ve included images of pattern pieces from both size ranges. The pattern pieces from the G-P range are not formatted to their final state in this image as this is not the final pattern. This is what the pattern looks like when we receive it back from the patternmaker, before it’s finalised and gets formatted for printing.

Marden shirt pattern - version 2 pattern

With our patternmaker and fit model feedback at front of mind, we decided to slim our design down (mostly through the chest and shoulders) and add a bust dart. The decision to take some width out of the body would also help with the shoulder length issue. Then, it was back to our fit model to check that the fit had improved and that the pattern still had the same look and feeling as the original pattern.

As you can see when comparing the versions, width has been taken out through the bust and chest, which has reduced the shoulder seam length. A bust dart was added and some length to the upper panel to accommodate the bust, but you will see as you read on, we removed this additional length in the final version as it was not required.

Marden shirt pattern - version 2 feedback

With the major overhaul of the shirt, we’d unfortunately gone too far and taken out too much width from the shoulders. This changed the slope of the shoulder so much that the armscye became too small, or as our fit model said, restrictive. The thing is, if you don’t try, you don’t know, so even though it may feel like wasted time (especially when we have a strict deadline - our Curated subscription monthly release), this is actually a really important part of the design process.

Marden shirt pattern - version 3 pattern

The major change for version 3 was to alter the slope of the shoulder seam, which would then change the shape and size of the armscye, solving the restriction in the armhole that our fit model mentioned. Although it doesn’t look like a major difference between the pattern pieces, if you look at the armhole lengths, you can see there is a considerable difference. In comparison, the version 3 armhole is 6cm larger than the version 2 armhole - most of this on the back. 

Marden shirt pattern - version 3 feedback

Fit model: “I think we have a winner!”

Phew - what a relief it was to receive that email!

It was at this point that I did a final check between the initial size 10 sample (our sample size for our A-J range) on the body in comparison to the size 24 on our fit model and noticed that the panel line was sitting too low in the extended range, so the patternmaker raised it by 5cm, as I mentioned earlier.

Marden shirt - Size J (from A - J range)

Marden shirt - Size J (from G - P range)

Pattern pieces from the two ranges nested together

The final pattern

As you can see from this process, designing a pattern is very much a collaborative process, and even more so now that we are working with two different pattern blocks. I really appreciate the skills and insight our pattern design collaborators have, because without their input we simply couldn’t create the patterns that we have today.

If you have any questions about this process, we’d love to answer them, so please leave them in the comments section below.

Happy sewing,

Emily

IMPROVE YOUR PRECISION SEWING WITH OUR
pants sewing series

Now available as a standalone three-part project series in our shop!

WHAT YOU’VE BEEN MAKING…