ISSUE 192 - AUTOMATIC BUTTONHOLER TROUBLESHOOTING TIPS

If a button band is narrow what’s the best way of using an automatic buttonhole attachment so it doesn’t make contact with the seam at the bodice which detects it and makes the machine stop halfway through making the buttonhole.

Helena
Linby, UK

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Buttonholes. They can be a little bit daunting, can’t they!?

Because once you’ve cut through that fabric, there’s no going back. And even if you haven’t got that far, it can be a real pain in the ‘you know what’ to have to unpick a finished buttonhole, especially if you find the fabric has been damaged by the close stitches.

And to think that once upon a time they had to be sewn completely by hand!!

Needless to say, we are pretty lucky to have an amazing array of attachments we can add onto our modern sewing machines that make certain things a whole lot easier. But even with all these technological advances, there’s still a level of skill involved in getting them right. (And a whole lot of practice!)

Which brings us to Helena’s question. So let’s start at the beginning.

WHAT IS AN AUTOMATIC BUTTONHOLE ATTACHMENT?

An automatic buttonhole attachment (also called an automatic buttonhole foot) is a presser foot used with a sewing machine to create perfectly sized and evenly stitched buttonholes automatically, based on the size of the button you’re using.

It’s a feature on a lot of modern sewing machines, while older machines will normally have a manual four step buttonhole option, where you need to make the measurements, tell the machine when to sew and when to stop etc etc.

An automatic buttonhole attachment basically does all that for you, once you’ve set it up.

After inserting the button into the attachment’s sliding mechanism, the sewing machine uses sensors or a set buttonhole stitch pattern to determine the exact length of the finished buttonhole and stitches the entire buttonhole in one step—forward, back, side-to-side—without you needing to turn the fabric or manually measure.

But even with all this wonderful technology, sometimes there are still limitations which require a little bit of troubleshooting, but here are a few things you could try when running into this problem.

TROUBLESHOOTING AUTOMATIC BUTTONHOLE PROBLEMS

1. Add a temporary spacer behind the foot

Place a folded piece of fabric, cardboard, or buttonhole stabiliser behind the foot (at the back)—level with the start of the buttonhole. This helps the foot stay level and not tilt when it reaches a thicker seam. You can also place something of equal height in front of the foot too, depending on the seam's location.

This helps prevent the foot from thinking it's at the end of the buttonhole path due to the tilt caused by seam bulk.

2. Sew buttonholes before attaching the placket to the bodice

Consider if there is scope to sew the buttonholes before attaching the placket to the bodice. If possible in your construction order, sew the buttonholes while the button placket is still flat—before it's attached to the bodice. That way, you can avoid the seam issue altogether. This may require a little bit more thinking about seam allowances etc, so it might be a good idea to do a practice run!

3. Use a manual buttonhole stitch

If the seam interferes too much and the auto-foot keeps stopping, switch to the manual 4-step buttonhole function (or equivalent on your machine). This way you control the length, and the foot won’t stop prematurely.

This would probably be my go-to solution as I like having control when I can. But it will depend on how many buttonholes there are as it can be difficult to get them all the same when sewing manually.

4. Slightly shift the buttonhole

If your design allows, you might be able to shift the buttonhole slightly away from the seam—even 1–2 mm can help avoid triggering the sensor.

I hope that helps and you have pristine buttonholes in no time!

If you are looking up to sharpen your skills and knowledge on buttonholes, you may want to checkout our Sewing Shirts Skills Kit where we go into depth about marking button placement, sewing buttons and buttonholes and positioning buttons.

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• Sewing Shirts Skills Kit - check out the complete Sewing Shirts Series here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Ormond chore coat made by @hazel_b_obv

Neale jumpsuit made by @saritha.sews

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MORE POSTS IN THE SERIES

ISSUE 191 - SHORTENING THE DARLOW PANTS

Has anyone successfully shortened Darlow pants? I'm 5'2" and I'm not sure it would be doable to whack out 3" or so and maintain the pattern lines ....

Jasmin
New Zealand

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Making fit adjustments to any pattern can seem a little daunting, especially if you’ve never done it before.

But making fit adjustments to a panelled design like the Darlow pants? We can totally understand if some makers might put it in the ‘too hard basket’.

In fact, that’s exactly why we create all the supporting resources for our patterns. This blog, for example, and pattern Fit Kits and Hack Kits! Because we want our patterns to be used by as many people as possible. Not just the handful of people whose body measurements just happen to (by pure luck!) exactly match the pattern block we use to design our patterns. (And it’s also why we extended our size range, for that matter.)

So, the short answer to this question is, YES! Lots of people have successfully shortened the Darlow pants.

The long answer?

HOW MUCH CAN YOU SHORTEN DARLOW PANTS BY?

As you might have assumed, shortening a pattern like Darlow, which has lots of shaped panels, isn’t as straightforward as shortening a design like our Peppermint Wide Leg pants.

Regardless of the design, it’s really important to shorten pants in the right place, which is why our patterns include shorten/lengthen lines. But for a detailed design like Darlow, shortening or lengthening will have a significant impact on the shape of the panels.

SHORTENING THE DARLOW PANTS - VIEW A

Step 1

Draw a vertical line perpendicular to the LENGTHEN / SHORTEN lines on the FRONT INSERT [1], and WRAP PANEL[2] - these lines will act as a guide as the grainline is not marked on the lower section of the pattern and you will need it when making the alteration.

Cut through the LENGTHEN / SHORTEN line on the FRONT LEG [5], FRONT INSERT [1], and WRAP PANEL [2].Measuring up from the cut line, mark a horizontal line on each pattern piece, the distance of the amount of lengthyou would like to remove. In the example above, you can see the red line is 5cm (2in) above the cut line and theshaded section shows the amount of length that will be removed from each pattern piece.

Step 2

Move the lower part of each pattern piece up to the line marked in the previous step. Use the grainline to ensurethat you line the pieces up correctly (this is when the vertical lines you marked in STEP 1 will come in handy).

Glue or tape in place.

Step 3

Re-draw the seam lines with smooth lines over the adjustment. You will notice that in some cases you will be adding a little bit on to create the line of best fit, while in other cases you will need to shave a bit off. This will even out as you go around the pattern.

When marking a line over the area that has been altered, there might be a large gap between the two sides of the line. In this case - split the difference by marking a point in the centre of the area and drawing the line across thispoint (highlighted in the close-up in the illustration above). You can choose to trace the pattern on to fresh patternpaper or tape on small pieces of paper / masking tape where you need to fill a small gap to complete the seam line.

Cut off any excess paper that is outside of the new lines.

Check all seams are the correct length by "walking" the pattern pieces, as if you were sewing them together. Transfer / re-draw any notches that have been misplaced. Due to the shape of the pieces, some notches may notline up due to the different points the alteration was made. After checking that the seam is the correct length,transfer one notch to the other piece (and cross out the notch that is no longer in the correct position).

SHORTENING THE PATTERN - VIEW B

Step 1

Draw a vertical line perpendicular to the LENGTHEN / SHORTEN line on SIDE BACK PANEL [14] - this line will act as a guide as the grainline is not marked on the lower section of the pattern piece and you will need it when making the alteration.

Cut through the LENGTHEN / SHORTEN line on the FRONT LEG [5], SIDE FRONT PANEL [21], CENTRE BACK PANEL [13] and SIDE BACK PANEL [14].

Measuring up from the cut line, mark a horizontal line on each pattern piece, the distance equal to the amount oflength you would like to remove. In the example above, you can see the red line is 5cm (2in) above the cut line andthe shaded section shows the amount of length that will be removed from the pattern piece.

Step 2

Move the lower part of each pattern piece up to the line marked in the previous step. Use the grainline to ensurethat you line the pieces up correctly (this is when the line you marked in STEP 1 will come in handy).

Glue or tape in place.

Step 3

Re-draw the seam lines with smooth lines over the adjustment. You will notice that in some cases you will be adding a little bit on to create the line of best fit, while in other cases you will need to shave a bit off. This will even out as you go around the pattern.

When marking a line over the area that has been altered, there might be a large gap between the two sides of the line. In this case - split the difference by marking a point in the centre of the area and drawing the line across thispoint (highlighted in the close-up in the illustration above). You can choose to trace the pattern on to fresh pattern paper or tape on small pieces of paper / masking tape where you need to fill a small gap to complete the seam line.

Cut off any excess paper that is outside of the new lines.

Check all seams are the correct length by "walking" the pattern pieces, as if you were sewing them together. Transfer / re-draw any notches that have been misplaced. Due to the shape of the pieces, some notches may not line up due to the different points where the alteration was made. After checking that the seam is the correct length, transfer one notch to the other piece (and cross out the notch that is no longer in the correct position).

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RESOURCES MENTIONED IN THIS ISSUE

• The Darlow pants pattern - digital pattern available here.

• Checking patterns: Curved seams - tutorial here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Malvern culottes by @fabric_scraps

Lengthened Peppermint playsuit by @sew.it.like.gracie

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MORE POSTS IN THE SERIES

ISSUE 190 - COLOUR-BLOCKING INSPIRATION FOR THE DARLOW BAG PATTERN

Hi there,

I’m a bit unsure of what fabric to use for the new Darlow bag pattern. I’d love it if you could share some inspiration. I always struggle with putting together different prints, but are solids too boring?

Maria, Melbourne

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This week we’re sharing part two of our answer to this question - colour-blocking inspiration for the Darlow bag pattern. Check out our first part about solid fabric inspiration here.

Inspired by the Darlow pants pattern, with curved panels that twist around the bag, this design is ideal for diving into your fabric scraps bin and using what you’ve got. We’ve even included fabric requirements specifically for this purpose with the pattern!

HOW TO TEST OUT FABRIC COMBINATIONS BEFORE YOU START A PROJECT

We know that for many makers (us included!), coming up with a combination of scrap fabrics that we really love when they’re all together can be challenging. How do we know we’re going to love it when we’ve finished making the bag?? 

This month, inside our private online community for our Curated subscription, Leanne has shared a tutorial for using a digital app (specifically, Procreate) to test out colour-blocking ideas. But if you’re not digitally-minded, what can you do?

Manual colour-swatching to the rescue!

Our Darlow bag pattern comes with a design page (shown above) which you can use to test out different colours, either by colouring it in with pens and pencils, or using fabrics scraps like Leanne did in the image below for our Hove tote pattern.

But what if you’re still not sure? 

Looking to other makers’ makes for inspiration, is your best bet. Here’s a couple of scrappy Darlow bags from our amazing community so far...

And because this pattern was derived from our Darlow pants pattern, we have to share some of our favourite colour-blocked pants from our wonderful Instagram community.

There’s plenty more Darlow pants inspiration on Instagram, which you can use to inspire your Darlow bag make. Check out the hashtag here!

Happy sewing!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Darlow bag pattern is currently only available to Curated by ITF subscribers. More information about our Curated by ITF subscription can be found here. Sign up during the month of April to get the Darlow bag pattern delivered straight to your inbox.

• The Darlow pants pattern - digital pattern available here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Lindon top by @fionamakes

Peppermint Wrap skirt by @sew___rad

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MORE POSTS IN THE SERIES

ISSUE 189 - SOLID FABRIC INSPIRATION FOR THE DARLOW BAG

Hi there,

I’m a bit unsure of what fabric to use for the new Darlow bag pattern. I’d love it if you could share some inspiration. I always struggle with putting together different prints, but are solids too boring?

Maria, Melbourne

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If there’s one thing many of us struggle with, it’s choosing fabric for our makes! If you’re anything like us, we often scroll through social media admiring the fabric other makers choose for their projects. It always seems to be perfect! But then we’re left wondering why we have so much trouble choosing fabric for our own makes. 

Getting inspiration from other makers is a great way to feel more confident about the fabric you’re choosing. So because the Darlow bag pattern was inspired by the Darlow pants pattern (it’s all about the panels!), we thought it could be helpful to share some of the lovely Darlow pants that have been made over the years.

This Q&A will focus on solid colours or using just one fabric for the entire Darlow bag, and in our next Q&A we’ll share some colour-blocking, scrappy fabric inspiration and tips.

SOLID FABRIC INSPIRATION

Solid colours and fabrics definitely don’t mean boring! But if you’re leaning that way, here’s some tips to help you choose one you’ll love.

Dark colours

If you decide to go with a solid fabric, be conscious that the darker fabrics won’t allow the details of the design to show up. But there are some positives too. Darker colours make a great canvas for topstitching the panels (more on that below) and as it's a bag, it's not something you are likely to wash often (or at all!), so dark fabric can be a great choice.

While lighter fabrics, like in these Darlow pants, really let the design shine it might be hard to keep a lighter colour bag clean. (Hands are always dirtier than they seem!)

Here’s some lovely solid Darlow pants colours that we think would look fantastic as bags!

Keep in mind that linen isn’t an ideal fabric for the Darlow bag. Instead, consider mid-weight woven fabrics with such as cotton canvas (lightweight or midweight), cotton drill, denim and heavyweight nylon. The weight of the fabric will determine the amount of structure in the finished bag.

And be sure to choose fabric that has a stable weave and doesn't easily fray - you’ll be thanking yourself when you get to the zips!

ADD SOME TEXTURE

If you’re going for a solid colour, but want to add a bit of zhuzh, why not add a bit of texture?

Whether it’s texture through the substrate (like these amazing corduroy Darlow pants) or texture through a print (like Shuay’s Darlows above), both can add visual interest because of the change in fabric direction on the different panels.

TOP-STITCHING AS A FEATURE

If you’re keen to stick with one solid colour for your Darlow bag, you might consider using top-stitching as an eye-catching feature, like in these Darlow pants.

We have a bit of a soft spot for top-stitching. It really elevates the finish of a garment, and makes it look a bit more ‘high-end’. If you’re feeling extra confident with your skills, you could even use a contrasting thread colour like in the Darlow pants above! Just be conscious that your stitching will be front and centre, so have a few practice runs and then go for it!

trust your gut

Sometimes, if you’ve got an idea you’ve just got to trust your gut and go for it. Case in point: These Darlows are AMAZING! They’re definitely a statement piece, and we all need one of those in our wardrobe.

There’s plenty more Darlow pants inspiration on Instagram. Check out the hashtag here!

Happy sewing!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Darlow bag pattern is currently only available to Curated by ITF subscribers. More information about our Curated by ITF subscription can be found here. Sign up during the month of April to get the Darlow bag pattern delivered straight to your inbox.

• The Darlow pants pattern - digital pattern available here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Dress copied using the Copy your clothes Skills Kit made by @maker.baker.girl

Sawtell dress by @cimmyinthewild

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MORE POSTS IN THE SERIES

ISSUE 188 - HOW TO HACK THE MALVERN CULOTTES INTO A SKIRT

I made two pairs of the Malvern culottes. Second one I shortened. I'm wearing them a lot and love the look but don't like how low the crotch is. I love culottes for the skirt look without the thigh rub.

How can I adjust these to bring the crotch up or make them a skirt??

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In our last Q&A we explored why culottes have such a low crotch and how to raise it for a closer fit at the crotch. 

But what if we take things a step further? What if we could transform the Malvern Culottes into a skirt?

That question got my patternmaking brain buzzing, and I couldn’t resist giving it a go. In this instalment, I’ll walk you through the process of modifying the Malvern culottes into a skirt, while keeping the same beautiful silhouette. 

Let’s dive into some pattern hacking magic!

HOW TO HACK THE MALVERN CULOTTES INTO A SKIRT

Step 1

Take the FRONT - LHS [2] and draw a straight line down from the waist STITCH LINE through to the hem STITCH LINE. It needs to meet the CENTRE FRONT waist at a right angle. (See the red box in the image above.)

Step 2

The line marked in Step 1 will become the new CENTRE FRONT of the pattern. Rotate the pattern piece so that the CENTRE FRONT is vertical. Draw a new hem line that meets CENTRE FRONT at a right angle and meets the STITCH LINE at the bottom of the side seam.

Step 3

Take the FRONT - RHS [1] and flip the FRONT - LHS [2] so that the crotch seam and inner leg seam line up. Transfer the new CENTRE FRONT line and part of the new hem line onto the FRONT - RHS [1] with a tracing wheel.

Step 4

Draw a smooth curve from the bottom of the CENTRE FRONT to the STITCH LINE at the bottom of the side seam. It needs to meet CENTRE FRONT at a right angle.

On both FRONT pieces, add seam allowance to the new CENTRE FRONT and hem line. Cut off excess paper.

Step 5

Move to the BACK and draw a straight line down from the waist STITCH LINE through to the hem STITCH LINE. It needs to meet the CENTRE FRONT waist at a right angle.

Step 6

The line marked in Step 5 will become the new CENTRE BACK of the pattern. Rotate the pattern piece so that the CENTRE BACK is vertical. Draw a new hem line that meets CENTRE BACK at a right angle and meets the STITCH LINE at the bottom of the side seam. 

Add seam allowance to the new CENTRE BACK and hem line. Cut off excess paper. 

You can now follow the instructions for making the Malvern culottes, but instead of sewing up the front and back inner leg seams and then joining the crotch seam, join the FRONT pieces together at the CENTRE FRONT and the BACK pieces together at the CENTRE BACK.

You can see some photos of my Malvern skirt toile here.

We’d love to see your Malvern skirts if you give this hack a go! Remember to tag us if you share them on Instagram!

Happy hacking (and sewing),

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Malvern culottes pattern - digital pattern available here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Barkly skirt made by @samsewsclothes

Whitlow robe by @moresewingcontent

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MORE POSTS IN THE SERIES

ISSUE 187 - HOW TO RAISE THE CROTCH ON CULOTTES

I made two pairs of the Malvern culottes. Second one I shortened. I'm wearing them a lot and love the look but don't like how low the crotch is. I love culottes for the skirt look without the thigh rub.

How can I adjust these to bring the crotch up or make them a skirt??

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Oh what a great question! This one really got my brain ticking.

At first, I realised I actually didn’t know why the crotch on culottes is so much lower than regular pants and it’s something I have just taken for granted, assuming it had something to do with wanting them to look like a skirt.

I have this problem when I wear culottes too. (I usually wear thin cotton bike shorts under them to prevent the thigh rub, which is what I wear under dresses and skirts.) So, I felt like this topic needed a deep dive as I’m sure we’re not the only ones!

What are culottes?

Culottes are a type of garment that looks like a skirt but are actually pants. They are usually wide-legged and can be knee-length, mid-calf, or even full-length. Some look more like pants and some look more like skirts (like the Malvern culottes). 

What the experts say about culotte design

I went through one of my old patternmaking books - Patternmaking for Fashion Design (4th Edition) by Helen Joseph-Armstrong - to see what it says about culottes. This is what I found:

• Culottes were developed when women started riding bikes. It was seen as unfashionable (maybe even improper) for women to wear pants, so a new garment type needed to be developed… which were culottes!

• Culottes hang away from the stomach and bum so have a wider crotch extension in comparison to traditional slacks or trousers. I also learned that “slacks” and “trousers” are different things and shouldn’t be used interchangeably.

• Culottes have the largest crotch extension (in comparison to other pant styles) because “the pants is the greatest distance from the figure at crotch level.” (p 546)

• In Armstrong’s book she suggests that culottes are drafted from a skirt block (normally an A-line) rather than a pants block.

• Crotch depth for culottes is suggested as actual crotch depth (I will tell you how to find that below) plus at least 2cm (but often more).
  

What is crotch depth?

Crotch depth refers to the vertical distance from the waist to the crotch.

On a pattern, you can find this by measuring from the waist seam to the crotch seam.

The easiest way to find this distance on your body is to wrap something around your waist and sit on a chair. Measure the vertical distance from your waist to the chair.

Comparing crotch depth

In the diagram above I have overlapped the CENTRE FRONT waist on the Peppermint wide leg pants and the Malvern culottes to compare the difference in crotch depth. As you can see it’s significant - 15cm.

HOW TO RAISE THE CROTCH ON A CULOTTES PATTERN

I knew I’d need to make a toile so that I could check how a large change like this would feel on the body. I decided to lift the crotch by 11cm.

Here’s what you need to do to alter the crotch depth on a culottes pattern:

Step 1

Attach some paper to the crotch area of one of the FRONT pieces. Due to the asymmetric nature of the pattern there are two FRONT pieces. Extend the inner leg seam STITCH LINE by the desired amount.

Step 2

Draw a smooth curve to create a new crotch curve that transitions into the original crotch curve at the notch. A French curve will be helpful here if you have one.

Step 3

Add seam allowance to the new STITCH LINE. In this case it’s 1.2cm.

Step 4

Transfer the same shape to the other FRONT piece. The Malvern culottes are asymmetrical so there are two different FRONT pieces, if you are working with another pattern and the FRONT is cut as a pair then you don’t need to do this step.

Step 5

Repeat process on the BACK. The BACK curve will not be the same as the FRONT. Cut off excess paper.

the outcome

They feel good!

And they still look like a skirt so the design hasn’t been lost. I actually think I could bring them up another few centimetres to completely erase the thigh rub and they’d still look good.

Here you can see the toile on a dress form. Please note that the waistband overlaps more on the dress form than it should. I wanted to make them in my size so I could feel them on my body, but my dress form is a few sizes smaller than me.

And here is a pattern comparison so you can see how much closer it is to a regular pants pattern - now just a 4cm difference.

The second part to your question also got my brain whirring… a Malvern skirt? That sounds interesting too! In the next Q&A I’m going to give it a go, so stay tuned!

Happy patternhacking!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Malvern culottes pattern - digital pattern here.

• The Peppermint Wide leg pants pattern - free pattern here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Peppermint jumpsuit made by @eliza.sew

Malvern culottes by @shuaychong

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MORE POSTS IN THE SERIES

ISSUE 186 - THREE THINGS TO CHECK WHEN COPYING RTW GARMENTS

THE Q & A SERIES

three things to check when
copying rtw garments

I love that you covered creating a pattern by copying an existing garment. I have done this a few times - sometimes it works, sometimes it comes out too big. What am I doing wrong?

Thanks,

Carrie

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Hi Carrie,

Thanks for reaching out!

It's great that you've tried copying garments before. It can be such a useful skill, but it does take some trial and error to get accurate results.

If your copied garment sometimes comes out too big, here are a few things to check:

1. Seam lengths

After tracing, measure the seam lengths on your pattern and compare them to the original garment. If they don’t match, there may have been slight distortions while tracing or transferring the pattern.

Check the traced pattern pieces against your original RTW piece to see if you can figure out where you went wrong. If you can, alter the fabric pieces you’ve cut out. If this isn’t possible, you will need to retrace the pattern pieces from the RTW garment, taking extra care to ensure the RTW garment is laying flat.

2. Fabric type

The original garment's fabric might have different stretch, drape, or thickness compared to what you're using. This will affect the finished result of the copied garment, and it may not fit or fall the same way as the original RTW piece.

When you’re just starting out copying garments, I recommend using fabrics that are similar to those used in the the RTW piece. This way, you know you’re eliminating one potential problem area. Once you get more confident with the process and you’re happy with how your copied garments are turning out, you can get more adventurous!

3. Seam allowances

Always double-check that your seam allowances are consistent. If you marked them on the pattern but then sew with a smaller allowance (which is so easy to do, especially if you’re rushing from excitement at what you’re doing!), the final garment will end up bigger.

If you’re able to pinpoint the issue using these steps, you should get more consistent results in the future!

Let me know if you need more help. Or, check out our Copy Your Clothes Skills Kit. It covers the exact tools and techniques required for copying RTW garments (plus how to use them), and then shows you how to apply them to garment of increasing complexity - a basic T-shirt, a button-up shirt and pants.

Happy patternmaking,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Copy Your Clothes Skills Kit is part one of our Copy Your Clothes Series. Available here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Jacob dress made by @shuaychong

Acton dress by @anthea.jacklin

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MORE POSTS IN THE SERIES

ISSUE 185 - Fabric inspiration for the Jacob dress pattern

THE Q & A SERIES

fabric inspiration for the
jacob dress pattern

Hello!

I’m going to give the Jacob dress pattern a go, but I feel like I need to make sure I use the right type of fabric. Can you please give me some ideas for what types of fabric you recommend?

Rosie

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Hi Rosie,

This is a great question, and you’re right - the type of fabric you use to make the Jacob dress will definitely have an impact on the finish.

In all our patterns we provide information on the types of fabric we recommend for each specific design. In the Jacob pattern, this is what we’ve said:

“The Jacob dress is compatible with light to medium weight woven fabrics such as: cotton poplin, chambray, linen, linen blends, cupro, rayon and rayon blends. If you prefer a softer, drapier silhouette, consider fabrics like sateen, silk (crepe de chine or habotai) or viscose (rayon).”

You can see the different finish that you get with different fabrics in the Jacob dress samples we’ve been sharing on Instagram. Leanne’s Jacob is made from a twill fabric from meetMILK. It is quite a drapey fabric in comparison to the linen that Sara used to make her Jacob dress. Side by side, the two dresses have a slightly different look to them, despite being made from the same pattern. 

Before you buy your fabric, or start cutting into something from your fabric stash, I’d definitely recommend considering the silhouette you’d like your Jacob dress to have. If you want the fabric to fall smoothly across your body, opt for a drapey fabric. If you want to really highlight the ruffles of the drawstrings, go for something with a bit more body. Your local fabric store can help you with this if you’re not really sure what type of drape a fabric has. If you’re buying online, some stores share videos of the fabric to show you what it’s like. If not, send them an email and ask the question!

This month we asked Maaike from MaaiDesign and Amaya from Pattern Scissors Frock to send us their fabric recommendations for the Jacob dress, so keep reading for some fabric inspiration from local Aussie fabric stores.

JACOB DRESS FABRIC RECOMMENDATIONS FROM PATTERN SCISSORS FROCK

We had to start with this amazing Lilac Garden Linen Cotton blend from the Miss Moresby range. Amaya describes this substrate as a little softer than linen thanks to the cotton, but with the strength of linen. From the video it looks like it has a finer slub than regular linen fabric. This one could strike a good balance between drape and structure if you’re not sure which way to go!

Merchant and Mills is always a good idea in our opinion, and Amaya has said their hemp/cotton blend could be good for a little more structure. This chalky blue looks beautiful!

Jacob dress fabric recommendations from MaaiDesign

First on Maaike’s list is this range of cupro linen tencel. Described as an alternative to silk, with a similar gloss, but without the silk price tag it sounds pretty good! It’s a beautiful drapey fabric, perfect for a special occasion. Available in a rainbow of colours you are sure to find one you love.

Next up is a linen viscose which is described as divinely soft, with a matte finish, lots of drape and extremely comfortable to wear. Available in a range of colours. Another perfect option for Jacob!

For a final bit of fun we wanted to share this lovely Jessica Nielsen print in cotton viscose twill. The fabric is described as having fluidity and softness, making it ideal for flowing dresses and skirts. Maaike has a range of other artist prints in cotton viscose which you can view here.

I hope this helps you in your fabric finding endeavours!

Happy Jacob dress sewing!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Jacob dress pattern is currently only available in our Curated by ITF subscription. It will be released as a standalone resource later in 2025. More information about our Curated by ITF subscription can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Gibson loungewear made by @theladywholunches

Sawtell top by @catford_quilters

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MORE POSTS IN THE SERIES

ISSUE 184 - Fabric inspiration for the jacob dress pattern

THE Q & A SERIES

How to sew a flat neckline with vilene shields

Hi Emily,

I am making the top out of very slippery material. I successfully cut it out using tissue paper but am really struggling to get the curve of the neck to lie flat. I pressed it ok but when I sew, especially along the neckline it puckers out of shape. Any tips?!

Anne
Altrincham, United Kingdom

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Hi Anne,

What is probably happening is that the neckline is stretching, which makes it almost impossible to get it to lie flat. When working with slippery or delicate fabrics, as well as staystitching the neckline, it can be a good idea to use Vilene tearaway shields to help your neckline remain flat

WHAT IS A VILENE SHIELD?

Tear-away Vilene shields are a sewing aid used to prevent stretching in areas like necklines and armholes, during garment construction.

WHEN TO USE VILENE SHIELDS

In a lot of cases, staystitching provides enough stabilisation to prevent a curve from stretching, but if you are using a fabric that is prone to stretching, is particularly delicate, or have seams cut on the bias or close to the bias, your fabric may need extra stability. That's when Vilene shields come in handy. It also provides an opportunity to check that your fabric hasn't stretched - and if it has, you can use the Vilene shield to guide you when steaming the seam back to its original shape.

HOW TO CREATE VILENE SHIELDS

Some patterns will include the shield pattern ready for you to use. At other times you may feel the need for one and it hasn't been provided. Or, if you’ve hacked the pattern the original shield pattern may no longer work.

It's safe to say that when working with fabrics prone to stretching, curved areas like necklines will require Vilene shields. You can draft these at the cutting stage. But you might also find the need for one once you start sewing the project and notice particular areas stretching. You can always go back to the pattern, draft the shield and then steam the fabric back into shape.

You can draft the pattern on pattern paper so you have it to use in the future or can draft directly onto the Vilene and cut.

HOW TO DRAFT A VILENE SHIELD PATTERN

Step 1

Place a piece of paper onto the neckline. If you would like to make a full piece (as opposed to a piece that will be cut on the fold), leave enough space to create the full piece. Use pattern weights or pins to hold the paper in place. Trace the neckline CUT LINE. Use a French curve if you have one.

Step 2

Draw straight lines from the neckline down the shoulder STITCH LINE and CENTRE FRONT line the width you would like the shield to be. We suggest making it 2.5cm - 4cm (1in - 1½in) wide.

Step 3

Measuring from the neckline, mark the shield width in regular intervals between the two lines marked in STEP 2.

Step 4

Join the broken line with a smooth curve. Fold in half and transfer the lines to the other side or pin through the paper and cut it out.

Step 5

Label the pattern piece - FRONT VILENE SHIELD CUT 1 TEARAWAY / VILENE ONLY. Mark at CENTRE

FRONT neckline. Repeat this process for the BACK to create the back neck shield.

Step 6

When making shields for other seams, consider the order of construction when creating the shield.

For example, for the shoulder on the Jacob dress, the hems are sewn before the shoulder seams are joined (due to the drawstrings) so the shield needs to stop at the armhole STITCH LINE.

HOW TO SEW WITH VILENE SHIELDS

Step 1

Staystitch the neckline on the FRONT 6mm (¼in) from the edge. Start at the shoulder on each side and stitch towards the CENTRE FRONT.

Repeat on the BACK neckline.

Step 2

Follow instructions to join shoulders and any other elements required before finishing the neckline.

Step 3

Turn the bodice inside out. Pin FRONT NECK VILENE SHIELD to the inside of the neckline, lining up

the CENTRE FRONT notch and the edges with the shoulder seams.

Repeat on the back with the BACK NECK VILENE SHIELD.

Step 4

Attach binding / facing using the method given in the instructions. We have a tutorial about how to bind a neckline here.

Step 5

Carefully remove the Vilene shields before you trim, clip and grade the seam allowance. 

I hope that’s helpful, Anne! 

You may also like to have a look at these blog posts about cutting tricky fabrics - Issue 7 - Cutting linen (and other tricky fabrics) and Issue 87 - Tips for working with delicate fabrics.

Happy sewing!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Jacob dress pattern is currently only available in our Curated by ITF subscription. It will be released as a standalone resource later in 2025. More information about our Curated by ITF subscription can be found here.

• Cutting linen (and other tricky fabrics) - blog post here.

• Tips for working with delicate fabrics - blog post here.

• How to bind a neckline - blog post here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Sawtell dress made by @mamasuesews

Peppermint Everyday dress hacked into a tunic by @netty.hayes.sews

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MORE POSTS IN THE SERIES

ISSUE 183 - HOW TO DRAFT A LINING FOR THE ELWOOD DRESS

THE Q & A SERIES

HOW TO DRAFT A LINING FOR THE ELWOOD DRESS

Hi, 

Lining or not lining that is the question I ask myself since I bought the Elwood dress pattern. I want to make it sleeveless and I bought a wool linen with a geometric pattern.

Since I plan to wear it in the winter with tights or leggings, I think it would be more comfortable if I sewed a lining. Would you have any recommendations about how to do this?

Thank you very much. Bien amicalement,

C

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Hi C,

Although our Sewing Linings project series (check it out in our Past Issue catalogue here) is over, I thought this was a great question to share with our community as we move into the more extreme seasons of the year. 

For those in the northern hemisphere like you, lining a garment is a great way to stay comfortable when using warmer fabrics like wool. For those in the southern hemisphere, you may be thinking of making a garment out of a lightweight or sheer fabric that needs a lining to give the garment a bit more weight or to make it opaque.

When it comes to drafting a lining for the Elwood dress the first thing you want to do is  remove as many of the panel lines as possible. This post covers why we remove panel lines from a pattern when creating a lining pattern. And, if you’re interested in learning more about removing panel lines, this post covers it in relation to our Acton dress and Attwood pants patterns. 

HOW TO DRAFT A LINING PATTERN FOR THE ELWOOD DRESS

Step 1
Place the SIDE FRONT PANEL [2] on the CENTRE FRONT PANEL [1], lining up the STITCH LINES as if they have been sewn together. Pin in place (this is when pins without heads are useful) or use a small piece of tape that can easily be removed.

Step 2

Place the FRONT SHOULDER PANEL [15] on the CENTRE FRONT PANEL [1] again lining up the STITCH LINES.

Step 3

Place a piece of pattern paper on top. Trace the STITCH LINES, ignoring the panel lines.

Step 4

Add seam allowance onto the pattern. The amount to use is the same as what is on the original pattern - 1cm (3/8in) on the neckline and 1.2cm (1/2in) on the other seams. The CENTRE FRONT seam no longer requires seam allowance as we are removing that seam too.

Step 5

Add notches to the CENTRE FRONT - at the top and bottom of the seam. Add a notch on the armhole where the panel line is and on the waist seam where the panel line is. The armhole notch will help you when attaching the lining to the dress and the waist notches will help you when attaching to the skirt lining.

Step 6

Add new pattern markings and labelling. Cutting instructions on lining patterns are written in green pen / marker so that lining pieces can be quickly and easily identified.

Tip for midweight or heavier fabrics

When lining sleeveless garments, to prevent the lining (or facing) from rolling out at the armhole and

becoming visible, you can shave off a small amount from the armhole. You can do this on the pattern, or on the cut garment (this option works well if you haven't chosen your fabric at the time of drafting). At the shoulder point, remove 3mm (⅛in) and then smooth into the original armhole curve around the notch.

Repeat the process for the back pieces to create the BACK BODICE LINING.

Step 7

Take the front skirt pieces and place together STITCH LINE on STITCH LINE.

Step 8

Trace the STITCH LINE onto a separate piece of paper. Shorten the hem by 2.5cm (1in). This prevents the lining from showing beneath the dress.

Step 9

Transfer notches onto the skirt pattern and label the pattern. Repeat on the back skirt.

Happy sewing,
Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Elwood dress pattern can be found here.

• How to remove panel lines from a pattern - tutorial can be found here.

• How to draft a skirt lining for the Acton dress - tutorial can be found here.

• The Sewing Linings Series is currently only available in our Curated by ITF Past Issues catalogue. It will be released as a standalone resource in 2025. More information about our Curated by ITF subscription can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Barkly skirt made by @denise.does

Marden shirt made by @lisamcohen

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MORE POSTS IN THE SERIES

ISSUE 182 - HOW TO SEW A back-to-front WRAP TOP

THE Q & A SERIES

HOW TO SEW A reverse WRAP TOP

Hi! 

First thank you so much for all your tutorials!

I want to make a Peppermint Wrap top but I would like it to be reversible (worn with the back in the front if I make sense). Do you think the pattern is already reversible as is or should I make some alterations ? (To the neck line maybe?)

Thanks a lot!

Clara

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Hi Clara,

This might seem a strange place to start with an answer, but bear with me… In a meeting this week, we were chatting about necklines, and how they are usually lower at the front than they are at the back. This then led to how our kids often put their shirts on back-to-front and how the tell-tale sign is that the neckline at the front sits much too high, but even though it appears to be choking them, they don’t seem to notice or care. (We’re all mums, so these kinds of discussions aren’t unusual. Ha!)

Which brings me to the start of my answer to your question…

Yes, you’re right, one of the problems you’ll run into with reversing the  Peppermint Wrap top is that the neckline at the back will be higher. And while you may be able to get away with it, keep in mind that it also has bust darts, which you may not like having on your back.

If you really want a top that has the wrap section at the back, what I’d suggest you do is draft something specifically for this purpose. That way you’ll get your bust darts where you need them and the correct neckline shape. 

HOW TO DRAFT & SEW A reverse WRAP TOP

Rather than using the Peppermint Wrap top as the base, I suggest you start with the Peppermint Ruffle sleeve top. The reason for this is that the wrap has altered the shape of the front of the wrap top and it’s difficult to reverse if you haven’t got much patternmaking knowledge (and I like to write these tutorials so that they appeal to makers of all levels). If we start with the Peppermint Ruffle sleeve top, we have a more solid base that requires less tweaking to get started.

Step 1

You will need the Ruffle sleeve top BACK and the Wrap top FRONT. We will be taking the wrap section from the Wrap top and transferring it onto the Ruffle sleeve top. You will need to flip one of the pieces so they line up correctly (i.e. the armholes are on the same side).

Step 2

Place the Ruffle sleeve top BACK onto the Wrap top FRONT, lining up the high shoulder point STITCH LINE (the point where the shoulder line meets the neckline) and making sure the grainlines are parallel. Pin or glue in place.

Step 3

Trace the neckline STITCH LINE and CUT LINE from the Wrap top onto the Ruffle sleeve top.

Step 4

We now need to blend the hems. I decided to keep the length of the Ruffle sleeve top, so I have drawn a curve that blends from the side seam on the Ruffle sleeve top to the tie section of the Wrap top.

Step 5

Add hem allowance. This should be the same amount that is on the Wrap top, which is 1.2cm (1/2in).

Step 6

Cut along the new lines, removing the excess paper. Cut along the Ruffle sleeve top shoulder line, armhole and side seam. We have now created the new BACK pattern pieces.

You could use the FRONT of the pattern as it is, but from your question it sounded like you liked the idea of the round neckline that you would get by turning the Wrap top back-to-front.

Step 7

Stick some paper behind the neckline of the FRONT Ruffle sleeve top. Extend the CENTRE FRONT up onto the paper and redraw the neckline as a smooth curve. The neckline needs to meet the CENTRE FRONT at a right angle.

Step 8

Add 1cm (3/8in) seam allowance to the neckline. You will notice that the neckline on the BACK has a different seam allowance (1.2cm (1/2in)). This is due to the construction method used on the Wrap top neckline and wrap.

Alter the hem line to match the BACK - changing it to 1.2cm (1/2in).

Step 9

Cut off excess paper by cutting through the new CUT LINES at the neckline, hem and CENTRE FRONT.

Step 10

The back neckline on the Wrap top is finished with a facing, so we will need to draft one for our FRONT. It is helpful to refer to the facing piece while drafting the new one.

Place a piece of pattern paper over the neckline of the FRONT. Trace the neckline, CENTRE FRONT and shoulder. Make the facing 5cm (2in) wide. Add seam allowance to correspond with the original piece - 1cm (3/8in) at the neckline and 6mm (1/4in) at the shoulder (this is much smaller than what would be used on a shoulder and is due to the construction method used for the top that is sewn with French seams).

Step 11

Complete the pattern by taking the WAIST TIE from the Wrap top. You will need to use the SLEEVE from the Ruffle Sleeve top to correspond with the armholes we used. If you would prefer the length / style of the Wrap top SLEEVE, you can transfer this from one to the other by laying the pieces on top of each other. 

To construct the top, follow the instructions from the Wrap top, swapping the FRONT and BACK.

I hope you have fun making yourself a back-to-front wrap top!

Happy patternmaking and sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Peppermint Wrap top pattern can be found here.

• The Peppermint Ruffle sleeve top pattern can be found here.

• More In the Folds patternmaking tutorials can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Collins top made by @allysondykhuizen

Peppermint wrap top made by @suzannemade

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MORE POSTS IN THE SERIES

ISSUE 181 - HOW TO DRAFT A LINING FOR THE PEPPERMINT PLEATED SKIRT

THE Q & A SERIES

DRAFT A LINING FOR THE PEPPERMINT PLEATED SKIRT

Hi Emily,

I have a short question for you. I would like to add a lining to the Peppermint Pleated skirt and I’m wondering whether I should make an A-line lining based on the pleated outer skirt, or pleat the lining as well.

What would you do? Looking forward to your reply.

Many thanks in advance!
Kind regards,

Marjon

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Hi Marjon,

Great question! In the last two issues of Curated by ITF, we've been exploring all things linings. 

When creating a lining, you want to replicate the shape of the original pattern while creating the simplest pattern possible. So, we’ll often remove decorative elements like seam lines and pocket pieces etc, and this includes pleats.

Removing the pleats in the lining not only makes it easier to sew, but also helps to avoid bulk in the waist seam and throughout the body. So, an A-line skirt, as you suggested, is a great idea!

There are a few different methods to create the skirt lining pattern.

HOW TO DRAFT AN A-LINE SKIRT LINING

If your pattern is complex with lots of pleats or details, you may find it easiest to draft an A-line skirt from scratch (or use a pattern/block you already have). You can find information about drafting a skirt block here and how to turn it into an a-line skirt pattern here.

When using this method, make sure that: 

• The top of the lining is the same length as the top of the original pattern (once pleated), as they will sew into the same seam or waistband. You can use this measurement rather than your waist measurement when drafting the skirt block.

• The hem width is similar or less than the original pattern, and you have enough space when walking.

• The lining is shorter than the original so it is hidden. 

As there aren’t too many pleats in the pleated skirt pattern you’re using, you can use the pattern as a base and remove the pleat volume, which I’ll demonstrate in today’s tutorial.

HOW TO DRAFT A LINING FOR THE PEPPERMINT PLEATED SKIRT

Step 1

Place the pocket bag behind the front piece using the notches to guide you. We’ll treat this piece as one going forward, as the lining will sit behind the pocket.

Step 2

Trace the front and back patterns without seam allowance, including the notches and pleats.

Step 3

Draw a line from either side of each pleat to the hem.

Step 4

On the front, starting at the top edge, cut down one of the lines until you are 1-2mm from the hem to create a hinge.

Tip - If your pattern isn’t cut out, you’ll also need to cut from the bottom of the paper and stop 1-2mm before you reach the other side of the hem, to allow the paper to move.

Step 5

Overlap the pattern at the top to remove the pleat volume and tape in place.

Step 6

Repeat for the rest of the pleats.

Step 7

Lay some paper on top and trace the pattern, including any notches. You can redraw the grainline parallel to the CENTRE FRONT.

Step 8

Remove 2.5cm (1in) from the hem. This will prevent the lining from showing below the hem. You could consider making the lining shorter if you like.

Step 9

Repeat process for the BACK. Remove the same amount from the hem on the BACK as you have on the FRONT.

Step 10

Check the seams match and flow together nicely and then add seam allowance. 

If your fabric is wide enough, you can remove the centre back and centre front seams and place the patterns on the fold to remove any excess bulk.

Step 11

Label the pattern pieces with the new cutting instructions - Cut 1 pair lining.

Fun fact to up your patternmaking game…
In industry cutting instructions on lining patterns are written in green pen / marker so that lining pieces can be quickly and easily identified.

I hope you enjoy this tutorial and it helps you get the outcome you’re hoping for!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• More information about our Curated by ITF subscription can be found here. Sign up during the month of October to get part one of our Sewing Linings Series, the Sewing linings Skills Kit, delivered straight to your inbox.

• The Peppermint Pleated skirt pattern can be found here.

• Drafting a skirt block - tutorial here.

• How to use the cut & spread technique to draft an A-line skirt - tutorial here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Ormond chore coat made by @tandarady

Acton dress made by @erincharter

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MORE POSTS IN THE SERIES

ISSUE 180 - HOW TO CHOOSE GARMENT LINING FABRIC

THE Q & A SERIES

HOW TO CHOOSE LINING FABRIC FOR GARMENTS

Hi Emily,

Thank you for your Q&A series - it is so informative and a great platform for learning, especially for a beginner like myself.

I am planning to make a summer dress using a sheer polyester fashion/main fabric, and was wondering if it is OK to use lightweight cotton/silk chiffon as the lining fabric? I am not sure if using synthetic and natural fabrics together is going to cause issues in the finished garment.

Many thanks,

Joanne

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Hi Joanne,

This is an interesting question. Normally when thinking about fabric and lining combinations we would be thinking about the silk or cotton being the main fabric and the polyester being the lining (which is very common). In this case, where the polyester is the outer and the silk or cotton is the lining, it will depend on the weights of the fabric and the garment you are lining.

Things to consider when selecting lining fabrics

The best fabrics for linings depend on the purpose and type of garment being lined. Key factors include the drape, weight, breathability, and durability of the fabric. 

When selecting a lining fabric, consider the main fabric of the garment, the intended use, and the desired comfort and appearance. For instance, a summer dress may benefit from a lightweight, breathable cotton lining, while a winter coat might require a warmer, more substantial acetate or polyester lining. 

In fabric stores you will see specific lining fabrics, which are a good option, but you don’t need to be limited by these options if you would prefer to use a fashion fabric.

It is important to choose a lining fabric that is compatible to the outer fabric in terms of care instructions so that the garment can be laundered easily. 

It is best to choose a lining fabric that is:

• Smooth

• Tightly woven

• Opaque

• Slippery (Although not absolutely imperative, a slippery fabric will make the garment easy to put on and take off and will reduce stress and friction on the lining. This is particularly important for coats, jackets and skirts, while it’s likely not a problem for a dress.)

You may also like to consider whether the fabric will crease easily or not. Natural fibres such as cotton and rayon have good breathability but will likely crease easily. Polyester linings don’t crease easily but can be hot and cause you to sweat.

SHOULD YOU MIX SYNTHETIC AND NATURAL FABRICS WHEN LINING A GARMENT?

Mixing synthetic and natural fabrics, like polyester with cotton or silk chiffon, is an option, but there are a few things to keep in mind.

1. Polyester is less breathable than natural fabrics like cotton or silk, so while the chiffon lining can improve comfort, you might still notice some differences in how the fabrics handle moisture and air flow.

2. Synthetic fabrics often have less give than cotton or silk, which may result in the fabrics pulling or behaving differently over time. If your outer fabric has some stretch, make sure the lining fabric accommodates that movement.

3. Polyester is prone to static electricity, which could cause the fabrics to cling to each other. Being natural fibres, silk and cotton may help reduce this, but it's something to keep in mind.

4. You might need to adjust the care routine for the finished dress. Polyester can generally handle machine washing, but silk or cotton chiffon will likely need more delicate care, like hand washing or dry cleaning.

If these factors work for you, the combination of a sheer polyester outer with a natural chiffon lining can create a beautiful, flowing dress perfect for summer.

If it’s a fitted garment, I’d be hesitant to mix the polyester outer with the natural lining as the natural fibres may stretch more than the outer when worn and cause some issues. If it’s a more floaty style I would be less worried about it. Another thing to think about is the amount of give in the two fabrics. I’d be holding them side by side and having a feel - how do they drape, how do they stretch on the crossgrain and the bias? Is it similar?

I hope this helps you on your lining adventure! And if you’re interested in learning more about sewing linings, take a look at our latest skill-building series, the Drafting linings Skills Kit and the Sewing linings Skills Kit.

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• More information about our Curated by ITF subscription can be found here. Sign up during the month of September to get part one of our Sewing Linings Series, the Drafting linings Skills Kit, delivered straight to your inbox.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Rushcutter dress made by @commesew_commeca

Collins top made by @unpo.dappertutto

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MORE POSTS IN THE SERIES

ISSUE 179 - How to line the Collins top

THE Q & A SERIES

HOW TO LINE THE COLLINS TOP

How do I line a garment? I'm new to sewing, and recently bought the Collins top pattern, but the fabric I bought for it ended up being a bit more sheer than I would feel comfortable wearing.  Do I double up fabric and sew as indicated in the pattern, or can I make this pattern reversible?

Emma

Davis, US

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Hi Emma,

The situation you find yourself in is such a common one! I can certainly relate to falling in love with a fabric, only to find that it needs to be lined, except the pattern I want to use doesn’t include a lining. It’s a bit annoying! 

Thankfully, as sewists who are focused on learning new skills (like patternmaking) we’re not limited to what a pattern provides. 

four ways to line the collins top

When it comes to lining the Collins top specifically, you have a couple of options. 

OPTION ONE: UNDERLINING 

Underlining a garment is the simplest way to stop a fabric from being see-through.

What is underlining?

Underlining is a technique in which a second layer of fabric is cut and sewn together with the outer fabric pieces before the garment is constructed. Unlike a traditional lining (which is a separate layer added after the main garment is assembled), underlining is treated as one with the outer fabric when the garment is constructed. 

You may choose to underline the entire garment, or just part of it. For example, you may decide to only underline the sleeves in a jacket or coat so it is easy to slide the garment on and off.

In the case of the Collins top, you may choose to underline the front and back pieces only and leave the sleeves unlined. A great example of this is when sewing with broderie anglaise. You might leave the sleeves unlined to show off the cut-outs in the fabric, but line the bodice.

OPTION TWO: CREATE A LINING PATTERN 

The next option is to create a separate lining pattern for the garment, which is drafted using the original pattern as a base.

How to create a lining pattern for a garment

To start, it’s a good idea to remove any seams you can. In the case of the Collins top, this means removing the panel lines. 

To do this, place the pieces together with STITCH LINE on STITCH LINE and trace a copy. Make sure to trace all the important markings such as the grainline and notches.

Some panel lines cannot be removed. For example, the sleeve panel seams create shaping through the shoulder so they cannot be removed. 

However, if you want to minimise bulk, you could consider combining the pieces and using darts to create the shaping instead of panel lines.

Consider how you would like the lining to join to the outer garment. In the case of a top or dress, this means considering how the two will meet at the neckline.

OPTION THREE: LINING A GARMENT ‘EDGE TO EDGE’

Lining ‘edge to edge’ refers to a garment construction technique where the lining is sewn directly to the outer fabric along the edges, such that the lining reaches and is attached to the very edge of the garment, rather than being connected to a facing. 

This method is often used if the main fabric (fabric that the garment is made in) is bulky or scratchy. By removing the facings, the main fabric will not touch the skin. It is also a good option for sheer fabrics where you don't want to see a facing or seam through the outer fabric. You can also use this method if you would like a quicker method of lining a garment, as it removes the need to draft a lining pattern and the time it takes to attach the facings.

With this option, you may consider adding interfacing to the neckline and armholes (for sleeveless styles) to prevent stretching. If the pattern has facing pieces, you can use these as the pattern pieces for cutting interfacing. Alternatively, trace the armhole / neckline shape and then cut 5cm (2in) width of interfacing as if you were drafting a facing.

If you would like to use this method, you can use the pattern to cut the lining pieces without drafting a new lining pattern.

OPTION FOUR: ATTACH A LINING TO FACINGS

Attaching the lining to a facing or multiple facings can give the inside a clean and professional look. It also has the added bonus of providing extra structure in areas that are prone to stretching, such as necklines and armholes, which can maintain the garment's shape over time.

Facings help to prevent the lining rolling to the other side, ensuring the garment stays in place and the lining is not visible from the outside.

If you’re interested in learning how to draft a facing for the Collins top, we wrote a post about it here for another Emma. If you would like to draft a neck facing only (which is what we’d suggest you do for the neckline on the Collins top) you can find instructions in the Drafting Linings Skills Kit.

Additional tips for sewing a lining for the Collins top

Alter the hem length.

The hem of the lining needs to be shorter than the outer so that it doesn’t extend beyond the hem. When drafting a lining pattern, shorten the lining by 2.5cm (1in) from the hem.

The other thing to keep in mind when sewing a lining for the Collins top is that the pattern has a high-low hem. This means that you may be able to see the inside of the back of the garment when it is worn. So keep this in mind when choosing the best option for the fabric you are working with.

CAN YOU MAKE THE COLLINS TOP REVERSIBLE?

The idea of a reversible Collins top is very interesting! We haven’t got any resources about making a garment reversible at this stage, so thought we’d link to this great post which covers the things to consider if it’s a project you’re keen to have a crack at.

One thing to consider with making it reversible is how the closure at the neckline will work. In the case of the Collins top, which has a button and loop closure at the centre back, you could consider two buttons, one on the inside and one on the outside. Be sure to choose nice flat buttons so they don’t create bulk. The other option is to remove the closure altogether. Some makers have chosen to do this and haven’t had any problems getting the top on or off. As always, I recommend making a toile to check it works for you!

Happy patternmaking,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Collins top pattern can be found here.

• The Stow dress pattern can be found here.

• How to draft a facing - tutorial can be found here.

• Seamwork article - Make it reversible - can be found here.

• More information about our Curated by ITF subscription can be found here. Sign up during the month of September to get part one of our Sewing Linings Series, the Drafting Linings Skills Kit, delivered straight to your inbox.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Sawtell dress made by @sarahissewcrafty

Peppermint wrap skirt made by @laura_made_this

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MORE POSTS IN THE SERIES

ISSUE 178 - HOW TO DRAFT A SKIRT LINING FOR THE ACTON DRESS

THE Q & A SERIES

HOW TO DRAFT A SKIRT LINING FOR THE ACTON DRESS

Hi Emily,

If one would want to add a lining to the skirt, how should the pocket construction go? (in reference to the Acton dress).

Giulia

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Hi Giulia,

We thought this would be a great question to answer this week as we just released the first instalment of our two-part Sewing Linings Series. I’ll give you a few pointers on how to draft the lining pattern for the Acton dress, but if you want more help with drafting and sewing linings, I recommend you join our Curated by ITF subscription!

When it comes to pockets, you actually don’t need to worry about them in relation to the lining. The pocket will be sandwiched between the outer fabric and the lining.

Construct the dress and pockets as usual and then attach the lining, making sure you don’t attach the lining to the skirt.

One thing that you may do differently is leave the seams raw. When it comes to the linings, if your fabric doesn’t fray too much then you can leave the seams unfinished too.

The Acton dress design includes a number of panels in the skirt. To draft a lining, we begin by removing the panel lines from the pattern.

5 reasons to remove panel lines from a lining pattern

1. Removing panel lines reduces the number of pieces you need to sew together, simplifying the

   construction process and the time it takes to assemble the lining. Fewer seams also means less chance of errors or misalignment during construction.

2. Eliminates unnecessary seams, reducing bulk and potential discomfort. Seam allowances add bulk, and fewer seams mean a smoother, more comfortable lining against the skin.

3. Every seam is a potential weak point that can experience stress and wear over time. By reducing the number of seams, you minimise the areas where the lining could potentially tear or fray.

4. A lining with fewer seams allows the outer fabric to drape more naturally and smoothly, without the interruption of seam lines.

5. Fewer seams create a cleaner, more polished look inside the garment. This is particularly important for high-end or tailored pieces where attention to detail is crucial.

WHY IS THE LINING ON SKIRTS LEFT UNATTACHED TO THE OUTER SKIRT?

There are several very good reasons why the skirt linings are usually left unattached to the hem of outer skirt:

• Independent movement - Leaving the lining to hang freely allows it to move independently of the outer skirt. This prevents restriction and ensures that both layers can flow naturally, enhancing comfort and ease of movement.

• Avoiding constriction - If the lining were attached to the hem, it could constrict the outer fabric, causing awkward bunching, pulling, or riding up as you move.

• Smooth silhouette - Attaching the lining to the outer hem can create bulk at the bottom of the skirt, disrupting the smooth silhouette and clean lines of the garment. An unattached lining maintains a sleek appearance.

• Facilitates alterations - If alterations are needed, having an unattached lining makes it easier to adjust either the outer skirt or the lining independently without affecting the other layer.

• Enhanced breathability - An unattached lining can enhance breathability, as it allows for better air circulation between the layers, contributing to overall comfort.

HOW TO DRAFT A SKIRT LINING FOR THE ACTON DRESS

Step 1

To get started, trace a copy of your skirt pattern and remove any panel lines or unnecessary design details. If the panel lines provide shaping, transform the panel line into a dart or tuck. Be sure to transfer any notches from the pattern onto the lining pattern.

Step 2

Alter the length for the lining. A skirt lining is typically left unattached (not joined to the hem) from the outer skirt hem. This means that the lining pattern needs to be shorter than the outer skirt so that the lining cannot be seen when the skirt is worn.

We recommend shortening the length by 2.5cm (1in). The length should be taken from the hem (not from within the pattern piece as you do when removing length for variation in height between your measurements and the pattern).

Step 3

Add seam allowance to the pattern.

Step 4

Finalise the pattern by adding a grainline and cutting instructions. It's also a good idea to label the CENTRE FRONT and CENTRE BACK.

Industry tip! Cutting instructions on lining patterns are written in green pen / marker so that lining pieces can be quickly and easily identified.

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Acton dress pattern can be found here.

• The Acton dress sew-along can be found here.

• More information about our Curated by ITF subscription can be found here. Sign up during the month of September to get part one of our Sewing Linings Series, the Drafting Linings Skills Kit, delivered straight to your inbox.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Sawtell dress made by @sarahissewcrafty

Collins top made by @megmadesewing

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MORE POSTS IN THE SERIES

ISSUE 177 -HOW TO SLIM DOWN THE WIDE LEG PANTS PATTERN

THE Q & A SERIES

HOW TO SLIM DOWN THE PEPPERMINT WIDE LEG PANTS PATTERN

Hi Emily,

I had a question about the Peppermint Wide Leg pants. 

