ISSUE 23 - Lining the Flynn jacket

THE Q & A SERIES - LINING THE FLYNN JACKET

Hi Emily!

I'm currently working on a toile of the Flynn jacket. I shortened it per your instructions on the blog, which were super helpful!

I ordered some cool deadstock fabric to make the jacket. Once it arrived, I realized that the wrong side of the fabric isn't super pleasant to the touch. I probably want to line the jacket with some lightweight lining.

I've never lined anything before. I have two questions here -

1. Would you recommend that I cut the inner/outer hem facing out of the lining fabric, or both the outer fabric and the lining?

2. More generally, any tips?

Thanks!

- Hannah

Los Angeles, Unites States

---

Hi Hannah,

Thanks for getting in touch. I am pleased to hear you're making a Flynn jacket! It is also great to hear that you found the tutorial for shortening the Flynn jacket helpful!

Your options are to interline the jacket or fully line it.

Interlining is a little easier because you attach the lining fabric to the main fabric before you assemble the jacket, so that the main fabric and the lining act as one fabric - this way you would still use bias binding on the seams (you can baste the two layers together by hand or machine - making sure your stitches are within the seam allowance, so that you don't see them later) and construct the jacket as usual.

If you were to line it, you would be enclosing all the raw edges inside the jacket lining, by making two jackets (one of the main fabric and one from the lining fabric). It's up to you which option you choose, as both would work. If you would like some more information on lining a jacket, this post from Seamwork should help.

Either way though, I would cut both the inner and outer hem facing (back and front) from the main (deadstock) fabric. This means the lining is only required for the front, back and sleeves. This will ensure that the hem facing has the correct weight (same as the outer jacket) and will sit nicely. It will also give you the nicest finish on the inside.

I hope that helps! Let me know if there is anything else I can assist with.

Happy sewing,

Emily

P.S. Hannah wrote to my quite a while a go with this question, so you can see which method she chose to go with (and her beautiful Flynn jacket) here.

---

resources mentioned in this issue

• Shortening the Flynn jacket. Tutorial can be found here.

• The Flynn jacket pattern can be purchased in paper or PDF format here.

• A Lesson in Lining from Seamwork. Post can be found here.

• Hannah's finished Flynn jacket can be seen here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi. 

---

More posts in the series

ISSUE 22 - SAVING Q&A POSTS ON PINTEREST

THE Q & A SERIES - SAVING The Q&A POSTS ON PINTEREST

Hello – I’ve been reading all your tutorials online and I wanted to email you to thank you for taking the time to share these. As a fairly new sewer, I need and appreciate all the help I can get! I have one request, please, and apologize if I’m asking you to move mountains to accomplish this. Is there any way your tutorials could be saved to Pinterest for future use? They’re so valuable – and it may also hopefully give your company more online visibility. Hopefully this could be a win/win for you and for current and future customers. Thanks so much for listening…wishing you all the best for future success!

- Maureen

---

Hi Maureen,

I am so pleased to hear you are enjoying the Q&A series! Thank you for this suggestion - it is something I have been meaning to do for a long time, so your email was the prompt I needed to get around to doing it!

You can find all the Q&A posts that have been published so far here.

Happy pinning!

Emily

---

resources mentioned in this issue

• The Q&A series Pinterest board can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi. 

---

More posts in the series

ISSUE 21 - ONLINE RETAILERS IN THE US & CANADA

THE Q & A SERIES - ONLINE RETAILERS IN THE US & CANADA

I love your Q&A newsletter on the patterns. This is great news! What are a few online fabric retailers in the US? My instagram feed is filled with UK and Australian fabric stores and I'm so jealous of their selection.

- Stephanie

---

Hi Stephanie,

This is a great question and one which I'm sure will be of interest to a lot of you, seeing as though about a third of the people who read this newsletter are from the US.

I have some fantastic US and Canadian pattern stockists that I'd love to share with you. I reached out to some of them and asked for them to give us an idea of the fabrics they specialise in!

STONEMOUNTAIN & DAUGHTER FABRICS

Stonemountain & Daughter Fabrics is a family-owned store with a brick and mortar in Berkeley, California. We got our start as a fashion-focused store that provided silks, linens, wools, and more at a time when most fabric stores were stocked with cottons. Now almost 40 years later, we are still centered on offering high-quality garment fabrics (in addition to a large range of quilting cotton!) and serving as a knowledge hub for sewists both locally and around the globe.

Though we're known for our linen, ikat, and silk noil selection, we love garment fabrics of all kinds. We also have an extensive selection of fun deadstock pieces—these "leftovers" from the garment industry are a great way to find more unusual fabrics and take part in reducing textile waste.

Find out more:
www.stonemountainfabric.com/

FABRICATIONS

Fabrications is a fabric boutique in Ottawa, Canada's Capital City.  We believe that everyone is creative, and we are here to support you in your journey as a maker. We welcome sewists and makers of all levels, races, shapes, and genders.  

We focus on natural fibres and casual apparel sewing when choosing our fabric selection.  We stock lots of cotton and bamboo knits, a wide range of linens, denims, rayon challis, double gauze, the occasional wool, and much more. 

We are particularly thrilled to have been able to restock our best-ever-selling fabric this week!   This digitally printed reproduction Rembrandt floral canvas is perfect for a pair pants, a York Pinafore, or a stand-out bag!

Find out more: 
www.fabricationsottawa.com

NEEDLE SHARP

Needle Sharp specialises in monthly subscription sewing kits. You have a subscription to your coffee, your favourite magazine, even your dinner. Why not your sewing? Enter Needle Sharp, the sewing box sent to you each month that contains everything you need to sew a beautiful piece of clothing: the pattern, the fabric, and all the notions. No finding a pattern, searching for the right fabric, running to the store for matching thread, cursing because they don't have matching thread, running back to the store because you forgot interfacing. It's all done for you so you can get down to the fun part of crafting your very own handmade wardrobe. We offer four different boxes each month, each featuring a different independent sewing pattern which we pair with three fabric options to choose from. Once you pick your fabric, we do all the rest for you to put the box together, and we send it to your door at the beginning of each month. 

We also have an online retail store where we sell fabric, patterns, and non-subscription sewing kits. The website is https://www.needle-sharp.com 

SIMPLIFI FABRIC

Established in 2012, we specialize in the latest eco and organic textiles on the market, including knits and wovens made with organic cotton, hemp, bamboo, soy, lyocell, linen. We also stock a large variety of European imports, wool, indy sewing patterns and notions! 

Find out more:
www.simplififabric.com (US/worldwide) 
www.simplififabric.ca (Canada)

OTHER STORES

Some other stores you may like to checkout:

• Blackbird Fabrics

• Cate's Sew Modern

• Gather Here

• Dabble & Stitch

• Drygoods Design

• Firecracker Fabrics

• Oak Fabrics

• Three Little Birds Sewing co

Another thing you could look at is this post I did a little while ago. It's not just US retailers, but a great list of stores that makers have suggested, so might be worth taking a look at too!

Happy sewing,

Emily

---

resources mentioned in this issue

• In the Folds pattern stockists can be found here.

• Stonemountain & Daughter Fabrics

• Fabrications Ottowa

• Needle Sharp

• Simplifi Fabric. US/worldwide shop here. Canadian shop here.

• Blackbird Fabrics

• Cate's Sew Modern

• Gather Here

• Dabble & Stitch

• Drygoods Design

• Firecracker Fabrics

• Oak Fabrics

• Three Little Birds Sewing co

• Instagram post with suggestions of other independent fabric retailers can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi. 

---

More posts in the series

ISSUE 20 - FINDING TIME TO SEW WHEN YOU WORK FULL TIME

THE Q & A SERIES - FINDING TIME TO SEW WHEN YOU WORK FULL TIME

What’s the best way to find time for sewing when you work full-time+. Thanks!

- Gail

---

Hi Gail,

This is a question I have also been grappling a lot with in recent years! Up until recently I was working 6 days a week, so it did not leave much room in my schedule for a lot of things that I love, including sewing. It did make me think hard though about how I could use my sewing time so I could get the most enjoyment out of it, and I found a few things that worked for me.

I used to keep my sewing machines in my studio (photo above), but a couple of years ago I realised I would have a better chance of sewing recreationally if my machines were at home. For a year or so I was working from the dining table, so I had to pack up my machines after using them, which meant that I wasn’t taking advantage of free time to sew very often as I wouldn’t want to set up my machines! Last year I decided to bite the bullet and set up a sewing table in a spare corner of the house. I don’t have a lot of space so I purchased a fold down sewing table that is quite narrow, and it’s great! I also try to keep my sewing space as organised as possible, so that if I do have 15 minutes to spend at the machine, I know where everything is to get started. 

Also, this may seem like a small thing, but I also grab a plastic bowl whenever I sew and use it to put in cut threads and clipped corners etc. This has saved me a lot of time when it comes to cleaning up and less vacuuming of my sewing space!

I know many of you probably don’t have a dedicated sewing space where you can leave your machines set-up at all times. I once heard Helen from Love to Sew podcast (sorry I can’t remember which episode it was!) say that she once timed how long it took her to set-up her sewing machines, so that if she had a small amount of time to sew, she could convince herself it was worth taking the opportunity by knowing exactly how long it would take to set up / pack down (and it wasn't very long, which really helped). Why not give that technique a try!

ORGANISE YOUR SEWING PROJECTS

I find having my projects well organised is something that always inspires me to jump on the machine to get started. After I cut a project, I put all the pieces in a large zip lock bag (I use storage vacuum bags, that are not very glamorous, but do the job well as they are clear and large enough for all projects). I then stick a plastic sleeve to the front of the bag where I can keep the instructions. Once a project bag is set up like this it can be used over and over. I have about 5 or 6 on rotation so that I always have one on hand when I’m cutting a project.

 In the bag with the cut pieces I put:

• Leftovers of the fabric. This is handy if you want to do sample seams or end up needing to re-cut pieces later down the track (or forget to cut things like bias binding or pocket bags etc.)

• Spools of thread in the correct colour (plus overlocking/serging thread if required)

• Any notions, such as zips, buttons, fusing etc.

I then use a skirt hanger to clip the top of the bag so that I can hang the project bag on a door handle / coat rack.

Alternatively, you could use clear plastic storage containers that are stackable. