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

ISSUE 172 - EMILY'S TIPS FOR COPYING YOUR CLOTHES

THE Q & A SERIES

EMILY’S TIPS FOR COPYING YOUR CLOTHES

Hi Emily

I am really trying to improve/ learn how to cut a pattern from a much loved garment. I manage reasonably with children’s simple clothes but struggle with mine. I’d love to hear any tips you have. 

Thanks, 
Clare

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Hi Clare,

Can I just say first up - you are not the first person who has loved a garment and wanted to know how to copy it so that they could wear it forever. We’ve heard this question SO MANY TIMES in our community.

Because, if you’re someone who has the skills to make your own clothes, it’s highly likely that you’ve thought at some point… “I know how to sew. I can copy that. I mean… how hard can it be?”

And you would be right to think that you CAN copy clothes. Even without unpicking them! (Which is the approach we teach. Seam rippers, begone!)

What most makers don’t realise is they’re actually embarking on a journey that is, while related to sewing a garment, a completely unique skill set. Obviously, there is a lot of overlap between sewing a garment from a pattern and sewing a garment from a pattern you’ve drafted from a finished garment. The knowledge you have from sewing garments from patterns will most definitely help you as you starting to learn patternmaking skills, but there are some pretty important patternmaking foundations that you won’t necessarily be able to ‘figure out’ just because you’ve sewn a few garments from patterns.

Which is exactly why we took a deep dive into the whole process in our Copy Your Clothes Skills Kit.

As you probably know, it’s all about the details for In the Folds. We’re big on learning skills and having strong foundations because this is what helps you get a really beautiful finish. And that’s what gets you making clothes you REALLY love and REALLY love to wear.

WHY COPY YOUR CLOTHES?

What's great about copying clothes you already own is that you know exactly how the garment fits from the original item. When starting with a pattern, you can get a rough idea of how it's going to fit by checking the garment measurements, but it still leaves a lot up to guesswork (which is why we ALWAYS encourage you to make a toile). By using an existing garment as a base pattern, you will have a good idea of how the garment will fit your body. Once you have a pattern, you can then adjust it to fit your body better or alter the design to suit your style or preferences (more on that in the upcoming issue of Curated).

The other great thing about drafting a pattern from an existing garment is that you have a garment to refer to to check seam finishes and details. It’s a great opportunity to learn patternmaking skills without having to start from scratch!

Tips for successfully copying your clothes

Start with a simple garment

Garments can be made from woven or knit fabrics. Choose a garment that does not have design details such as darts, panel lines, tucks or gathers for your first copy. We recommend starting with a T-shirt and then working your way up to more complex patterns. Garments that do not lay flat will be more difficult to trace, so we encourage you to leave those until you have completed a few patterns using this process

And, while a t-shirt might seem like a very simple garment, please don’t be fooled!

Taking a pattern from a t-shirt will teach you a range of techniques that are foundational to patternmaking. It’s really important that you understand why they are done and learn how to do them well when taking a pattern from an existing garment. Remember, any errors that you make on a pattern will be transferred to any and all garments you make from that pattern. So take it slow and learn it well and properly!

 It’s a good place to start as you don’t have to deal with elements such as darts or gathers etc. but it will give you a chance to trace straight seams, curved seams and sleeves.

Have the right tools on hand

A needle point tracing wheel is the most important piece of equipment when copying your clothes. There are various types of tracing wheels available, but for patternmaking it is important you get one with needle points. Ones with smoother or flatter points won’t have the desired effect, and are used for different processes in sewing. A needle point tracing wheel is sharp enough to transfer markings through the garment without damaging your clothes.

If you’re intent on learning patternmaking skills and you don’t have a tracing wheel already, it is a good piece of equipment to add to your toolbox.

You will also need pattern paper and a patternmaking ruler. We suggest a curved ruler too, such as a French curve or Patternmaster.

Consider the condition of the garment you are copying

You can copy a garment in any condition. Don’t worry if it’s a newer garment, or something you can still get a lot of wear out of. For the process we use, we won’t be unpicking the garments to create a pattern so you’ll still be able to wear it afterwards. Bonus!

The better the condition, the easier the garment will be to copy. When clothes begin deteriorating, they often stretch and warp out of shape, so this may make it difficult to trace an accurate pattern. If it’s something you love though, it’s well worth giving it a go, even if it is in poor condition. As you have pattern alteration skills (and if you don’t you should definitely join Curated by ITF!), you will likely be able to tweak any issues that come about due to stretched or warped fabric.

If your garment is in poor condition, we recommend choosing something in better condition for your first attempt to get used to the process and work your way up to the garment in poorer condition.

Prepare the garment to make it as easy as possible to trace

This means:

• Launder the garment. It is important that the garment is in good shape so that the trace is as accurate as possible.

• Iron the garment. Use steam to ensure any areas that have stretched are as flat as possible.

• Get to know the garment. Look over the garment and ask yourself some questions about how it's made:

• Is the garment symmetrical?

• How is it constructed? (i.e. what seam finishes are used?)

• How are openings finished? For example, how is the hemline finished, how are the necklines / armholes finished?

• Does the garment have any special details I need to consider?
  

The basics of copying your clothes

Start by marking the CENTRE FRONT / CENTRE BACK

Find the CENTRE FRONT by folding the T-shirt in half with the front facing out. Align the shoulder seams and the side seams. Lay the piece flat and smooth out any wrinkles.

The fold is the CENTRE FRONT. Place a vertical pin in the CENTRE FRONT at the neckline and the hem. If the back neckline extends above the front neckline, which is common for T-shirts, place the pin through the back neckline.

Take a length of masking tape and place it along the fold from the top of the garment to the bottom, with one edge right up against the fold. Use multiple pieces if required (it doesn’t have to be one length). 

Leave the pins in place so it is clear which side of the tape is the CENTRE FRONT.

With a tracing wheel, carefully trace along the seam lines

Methodically work your way around the garment so that you don't miss a seam.

When using the tracing wheel you need to apply enough pressure for the wheel to leave markings on the paper underneath the garment. Roll the tracing wheel back and forth in the same spot a couple of times before moving along the seam. 

If you make a mistake, go over the seam again, pressing harder with the tracing wheel. This means when you lift the garment it will be clear which markings are the correct markings to follow.

You can use a ruler for straight seams and trace along them with the tracing wheel or just use the tracing wheel and straighten out the line later when you are tracing the markings.

For seams that are on the the outer edge of the garment (e.g., shoulder seams and side seams in the case of a T-shirt) you can choose whether you would like to trace the seam shape with the tracing wheel or a pencil.

Use a ruler on straight seams to help you get a straight line.

Alternatively, mark each end of the straight line with a pencil and then join the points when you remove the garment.

To mark a curved line with a pencil, use a broken line to transfer the shape onto the paper.

Check and true your pattern pieces

As you trace your pieces, check them against the pieces they will attach to to check that the seams are the same length and there is smooth flow through from front to back. This will ensure the pieces fit together accurately and you won’t get any surprises at the sewing machine.

Make a toile

Even though you’ve made a pattern from a garment you already own, if you’re not sure about anything, a toile is ALWAYS a good idea and a great way to check before cutting into your ‘good’ fabric.

Happy skill-building,

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 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

Peppermint Wrap top made by @marfasmakes

Darlow pants made by @kristinkoury

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MORE POSTS IN THE SERIES

ISSUE 171 - HOW TO LENGTHEN AN A-LINE PATTERN

THE Q & A SERIES

HOW TO LENGTHEN AN A-LINE PATTERN

Hi there,

I'm writing regarding the lengthening of the Rushcutter dress. I'd like to make it at least 10" longer than it is, however I see that there is a flare to all of the panels in the dress, and I wanted your advice regarding this alternation. I know that the side panel is likely to be a bit heavy due to the pocket added on top. I see the lengthening line on the panel pieces, so that's where I would add the extra length. Best advice on this please?

Thanks,

Dawn

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Hi Dawn,

Great to hear you’re planning to make the Rushcutter dress. It is the very first pattern we released, so it holds a special place in our hearts!

Over the years, we’ve seen makers have a LOT of fun with this pattern. If you’d like to find some inspiration you should definitely check out the Instagram hashtag #rushcutterdress. 

We love it when makers want to make changes to our patterns, and whenever we can we are happy to help! Adding length to the Rushcutter dress has been done before (check out this one by Oak Fabrics!), but you’re right, the pockets are definitely a consideration.

Here’s what you need to do.

How to lengthen the Rushcutter dress

To lengthen the pattern, definitely use the LENGTHEN / SHORTEN lines that are on the pattern. Use the CENTRE BACK and CENTRE FRONT lines to ensure you’re lining the lower section up correctly and the grainline on the SIDE PANEL.

Normally when you add or remove length from a pattern using the LENGTHEN / SHORTEN line, you draw a line of best fit over the alteration. In the case of the Ruschutter, which has straight seam lines, this means ruling a straight line over the alteration. If the pattern you’re adding length to has curved seams then you need to mark in the new seam line as a curve.

As you can see, to draw a straight line to the lower sections we need to cut a little bit of the width off (I’ve made these yellow in the illustration).

In a pattern with quite a lot of ease in this area, like the Rushcutter dress, this may not be a problem, but it will depend on your measurements in relation to the finished garment measurements. In this case we will be losing about 10cm (4in) ease in this area if we go ahead with this pattern alteration, so be sure to check your measurements before you make the cut!

If you would prefer to not lose this width, the alternative is to follow the lines on the upper section when adding length (a) and then joining the new line to the original hem line (b). As you can see, this adds some width to the hem circumference. 

If you’re making View A (with the patch pocket), once you’ve added length, you then need to decide what to do with the pocket. The way the pocket is constructed on the Rushcutter is that it becomes part of the side panel. 

By adding length to this panel, the pocket will end up sitting very low and you wouldn’t be able to reach it. Alternatively, you can lengthen the pocket in the same way we lengthened the pattern which will keep the design integrity intact, but then you have a very long pocket. You’d be able to put things in it, but may not be able to reach in to get it back out!

You have two options here. The first is to keep the pocket in its original size and keep it in its original position. This means that you will need to fold up the bottom edge of the pocket and attach it to the SIDE PANEL. This approach means you will see a line of stitching and the bottom of the pocket.

The other option is to lengthen the pocket so it goes all the way to the hem, and then make a lining to attach to the inside of the pocket. This way from the outside it will look like the pocket goes all the way to the hem, but on the inside, you will have a shorter pocket bag to catch things so they don’t go all the way to the hem too.

Which option you choose is really a matter of design preference. It’s up to you!

To do this:

A Lengthen the pocket so the top of the pocket sits in the original position.

B Make the pocket lining piece by removing the hem allowance from the top of the original pocket piece.

C When constructing the pocket, slide the pocket lining under the hem of the new pocket so that when you stitch the hem you catch the pocket lining.

D Attach the pocket to the SIDE PANEL, sewing the bottom of the pocket lining in place first, then attaching the edges of the pocket lining and pocket to the SIDE PANEL. You can then construct the dress as normal.

Hope this helps your Rushcutter sewing adventure, Dawn. And if you have any other questions about the Rushcutter sewing process, we recommend you check out our Rushcutter sew-along here.

Make sure you share your finished make with us too - it’s one of our favourite parts!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Rushcutter dress pattern can be found here.

• The Rushcutter dress sew-along 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 tote made by @the.tiny.tailor

Hove jacket made by @sewquietly

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MORE POSTS IN THE SERIES

ISSUE 170 - TIPS FOR SEWING THE DARLOW PANTS WELT POCKETS

THE Q & A SERIES

TIPS FOR SEWING THE DARLOW PANTS WELT POCKETS

Hello!

The Darlow pants are quite interesting. I assembled my digital pattern and decided to make a full blown muslin with all of the details. I am on the welt pocket portion for View B, and right around step 22/23 I start to lose it. I saw that you had a sew along, but didn't see how to access it.  I went on the internet and watched a welt pocket video, but I think I am missing something.  Do you have a video you would suggest watching?  Right now I have the welt that I ‘winged it’ with, and the other is waiting to be done properly.  The instructions seem quite good, but I think you are trying to explain something a little more detailed.

In advance thank you for any help you can provide.

Regards,
Lauren
United States

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Hi Lauren,

We’re celebrating ‘Make it With Us in May’ in our Curated by ITF community this month, which means our members get to choose any pattern from our current catalogue as their monthly project. 

It’s a good opportunity to work on specific techniques they’ve been wanting to up-skill in, or dive into a project they’ve been thinking about for a while. I especially love seeing members choose some of our older patterns (such as the Darlow pants) because it shows they are still relevant many years on from when they were first released, which is a goal of mine as a designer.

GENERAL TIPS FOR SEWING WELT POCKETS

Getting to your question about the welt pockets in the Darlow pants pattern…

I will be the first to say that welt pockets are a bit tricky. There are many different ways to do them and they are usually slightly different depending on where they are placed on the garment. There are also countless ways to sew a welt pocket which is why I am happy to say I have done the work of trying out all the methods on your behalf to come up with a way that I think gives the cleanest finish. 

I always encourage makers to try techniques like this out on scraps of fabric first. It can be time consuming, but it does give you a chance to practise and also have something to refer to as you’re sewing the real thing. Also, the other reason I give for doing a practice run on welt pockets is that because you have to cut into the fabric of a pattern piece it can be difficult to fix it if you make a mistake. 

The other thing I’d advise is doing one pocket at a time. When sewing a symmetrical garment it is usually faster to sew both things at the same time (so you prepare both pocket bags, cut both welts etc.). But when a skill is new, you’re normally better off doing the process in full on one side and then repeating on the other side. It’s likely you will learn a few things on the first one that you can then apply to the second one.

TIPS FOR SEWING DARLOW PANTS WELT POCKETS

The part of the instructions you mention you’re struggling with is at the point where you are creating the welt. The welt is the rectangle of fabric that is visible on the pocket opening. This step in the process of welt pocket sewing is a common place for sewists to become a little bewildered. The reason for this is that it might not be clear what you are actually doing with this step, so let’s cover that first. 

If you look at step 21 (left image) you will see that the welt is formed by folding piece 18 at the notches. (I have made the piece blue in the illustration.) 

On the right-hand side I have placed the illustration for step 22 where you can see that the welt has been formed. But at this stage nothing is holding the welt in place.

In step 23 the seam line of the bottom of the welt is pinned through the welt so that it has something to attach to. The welt is no longer just a fold in the fabric but is stitched.

In the illustration you can see what is being secured. The stitching won’t show through the welt as we are pinning and stitching through the seam allowance on the inside, but this is the seam that will hold the bottom of the welt in place.

If you’re still not feeling confident in the process, this video will help.

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 May to choose a project from our entire pattern and resource catalogue.

• The Darlow pants 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

Peppermint Wrap skirt made by @sosewemma

Peppermint Button-up dress made by @rhi___made

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MORE POSTS IN THE SERIES

ISSUE 169 - BALANCE LINES: WHAT THEY ARE AND HOW TO USE THEM

THE Q & A SERIES

balances lines:
what they are and how to use them

Hi Emily & Team,

I would love it if you could talk about balance lines on a garment. This is something I've learned about recently and seems critical for having a garment hang nicely, but I've struggled to find good resources explaining the concept and how to use it when assessing fit.

I specifically have a common fitting issue where the bust is snug, the neckline pulls up and chokes me, the shoulder sleeve is sitting back, the side seams swing forward, the sleeve twists, and the back armhole looks a bit like hungry bum but into the armpit. Its like the whole garment is tilted diagonally on me from the side.

If you have any advice on this fitting mystery, I'd appreciate it!

Best,
Claire
Seattle, USA

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Hi Claire,

For sewists who haven’t yet delved into making fitting adjustments to the garments they sew, balance lines will be a new concept, so thanks for asking such a great question!

WHAT ARE BALANCE LINES

Balance lines in pattern making refer to the horizontal and vertical lines that can be marked on a pattern or toile to ensure that the garment hangs properly when worn. They help maintain the balance of the garment, ensuring that it sits correctly on the body without twisting or pulling in any direction.

Balance lines can also give you a good indication if a garment is fitting correctly and can be used as reference points when making pattern adjustments to a pattern.

• Horizontal balance lines are often drawn across the pattern pieces at key points: the bust, waist, and hip levels. 

• Vertical balance lines are usually the centre front and centre back of the garment. The side seam can also be used as a balance line.
  

HOW TO USE BALANCE LINES WHEN SEWING

Step 1 - Select your size or sizes

Before getting started, you’ll need to work out what size pattern to print. Take your measurements using a tape measure. We suggest doing this in front of a full length mirror. It can be helpful to take note of each measurement in a table like the one below where you can also take note of the size your measurement in each area corresponds to.

If your measurements are between sizes, look to the finished garment measurements to decide if you should select the smaller or larger size. This allows you to check the amount of ease in the pattern. For more information on how to use finished garment measurements to select your size see this post.

We suggest printing patterns in the size/s you need in relation to your HIGH BUST, WAIST and HIP measurements only. This disregards your bust measurement as it’s better to do a Full Bust Adjustment or Small Bust Adjustment (SBA) if required, rather than selecting a size based on your bust measurement.

Step 2 - Compare the lines on the pattern to your body measurements

Measure the vertical differences between the balance lines on the pattern so you can compare it to your body measurements.You may find it helpful to use a table like the one below to keep track.

Take some thin elastic and wrap a piece around your BUST horizontally. Hold it in place by tying a knot or pinning in place. Make it tight enough that it will stay put, but not so tight that it flattens your bust or stretches the elastic in any way. It is good to do this in front of the mirror so that you can check that the elastic remains parallel to the floor the whole way around. Repeat for your WAIST and HIP.

Take a tape measure and measure the vertical distance between your BUST LINE and your WAIST LINE. Record in the table above (4). Take the vertical measurement between your WAIST LINE and HIP LINE and record in the table (5). Measure down from your SHOULDER to your BUST APEX POINT (6).

Compare your measurements with the pattern measurements to assess whether or not you need to add or remove length in any of these places. Record any differences in the third column. 

It is a good idea to add or remove length from the pattern in relation to your findings before making a toile.

Important! Some adjustments need to be made before making a toile

Certain adjustments need to be made to the pattern before making a toile as they will allow for a fitting.

For example, it’s a good idea to make a Full Bust Adjustment or Small Bust Adjustment before making a toile as this will allow the bust area to fit. If you need an FBA and don’t make this adjustment, you may not be able to get the garment on and you won’t be able to conduct your fitting.

Step 3 - Mark balance lines on the toile

At this point you can make a toile to check the fit of the pattern so far.

The alterations made to the pattern in the previous steps should give you a great starting point. The toile will help you check that you're on the right track and home in on some details.

HOW TO USE BALANCE LINES TO CHECK THE FIT

Once you’ve made a toile, set yourself up in front of the mirror to do a fitting. With regards to balance lines specifically, you need to check that the side seams appear straight and are perpendicular to the floor. If the side seam is pulling towards the front or the back, this normally means that you need more width in the area where it's pulling.

Also check that the bust line is sitting on your bust, the waist line is on your waist and the hip line is on your hip. If they are not sitting in the correct position it may indicate you need to add or remove length in that particular area.

I hope this gives you a good starting off point on your journey to learning how to fit clothes to your own unique measurements. And, if you feel like this post has peaked your interest in learning this fantastic skill you should definitely sign up to Curated by ITF because this is exactly the kind of fun stuff we teach!

Happy fitting,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• Using finished garment measurements to select your size - tutorial here.

• More information about our monthly sewing subscription, Curated by ITF, 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

Peppermint Everyday dress made by @andramakes

Attwood pants made by @hollyhorseradish

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MORE POSTS IN THE SERIES

ISSUE 168 - REMOVING PANEL LINES FROM A PATTERN

THE Q & A SERIES

HOW TO REMOVE PANEL LINES FROM A PATTERN

On the Acton dress the centre front bodice is not cut on the fold, although the seam is straight and so it could be. I'm wondering if there is any structural purpose to having a seam down the centre front, or whether I could cut on the fold so I don't have to pattern match my tricky fabric.

A

Sydney, Australia

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Hi there!

I’ll answer your question specifically, as well as give you some pointers about removing seams in general for anyone else reading along that may have this question in relation to another pattern.

In general, if a seam line is straight, it’s normally fine to remove it.

For example, in our Attwood pants we used a lot of panel lines to create a design feature. The design intention of the different panels allows makers to play with the pattern and use fabric in different ways (like colour blocking or directional prints) to create different looks. When made in a solid colour, the panel lines add a point of difference so that the pants are more than ‘just’ a plain pair of pants. But, the panel lines aren’t a necessary part of the Attwood pants’ ‘constructability’ and can be removed if you want a basic pair of pants with the same fit as the Attwoods.

If you look at the centre seam lines on the Atwood pants you can see they are straight.

HOW TO REMOVE PANEL LINES FROM THE ATTWOOD PANTS PATTERN

Removing the panel lines from the Attwood pants pattern is very straightforward.

Line up the corresponding panel pieces with STITCH LINE (grey line on our patterns) on STITCH LINE. Tape or glue in place. 

Done!

In the case of the Attwood pants, you could even do this to remove the side seams!

In most cases there will be shaping in the side seam, but due to the wide leg and elastic waist of the Attwoods pants pattern, the side seam is almost straight. 

Shown above is the CENTRE FRONT BODICE panel and the SIDE FRONT BODICE panel of the Acton dress pattern.

Shaping is created for the bust through a princess panel. (If you’d like to learn more about princess panels, read this blog post.)

As you can see, although the seam lines on the CENTRE FRONT BODICE (piece 1) are straight, the curve on the SIDE FRONT BODICE (piece 2) is what creates the shaping. We can’t remove this panel line as a result.

However, the CENTRE FRONT SEAM LINE on piece 1 is straight, so it can be removed.

When determining if a seam can be removed, the other things to check for are design details or markings. In this case you can see there is a drill hole on the CENTRE FRONT STITCH LINE.

What is a drill hole?

Drill holes are small holes marked on a pattern. They are used to indicate a dart point or other design feature, such as the location of patch pockets, belt loops or pivot point - any feature that is located in an area where you are unable to notch a seam. They are marked on fabric with chalk or a tailor's tack. You can read more about drill holes here.

In this case the drill hole indicates where you need to stop stitching when joining the CENTRE FRONT BODICE pieces together.

An opening is required to join the bodice to the skirt due to the V shape of this seam line.

The opening in the seam allows flexibility so that both sides of the bodice can be pinned accurately to the skirt. So you can see that this drill hole marking is important to the pattern and needs to be included in any design changes made.

HOW TO REMOVE PANEL LINES FROM THE ACTON DRESS PATTERN

Step 1

To remove the panel line from the CENTRE FRONT BODICE, remove the seam allowance from the centre front seam by cutting along the STITCH LINE. Remember that you still need the drill hole marking.

Alter the cutting instructions so this piece is cut on the fold rather than as a pair.

Step 2

When you cut the piece, mark the drill hole and cut along the fold from the bottom of the piece to the drill hole to create the required opening in the centre front.

And that’s it!

Happy Acton and Attwood sewing!

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Attwood pants pattern can be found here.

• The Acton dress pattern can be found here.

• How to create princess panels - blog post here.

• Adding pattern markings to your patterns - 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

Peppermint Wrap skirt made by @threadbitchbrighton

Rushcutter dress made by @hodgepodgefarm

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MORE POSTS IN THE SERIES

ISSUE 167 - MEMBER QUESTIONS WE'VE ANSWERED ABOUT ORMOND

THE Q & A SERIES

Ormond coat questions answered!

With each new Curated by ITF project we release we get lots of fantastic questions from our members in our private online community. From new sewists to the more advanced, there’s ALWAYS something to learn. 

And of course, we love to answer them! Our daily to-do list includes checking in with our community to get to know them, see what they’ve been chatting about and answering their questions in ways that make their sewing experience easier and more enjoyable.

Here’s a few we’ve answered recently which you might find helpful too.

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INTERFACING ON ORMOND VIEW A BUT NOT VIEW B?

Question from Curated member, Kim:

I was flipping through the instructions and note that on View A the coat hem and sleeve hems are interfaced but the View B ones are not. I’m assuming it has something to do with the length, but curious as to why the hems (especially the sleeves) are interfaced?

Emily’s answer:

Good question Kim! I went back and forth about this decision and opted for only interfacing on View A because of the length and the more traditional style of View A. 

Interfacing adds a bit of extra weight to the hems, so this helps it sit nicely and helps with the folds. For View B, because it's a more casual style I decided to leave off the interfacing. You could add interfacing to View B if you wanted to.

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BIAS BINDING WIDTH FOR THICK FABRICS?

Question from Curated member, Michaela: 

Emily, you mentioned about not buying bias binding yet if using a thick fabric, to ensure it’s wide enough. I’m using a vintage pure wool blanket for View A. What would be the best way to work out what width bias binding I need?

Emily’s answer:

What I'd do is stack three layers of your fabric together and sew them together with a 1.2 or 1.5cm seam allowance. 

Start with the binding width you think would work best and test it out by sewing it to one edge. If it's not wide enough, trim it off and sew the seam again and then try with a wider binding. Sara (our pattern tester who made the wool version) said that the bulk through the vent is the main place she needed the extra width in the binding. She made her binding 4cm so that's the width I would try at first.

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ORMOND COATS FOR MEN?

Question from Curated member, Lucy: 

How would it be best to adjust the Ormond coat pattern for men? Just from chest down straighten it?

Emily’s answer: 

This is a good question! To be honest, I'm not sure. I'm a womenswear patternmaker so only have very limited experience with mens patterns. For the G-P range you would need to alter the pattern due to the bust dart, but for the A-J range I think it would be worth giving it a go. 

My approach would be:

• Choose size based on chest measurement (in relation to bust)

• Definitely make a toile to check the fit. The areas I'd be wanting to have a good look at would be across the back and shoulders and through the arms / bicep

• Due to it being a raglan sleeve it is easier to make adjustments through the shoulder than a set-in sleeve, so I'd be sewing the shoulder seam with a basting stitch so it's easy to unpick if you need to add in some of the seam allowance.

• I think the pattern would be easy enough to alter for menswear after you've looked at the toile to check everything.

• Check the length of sleeves, length of body of jacket and pocket position.

Comment from Curated member, Jo:

I just noticed that Friday Pattern Company have a blog post up about adjusting a cis male jacket pattern for cis female body shape - the principles in reverse might help you. Here it is.

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TOPSTITCHING ADVICE?

Question from Curated member, Sarah:

I'm interested to try contrast topstitching. I have a dark sea green cotton twill and am considering a cyclamen pink thread. Do I use the one thread for everything or swap it in when there is an obvious top stitch?

Leanne’s answer:

That sounds like such an awesome combo! I would only switch in the topstitching thread in areas where you want topstitching to be visible. 

For other purposes like stay stitching or anywhere you don't want visible top stitching (in my case that meant the facing stitch line and hems) then just use your regular matching thread. 

FYI - I used 2 spools of top stitching thread for my Ormond Coat but I played thread chicken at the end, it was really down to the wire. Having three spools on hand would have helped ease the stress levels! (But I also did have to unpick and redo a couple of topstitched areas, so you might find you can get away with two spools, depending on which size you are making. (I made an E) Hope all this helps!  

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And finally—a tip from Curated member, Lynda!

Today I finished a lined wool jacket and thought I'd share a tip I wish I'd known. The fabric is mid blue and I used the white interfacing I had, not knowing it would show when I cut open the large thick buttonholes which have two layers of wool + interfacing (boo!).  A fusspot sewist thing for sure that only I will see, but next time I'll definitely consider the colour!

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As well as giving you a little insight into the kind of place our private online community is (read: fun, happy, super inclusive and ALL about sewing!), I hope these questions have helped you on your sewing journey. And if you’d like to have help just like this at your fingertips, sign up to our Curated by ITF sewing subscription and get the Ormond coat pattern as well!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• Our private online community is an In the Folds sewing resource available exclusively to members of our Curated by ITF subscription. Each month we share additional resources that relate to the current project, as well as answer questions our members might have about anything sewing related. Past issues are now available for purchase by current subscribers.

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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 @hollyhenmakes

Rushcutter dress made by @yellowdoormakes

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MORE POSTS IN THE SERIES

ISSUE 166 - THE BASICS OF GRADING PATTERNS: PART TWO

THE Q & A SERIES

THE BASICS OF GRADING PATTERNS: SHIFT METHOD

Hi there! 

I recently got some vintage pattern but unfortunately they’re not all my size:(. I think that means it’s time for me to learn how to resize patterns, if you could please help me, even if it’s just some tricks or things to look out for, I’d be so very appreciative!

Sadiya Coovadia

Toronto, Canada

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Following on from part one of our answer (which you can read here), this week I’m going to show you how to grade patterns using the Shift method.

If you’re new to pattern grading, I’d suggest giving the Slash and Spread method a go first, as it will familiarise you with the concepts involved. This is an important part of learning how to make pattern alterations.

WHY USE THE SHIFT METHOD OF PATTERN GRADING?

The Shift method of pattern grading is a good option if you don’t want to cut up your pattern pieces, and is the method professional patternmakers use when grading manually.

how to grade patterns using the shift method

For this method, you will need the stitch line marked on the pattern. (Note: All In the Folds patterns come with the stitch line marked, however not all patterns do. Read more about this here.) 

You can either have the seam allowance on the pattern or not. If you do have seam allowance on the pattern you will need a tracing wheel to transfer the pattern lines onto the pattern paper.

Step 1

To get started, prepare your pattern in the same way you did in steps 1 to 3 of the Slash and Spread method. You need the lines marked on the pattern piece.

Step 2

On a piece of pattern paper mark a vertical line and label it CENTRE FRONT. Mark a horizontal line, perpendicular to the first, towards the top of the line. These lines will help you keep things accurate as you move the pattern piece.

Step 3

Line up the CENTRE FRONT of the pattern piece with the CENTRE FRONT line on the paper. Line up the upper grading line on the pattern with the horizontal line on the pattern paper. Hold in place with pattern weights.

Step 4

Starting at the CENTRE FRONT neckline, trace the neckline up to the vertical grading line onto the paper using a tracing wheel. If your pattern doesn’t have seam allowance, just trace the edge of the pattern.

Step 5

Using a ruler, extend the grading line onto the paper at the top and bottom of the pattern piece.

Step 6

Mark a second line, ¼ of the grade amount from the first (See Part One for how to work this out).

Step 7

Carefully slide the pattern piece over so that the grading line on the pattern piece lines up with the second line. Use the horizontal line to ensure the piece stays level. Hold in place with a pattern weight.

Step 8

Continue tracing the pattern stitch line until you reach the next grading line.

Step 9

Again, extend the grading line onto the paper and draw a second line to the left of the first, ¼ of the grade amount.

Step 10

Slide the pattern piece over and continue tracing the piece up to the next grading line.

Step 11

For the vertical lines, do the same thing. Mark a second line below the first and slide the pattern piece down to line up with the new line.

Step 12

Continue the process until you get back to the CENTRE FRONT. Remove the pattern piece.

Step 13

Finalise the pattern piece by drawing nice smooth lines over the traced lines. Add seam allowance and pattern markings. Repeat for the remainder of the pattern.

Finally, check and true the pattern.

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• The Basics of grading patterns: Part One - read the tutorial here.

• Checking & truing patterns - read the 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

Acton dress made by @janice.makes

Peppermint Wide leg pants made by @anniehmakes

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MORE POSTS IN THE SERIES

ISSUE 165 - THE BASICS OF GRADING PATTERNS: PART ONE

THE Q & A SERIES

THE BASICS OF GRADING PATTERNS

Hi there! 

I recently got some vintage pattern but unfortunately they’re not all my size:(. I think that means it’s time for me to learn how to resize patterns, if you could please help me, even if it’s just some tricks or things to look out for, I’d be so very appreciative!

Sadiya Coovadia

Toronto, Canada

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Hi Sadiya,

What a great opportunity to begin building on your sewing skills! The thing about learning skills and techniques like these is that it opens up a whole new world of sewing, and we’re happy to help a fellow maker on their sewing journey.

So, congratulations, and here’s what you need to know!

To start with, you’re going to need to either increase or decrease the vintage patterns to make them fit your size. To do this you need to understand grading.

WHAT IS GRADING?

The term ‘grading’ is used in two ways in the sewing world. 

Firstly, grading can refer to when you alter the lines of the pattern to go between sizes. For example, you may have a size D bust, a size E waist and a size F hip. Obviously, you can’t make a straight size E because the bust will be too large and the hip will be too small. So you will grade between sizes to get a fit that suits your specific measurements. This is a very common pattern alteration when making your own clothes and a good one to learn how to do.

The other use of the word grading is how it’s used in the fashion industry.  Pattern grading is the process of increasing or decreasing the size of a clothing pattern to create various sizes, while maintaining the proportions and overall design of the original garment. 

Grading involves using a set of rules and measurements to scale the pattern up or down, typically based on standard size charts or specific customer measurements. This ensures that each size of the garment fits correctly and maintains the intended style and design details.

two methods of grading manually

There are two main ways to grade a pattern manually: the slash and spread method and the shift method. In this week’s tutorial I will show you how to grade a pattern using slash and spread, and next week I will show you the shift method.

Which grading method is better?

Both methods will give you the same result, but if you’re just getting started, the method I’ll show you in this tutorial - slash and spread - is easier. It’s also a great starting point for getting your head around the concept of grading, which will in turn be helpful if you decide you prefer to use the shift method. 

The disadvantage of the slash and spread method is that you need to cut through your pattern, so I suggest tracing a copy of the original pattern before you get started.

Tools for grading

You need a transparent grading ruler for this tutorial. You can make it work with a regular ruler, but a grading ruler will speed up the process and make it more accurate.

You also need some pattern paper, glue or tape and a pacer pencil.

HOW TO RESIZE PATTERNS USING THE SLASH AND SPREAD METHOD

The first thing you need to do when grading a pattern is work out how much width needs to be added or removed. 

Start by looking at the size chart for the pattern, and comparing it to your actual measurements. Remember, patterns for woven garments have a certain amount of ease built into them (the space between your body and the garment) so when grading a pattern you want to have the same amount of ease in the pattern as when it was designed. The finished garment measurements can help with that. 

Ease = finished garment measurements - body measurements

For our example, we will say that you need to add 10cm (4in) to your pattern in the bust, waist and hip.

If you think about a bodice pattern, normally you have a front and back piece that are cut on the fold to create the full garment. So you have a left front, left right, left back and right back. This means that when grading a pattern, you need to distribute the alteration between the four parts of the pattern.

To increase the pattern by 10cm, we divide this by 4 (the four parts of the pattern), which means each part of the pattern will increase by 2.5cm.

You then need to know what ¼ of this amount is and what ½ of this amount is. I find it helpful to jot these numbers down at the beginning of the process so they’re right in front of me.

In this case, ¼= 6.25mm (I’ll round to 6.2mm)
½= 1.25cm (I’ll round to 1.3cm)

Distribute the grade through the pattern

It’s helpful to have a diagram of where the alteration will be made in front of you as specific parts of a pattern need to be altered, and this will be the same across most patterns. This diagram from Threads is a helpful reference.

Mark the lines on the pattern

Step 1
Mark in the horizontal slash lines on the pattern. We’re working on a top pattern, so the horizontal lines go through the armhole and the waist. These lines need to be perpendicular to CENTRE FRONT.

Step 2

Mark in the vertical slash lines. They go through the neckline (close to the centre front), through the shoulder, and through the armhole near the side seam. These lines should be parallel to the CENTRE FRONT.

Step 3

Take note of how the grade will be distributed through the piece. 

For the vertical lines, ¼ goes through the line closest to CENTRE FRONT, another ¼ through the shoulder area, and ½ through the armhole area. If you add these fractions together you get 1, which means the whole grade will be distributed through the piece.

For the horizontal lines, we will distribute ¼ through each line.

Step 4

Cut through the slash lines. Being careful to not mix up the pieces.

Step 5

Take a piece of pattern paper that is larger than your pattern piece (if grading the pattern up) and mark in the CENTRE FRONT down one side.

Step 6

Start with the CENTRE FRONT next section of the pattern. Line up the CENTRE FRONT edge with the CENTRE FRONT marked on the page and glue or tape in place.

In the illustrations I have changed the section of the pattern to orange when it is in position.

Step 7

Draw a line down the side of the piece that is taped in place, parallel to the CENTRE FRONT. Draw a line across the bottom of the piece, perpendicular to CENTRE FRONT.

Step 8

Referring to your diagram in Step 3, you will see that ¼ of the grade (i.e. 6.2mm) needs to be added to this section.

Draw a line 6.2mm from the vertical line, making sure it’s parallel to the first line.

Step 9

Slide the next piece of the pattern over and line up the corner of the piece with the corner created by the lines. Tape or glue in place.

Step 10

Repeat the process on the other side of the piece, again adding ¼ of the grade. Slide the pattern piece over and tape or glue in place.

Step 11

At this stage you have the top section of the pattern in position, so you now need to move to the next row of pieces.

Before we get started, we need to add ¼ of the grade to the piece vertically. Use your ruler to mark this in below the pieces that are stuck in place.

Step 12

Place the next three pieces in position using the guidelines. Stop when you get to the armhole, as we need to add another guideline there.

Step 13

Draw a line down the side of the last piece that is taped in place, parallel to the CENTRE FRONT.

Mark in another guideline, parallel to the CENTRE FRONT, this time ½ of the grade (i.e. 1.3cm). Slide the next part of the pattern over and tape or glue in place.

Step 14

Rule a line across the bottom of the pieces and another ¼ of the grade down from that. Position the remaining pattern pieces and tape or glue in place.

FINALISE THE PATTERN

Redraw smooth stitch lines over the alteration. Add seam allowance back onto the pattern.

Repeat the process for the back pattern (with the guidelines in the same positions as on front) and sleeve (if it has one).

Making the pattern smaller

The same process can be used for making a pattern smaller. Rather than slashing and spreading to add width, you need to overlap the sections of the pattern to make it smaller.

Finally, check and true the pattern.

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• Checking & truing patterns - read the 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

Elwood dress made by @maker.baker.girl

Peppermint Wide leg pants made by @hasbeens.and.handmade

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MORE POSTS IN THE SERIES

ISSUE 164 - HOW TO CUT FABRIC STRAIGHT

THE Q & A SERIES

HOW TO CUT FABRIC STRAIGHT WHEN SEWING

Dear Emily,

You write beautiful tutorials and I save them all in the hopes that one day they will be useful.  Today I'm going to try the bias binding neckline one.  

The reason I'm writing is because I can't cut a straight line on fabric.  It looks straight, but ends up on an angle. I'd love a tutorial.  I have lovely, lovely scissors and a wheel thing.  

I remember as a kid making a jumpsuit and a long dress and now I can't even make a decent rectangular bag!  I made one using shark material for my grandson's bday gift.  I figure that if he sees it doesn't have to be perfect it will set him free from sewing worry.  

Today I'm going to sew a cushion with my granddaughter.   So we're still sewing, I just really would love some help with cutting fabric!  Pretty basic stuff!

Be well and thank you for your wonderful site. 

April in Snowy Ottawa, Canada

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Hi April,

Thanks so much for this question, and I can confirm that you are most definitely not the only person to experience this problem! It is quite a skill to cut fabric straight (at the best of times - I’ll explain what I mean by this!) so here are my thoughts on how to cut fabric straight.

POSSIBLE CAUSES FOR NOT CUTTING FABRIC STRAIGHT

My first question to you is, are you sure it’s a ‘you’ problem? You might be relieved to hear that sometimes it’s not you causing the wonkiness. Rather, the problem could be that the fabric is off grain. 

What this means is that the fabric is warped or stretched during the manufacturing process. With printed fabrics (like your shark print) this can mean that even though the print looks straight, it’s not actually aligned with the grainline. This makes it impossible for you to cut your fabric straight - that is, in line with a pattern’s grainline. 

Similarly, the grainline might be straight on the fabric, but it wasn’t printed straight, again meaning that when you cut a pattern according to the grainline it will look wonky.

Finally, it may not have been cut off the bolt straight, so if you’re using the cut line as a reference point, you may again end of up with a wonky piece.

TIPS FOR CUTTING FABRIC IN A STRAIGHT LINE

Square up your fabric

My first tip is to make sure the whole piece of fabric you have purchased is square before you begin cutting into it. Here’s how to do this. As close as possible to one end of your who piece of fabric (ie. no more than 2cm), snip into the edge of the fabric at a 90 degree angle to the selvedge. It’s ok to eyeball this as it should only be a very small cut (around 1cm). Take the edges of the fabric in your hands on each side of the snip and tear it from one selvedge to the other. This should cause the fabric to tear along a threadline and the result should be a straight line. You can read more in this post on how to find the straight grain on fabric.

Once you’ve checked that the grainline is straight on the fabric, give the fabric a good press. Below are some points to keep in mind when doing this.

The difference between ironing and pressing

Ironing involves moving the iron back and forth over the fabric to remove wrinkles. Pressing, on the other hand, is a technique where the iron is placed onto the fabric in a stationary position for a short period of time. Pressing is more about applying heat , pressure and moisture (through steam) to specific areas, rather than gliding the iron over the entire fabric. 

In the case of preparing the fabric to be cut, be careful to gently glide the iron over fabric, rather than putting pressure on the fabric as this may stretch the fabric and cause it to go off grain. It’s a good idea to give the selvedges a good press, so you can line them up easily with the edge of your cutting table.

Lay the fabric out flat

Consider if you will be cutting flat, or cutting on the fold. Normally the pattern you are using will specify this. It will also depend on your fabric. For thick fabrics or when lining up prints, cutting flat will make for more accurate cutting. Cutting on the fold is normally the most efficient way to cut as it will speed up the process. Having the fabric on the fold and cutting two layers at once can also add stability.

When laying the fabric on your cutting surface, use a long straight line as your reference point. If you cut on a table, this could be the edge of the table, or if you cut on the floor you might like to stick a line of masking tape down which you can easily remove afterwards.

Line up the selvedge with the straight line (eg. the edge of the table) and, if you can, align the cut edge of the fabric with the corner of the table. This will confirm that the two edges are straight. 

Gently move the piece of fabric into place so that it is laying flat. Don’t stretch the fabric at all. Once the selvedge is in position, use your finger tips to remove any bubbles. A long plastic ruler can also help to flatten it out, especially if it’s a large piece of fabric and you can’t reach all of it.

Don’t let the fabric drape over the table as this can distort the grain. If the fabric is too large to lay flat on the table, roll or fold the length up onto the end of the table to ensure it doesn’t pull on the fabric.

If your fabric is prone to shifting, I strongly recommend cutting it between layers of paper. Ideally you will cut between two, but even just one (either on the top or under the fabric) will make a difference. This is a great technique to use, particularly when cutting lightweight or shifty fabrics like silk.

Once your fabric is in position, you can use pattern weights (or whatever you have to hand, like tins of food!) to hold it in place.

Position the pattern pieces using the grainline to ensure they are straight. To do this, measure from both ends of the grainline to the selvedge with a tape measure. Once it’s straight, use pattern weights to hold in place and then pin. 

Cutting the fabric

Make sure your scissors (or rotary cutter, if that is your preference) are nice and sharp. It can help to cut loosely around the piece before actually cutting the piece to release the tension on the fabric and ensure there is no fabric weight pulling on the fabric you’re trying to cut. However, this only works if you’ve got a bit of wiggle room with your fabric yardage!

If you’re right handed, cut with the pattern piece to the left of the scissors.If you’re left handed, do the opposite. Use your hand, or pattern weights, to hold the piece in place as you cut. Cut with long cuts, rather than small snips. Cutting like this means you can clearly see the edge of the pattern and can use your other hand to support the fabric and pattern piece. If you are finding it difficult to get to certain parts of the pattern piece to cut in this way, loosely cut around the piece so you can rotate the piece to get into a comfortable position.

HOW TO PREVENT STRETCHING ONCE FABRIC IS CUT

To ensure the fabric doesn’t stretch after cutting, it’s best to leave the pattern pieces pinned to the fabric if possible. This also means you won’t run the risk of mixing up pattern pieces.

When it comes to assembling the garment, make sure you staystitch any areas that are prone to stretching. This is normally necklines, armholes (on sleeveless garments only) and pieces cut on the bias. To staystitch, stitch 6mm (1/4in) from the raw edge. If staystitching a neckline, stitch from the shoulder down to the centre front / centre back on each side. 

I hope this helps with your sewing endeavours!

Happy sewing,

Emily

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RESOURCES MENTIONED IN THIS ISSUE

• How to find the straight grain on fabric - tutorial here.

• How to cut tricky fabrics - 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

Collins top made by @gigi_made_it

Sawtell dress made by @weedstowildflowers

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MORE POSTS IN THE SERIES