They are drafted straight from the hip. If I wanted them to narrow around the thigh and be straight from there down, how would one do that? Might be too complex to tackle, but thought I'd ask!!

(Also, I'm just 2 seams from finishing my first Flynn jacket and I wanted to tell you this much. I completely love and appreciate that pattern and instructions!!! It is probably my favourite pattern to date.)

Nina

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Hi Nina,

I have a pair of jeans that I made from this pattern and I also made the exact alteration you are planning to make! 

I found the easiest way to get the leg shape I wanted was to first make a toile in calico. So, here’s my tips!

TIPS FOR SLIMMING THE LEG OF THE PEPPERMINT WIDE LEG PANTS PATTERN

• I recommend you make the toile with a long stitch length in a contrasting colour so you can easily see and unpick seams needed.

• Don't bother putting in the zip.

• Just cut one set of waist band pieces so you can pin the pants closed and get them to sit in the correct position on your waist. 

• Put the pants on inside out so you can see the stitch lines. (This is where the contrasting thread is useful!) Play with the seams until you figure out how much you want to take off the side seams and inner leg seams. With the toile on, use a marker to mark directly onto the fabric. (Alternatively, you could use pins to hold in place, but sometimes this can be a little painful when you’re wearing the toile and fitting on yourself!)

• When you take off the pants, use a ruler and marker to mark in your new stitch lines. You will need to unpick the crotch seam either side of the inner leg seam to make any alterations to that seam. 

• Stitch along the new lines (again with a long stitch length in case you need to unpick them again), and try them on again. Continue this process until you are happy with the shape. 

• If you have a number of stitch lines by the end, take a coloured marker and trace along the stitch lines to mark the new stitch line on the fabric. 

• Unpick the pants so you have the front and back piece and then transfer the changes back to the pattern. 

• It is likely that you will need to skim off some of the pocket pieces at the side seam, so be sure to transfer the shape of your new pattern piece to the pockets too.

And that’s it! Sometimes, making changes to a pattern can take a little time when you do a toile, but in my experience toiling is never something to be regretted.

If you’d like to continue learning more about sewing pants, I highly recommend our very popular Pants Making Series, which the Pants Sewing Skills Kit, Pants pattern and Fit Kit, plus the Pants Design Kit.

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Peppermint Wide Leg pants pattern can be found here.

• The Pants Making Series can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Acton dress made by @crafty_enthusiast

Sleeveless Flynn jacket made by @damselfly.ca

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MORE POSTS IN THE SERIES

ISSUE 176 - HOW TO DO A BROAD BACK ADJUSTMENT

THE Q & A SERIES

HOW TO DO A BROAD BACK ADJUSTMENT

Hi Emily,

I really love your patterns and have made several! I have a question about the ruffle top - I have broad shoulders and find that the pattern restricts my arm movement. I’m not sure if it’s a result of my broad shoulders, but I then often find the arm holes also make me feel super restricted. How do I adjust fit for my broad shoulders and get more depth through the armhole without everything getting really baggy? I have broad shoulders but am also tall and lean!

Thanks,

Anna

Dulacca, Australia

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Hi Anne,

Thanks so much for the lovely compliment. It’s always great to hear feedback from our customers, especially good feedback! 

From your description, it sounds like you need to do a broad back adjustment. (And, you’d probably be surprised at how many of our Curated by ITF members have added this to their standard pattern adjustments list!)

Here’s what you need to know…

WHEN TO MAKE THIS ADJUSTMENT

When fitting your toile / muslin, you should check you are happy with the fit of the back. Put your arms out in front of you (parallel to the floor) and check that the range of movement in the back is comfortable, and fabric is not digging in anywhere. Be sure to sew the sleeves into your toile so you can check there is enough room across the back. If you feel like the garment is pulling, digging in or restricting your movement across your back, you may need to do a broad back adjustment.

We included this tutorial in our Cartwright Fit Kit (along with a host of other fitting tutorials), so the illustrations show you how to do the alteration on a dress, but the process is the same for a top, like the Peppermint Ruffle Sleeve top.

Step 1

Referring to your toile, find your shoulder blade or where the garment is pulling the most. Mark this point on the pattern. We will call this point A.

Step 2

Draw a line perpendicular to the CENTRE BACK line running through point A, from the middle edge of the piece through the armscye. We will call this line B.

Step 3

Measure the length of the shoulder STITCH LINE and divide the result by 3. Mark this distance from the neck point on the STITCH LINE. We will call this point C.

Step 4

Draw a line from C down to the hemline, parallel to the CENTRE BACK line. We will call this line D.

Step 5

Cut up line D, starting at the hemline. Stop 1-2mm from point C. Cut in from the outer edge of the shoulder seam allowance. Stop 1-2mm from point C, creating a hinge.

STEP 6

Slide paper underneath the pattern. Using line D to access line B, cut along line B towards the armscye STITCH LINE. Stop cutting 1-2mm from the STITCH LINE.

Cut in from the outer edge of the armscye seam allowance. Stop 1-2mm from the STITCH LINE to create a hinge.

Step 7

Keep the CENTRE BACK line straight and swing open line D. Tape CENTRE BACK section to paper underneath to keep it in place.

Mark the amount you need to add to the back width by extending line B by the amount required. We will call this point E.

STEP 8

Slide the armscye section of the pattern over until the cut edge meets point E. Tape the shoulder section.

STEP 9

Swing the bottom section around so that the hem line is touching on each side of line D. The hem will be slightly shorter on the outer edge.

STEP 10

Take a ruler and mark in the new shoulder CUT LINE with a straight line. Re-draw the armscye with a smooth curve.

Re-draw the hem line with a smooth curve over the alteration.

Cut out the pattern piece to remove excess paper.

COMMUNITY TIP

As a designer and patternmaker, I am constantly learning. I learn within my own practice from trying to figure things out as I draft new patterns, and I learn constantly from our amazing Curated by ITF community.

This week I saw this great tip from Rachael (read more about Rachael here!) related to broad back adjustments and thought I’d include it here.

What's worked for me with the broad back adjustment, since I was just trying to add width in a very specific area, is to make a lot of smaller cuts to adjust in that specific area with more nuance. It works best if you can get someone to draw on the toile exactly where the fabric is pulling so you know precisely where you need to add it in.

- Rachael, Curated by ITF member

I hope this helps you with your broad back fitting, Anne! It’s always a pleasure to help makers sew a wardrobe they love, that fits perfectly!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Peppermint Ruffle Sleeve top is a pattern we designed in collaboration with Peppermint magazine. You can download it for free here.

• More information about our Curated by ITF membership can be found here. Sign up during the month of August to get the Malvern culottes pattern delivered straight to your inbox.

• The Cartwright dress & top pattern can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Hove jacket made by @nuggetwithaneedle

Hacked Marden shirt made by Curated by ITF member, Lise.

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MORE POSTS IN THE SERIES

ISSUE 175 - HOW TO FIGURE OUT FABRIC REQUIREMENTS

THE Q & A SERIES

HOW TO FIGURE OUT FABRIC REQUIREMENTS WHEN COPYING READY-TO-WEAR

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Many sewists are used to working with sewing patterns that tell them everything they need to make a garment. Construction method, notions, sizing, fabric requirements… Everything is covered in explicit detail and you just need to follow the instructions.

But what about when you’re copying a ready-to-wear garment? 

Or if you’re doing a major hack to a pattern in your stash?

How do you know how much fabric to buy!?

It’s a question we get asked a lot!

We’ve been so excited to see our Curated by ITF members diving into the resources from our Copy Your Clothes series and learning how to copy ready-to-wear garments that they love and can’t bear to part with. And while many of them have been using fabric from their stash to learn these new skills (which we applaud, btw!), we figured it would be helpful to know what to do if they do want to head to a fabric store (because it’s inevitable, right?).

HOW TO FIGURE OUT FABRIC REQUIREMENTS WHEN COPYING A READY-TO-WEAR GARMENT

The following methods can be used when copying a ready-to-wear garment or when pattern hacking. 

Method 1 - Measure each pattern piece loosely and calculate the required fabric. 

Take the pattern pieces and loosely measure them as if they were rectangles. To do this, measure the longest and widest points. As you can see in the example we have given a little extra in both width and length, just to be safe. Remember to keep things straight and the right way up, as this is how the pieces will be cut on the fabric. Take note of the dimensions of each piece.

Consider the width of the fabric you are buying. Common fabric widths are 115cm (45in) and 150cm (60in), although there is a lot of variation, so be sure to check.

For the example, our FRONT [1] piece measures 37cm (14½in) wide and 140cm (55⅛in) long. Our BACK [2] measures 45cm (17¾in) wide and 140cm (55⅛in) long. We will need to cut a pair of each.

For a fabric width of 115cm (45in) we will need to cut the pieces one on top of the other (lengthways), as we won't be able to cut more than 2 pieces for the width (2 fronts = 74cm (29⅛in) and 2 backs = 90cm (35½).

For a fabric width of 150cm (60in), we will have more room to play (see image below). We could cut a pair of backs and a front on the width - leaving one front to cut. This does mean you will need a similar length of fabric, but you will have more fabric to spare from the 150cm (60in) width, which you could use for another project. Remember, this example does not include any additional pieces, such as facings and pockets. See cutting plan examples on the following page. (See image below.)

Remember, fabric may shrink a little during pre-washing, so consider getting a little bit more fabric to account for this.

Method 2 - Create a tape mockup of your fabric width on your floor

Take some masking tape and tape a line on the floor / table the width of the fabric you are considering using. 

Lay out the pattern pieces, ensuring they fit within the fabric width. Take a tape measure and measure the length of your mock cutting plan.

Remember, fabric may shrink a little during pre-washing, so consider getting a little bit more fabric to account for this.

I usually use the second method, and place a tape measure so I can quickly move the pieces around and calculate the total. 

The example below is as if the fabric is on the fold. Always make sure you read the pattern labels so you know if you need to cut 1 pair or cut 1 on fold etc.

Whether it’s with copying your ready-to-wear garments or hacking patterns, I hope this helps you on your sewing journey!

Happy patternmaking,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• More information about our Curated by ITF subscription can be found here. Sign up during the month of July to get part two of our Copy Your Clothes Series, the Make it your own Skills Kit, delivered straight to your inbox.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Flynn jacket made by @thecrookedhem

Acton dress made by @sewbee73

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MORE POSTS IN THE SERIES

ISSUE 174 - HOW TO ALTER A DROPPED SHOULDER TO A SET-IN SLEEVE

THE Q & A SERIES

HOW TO ALTER A DROPPED SHOULDER TO A SET-IN SLEEVE

I prefer fitted button down shirts, but the trend for women's shirts right now tends to be ‘oversized’ with the shoulder hitting in the middle of the bicep instead of the top of the shoulder. Is it possible to buy one of those patterns and change where the shoulder hits? And if it is, how does that affect the rest of the pattern, especially the sleeves? 

Thanks for your help.

Sage
Toronto, Canada

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Hi Sage,

We had a few community members with this exact question when we released the Marden shirt, so I thought it was a good one to answer.

Your question touches on two things:

1. The difference between a dropped shoulder sleeve and a set-in sleeve

2. What these two sleeve types have to do with the overall fit of a shirt.

So let’s dive in!

the difference between a set-in sleeve and a dropped shoulder sleeve

Our Cartwright dress and top pattern has a set-in sleeve, while our Marden shirt pattern has a dropped shoulder.

Set-in Sleeve

• Construction - The sleeve is sewn into the armhole, aligning with the natural shoulder line.

• Fit - More fitted and structured, following the natural contours of the shoulder and arm.

• Appearance - Provides a tailored, polished look, as the sleeve cap fits snugly around the shoulder.

• Use - Common in more formal and tailored garments, such as blazers, dress shirts, and fitted tops.

Dropped shoulder

• Construction - The shoulder seam extends beyond the natural shoulder line, often ending halfway down the upper arm.

• Fit - Looser and more relaxed, giving a casual and oversized look.

• Appearance - The sleeve is attached lower on the arm, creating a slouchy, laid-back silhouette.

• Use - Frequently seen in casual and oversized clothing, such as sweatshirts and t-shirts.

Due to how far the shoulder seam extends beyond the shoulder, the dropped shoulder has a boxier fit.

Above is a comparison of the front pattern pieces. 

As you can see, the dropped shoulder pattern on the right is much boxier. The shoulder seam in our Marden pattern is longer and curved, although this isn’t always the case for dropped shoulder patterns. It can be straight, depending on the fabric it will be made of and the design. The side seam is straight and the armhole is much smaller.

The sleeve required for a dropped shoulder (on the right) has a much lower sleeve cap as it doesn’t need to reach the shoulder. From the bicep line down there is not a huge difference. 

In the case of these specific patterns, the Marden shirt sleeve is more tapered to accommodate the cuff.

Is it possible to buy a dropped shoulder pattern and change where the shoulder seam hits?

The answer is yes, you can definitely purchase one of these patterns with a dropped shoulder and alter the pattern. And we love that you’re considering pattern hacking! Adding these types of skills to your repertoire opens up a whole new world of opportunities when you’re sewing, and it’s what we’re all about at In the Folds.

However, drafting a set-in sleeve from a dropped shoulder sleeve pattern is quite complicated and I wouldn’t suggest you try this.

Instead, if you like elements of a dropped shoulder pattern, but you don’t like the dropped shoulder part, here’s what I recommend. Rather than remove the dropped shoulder sleeve, mash the two patterns together so you can take the elements from each pattern that you want. 

This will be MUCH simpler than trying to draft a set-in sleeve from a dropped shoulder sleeve. The other way around is manageable, but going back is much more difficult.

Below is a step-by-step tutorial of how to do this with the Marden and Cartwright patterns.

How to remove a dropped shoulder from a pattern

For this tutorial I will be transferring the set-in sleeve from the Cartwright dress over to the Marden shirt.

Step 1

To begin, we need to check we have the CENTRE FRONT marked on both patterns. This will give us a point to match across both patterns. 

Due to the button placket on the Marden shirt, to mark the CENTRE FRONT we need to add to the FRONT pattern piece half the width of the button placket, as the CENTRE FRONT on a button-up shirt is in the middle of the placket where the buttons are placed.

Step 2

Transfer the neckline from the Marden shirt to the Cartwright dress. This will allow us to attach the Marden collar pieces to this altered pattern.

Place one pattern piece on top of the other, lining up the CENTRE FRONTS. Slide the pattern that’s on top up or down until the STITCH LINES at the shoulder (where it intersects with the neckline) line up. Hold in place with a pattern weight.

Step 3

Slide some pattern paper under the neckline of the pattern you are altering and stick in place. Trace the neckline onto the paper. 

In this case you will see that we have to trace part of the shoulder seam as well. This is because the Cartwright dress has a lower neckline than the Marden.

Step 4

Trace the seam line down the CENTRE FRONT. This means you will be able to attach the placket (sometimes called a button band) from the dropped shoulder pattern to the more fitted pattern.

Step 5

Transfer any other details from the dropped shoulder pattern onto the more fitted pattern. In this case we need to trace the horizontal seam from the Marden shirt onto the Cartwright dress.

Step 6

The lower panel on the Marden shirt would also need to have the width reduced so it matches the new more fitted version of the pattern. 

Line up the STITCH LINE on the LOWER PANEL with the horizontal seam line marked on the altered pattern. By lining up the side seam STITCH LINE we can just remove the width from the CENTRE FRONT area.

Step 7

Complete the pattern by repeating the process on the back and reflecting the changes onto any other pattern pieces that are impacted. 

In the case of this example, we would also need to alter the LOWER BACK PANEL and the hem facing pieces. Once those pieces are altered we can then use the collar pieces, sleeve, placket, cuff and button placket from the Marden shirt pattern.

Step 8

When the pattern is complete, be sure to make a toile to check you are happy with the fit.

If altering patterns to better suit your preferences is something you have been hoping to learn, this month’s issue of Curated by ITF might be the one for you!

Happy drafting,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• More information about our Curated by ITF subscription can be found here. Sign up during the month of July to get part two of our Copy Your Clothes Series, the Make it your own Skills Kit, delivered straight to your inbox.

• The Cartwright dress and top pattern can be found here.

• The Marden shirt pattern can be found here.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Acton dress made by @annamadeitmn

Hacked Peppermint peplum top made by @_rubysthreads_

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MORE POSTS IN THE SERIES

ISSUE 173 - OUR FAVOURITE PATTERNMAKING & GRADING RESOURCES

THE Q & A SERIES

OUR FAVOURITE PATTERNMAKING & GRADING RESOURCES

Hello Emily,

I am a fan of your pattern drafting tutorials and as an aspiring pattern cutter. I would like to know what books you recommend for pattern cutting and grading. I’m American, but I live in Madrid, Spain (my husband is Spanish) and I have been taking an industrial pattern cutting course here. I love the technical part of it, but unfortunately, I find the course really lacking in a lot of information so I have been trying to find good reference books or technical online courses to help fill in the gaps. Any recommendations would be greatly appreciated. Thanks so much for all of the information you provide on making patterns. It is so helpful and I haven’t found another website that offers such clear and useful tutorials about the technical side of pattern drafting.

All the best,
Marlena

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Hi Marlena,

I am pleased to hear you are enjoying our tutorials! And, great to hear you are doing a patternmaking course. I really think this is the best way to learn, as it gives you a foundation to work from. It makes it a lot easier to look at books or resources and know whether they are worth using.

I don't use patternmaking books that often, but the main one I refer to is the one that we were told to buy for university - Patternmaking for Fashion Design by Helen Armstrong. The book has a good foundation on many patternmaking techniques and is a great place to start. Some of the drafts seem a overly complicated for the techniques being achieved, but with a bit of knowledge under your belt, you should be able to discern that. 

I have since purchased Metric Cutting for Women's Wear by Winifred Aldrich and I find this one a bit easier to follow. It’s a small book, but it has a lot of information in it! 

Helen Armstrong’s book covers more of the basics and leaves less up to you to work out yourself, while Aldrich’s book is great if you already feel confident with basic pattern making principles like slash and spread.

I don't think the Armstrong book has anything about grading in it, but the Aldrich one has a little. I feel that in general, there is very limited information about grading available. We did it for just one patternmaking class in my whole fashion degree! If you would like to understand the basics of grading you can check out this tutorial. And we’re going into more depth in next month’s issue of Curated by ITF, with the Make It Your Own Skills Kit.

The other book I like is How Patterns Work by Assembil. It's a big book, so I haven't managed to even scratch the surface with it. It's beautifully done and the creator of that book went to the same university as me, so it makes sense to me as it's written in the same way as I was taught to draft.

Garmenta Apparel is also a great site with lots of good information if you’re interested in the professional side of patternmaking and grading. Her blog and Instagram are definitely worth a look.

I hope that helps! Best of luck with your course.

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• More information about our Curated by ITF subscription can be found here. Sign up during the month of June to get Part One of our Copy Your Clothes Series, the Copy Your Clothes Skills Kit, delivered straight to your inbox.

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For more issues of the Q & A series, you can check out the archive here.

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WHAT YOU’VE BEEN MAKING

Hacked Attwood pants made by @thatsewannabel

Collins top made by Emily, a Curated by ITF member.

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MORE POSTS IN THE SERIES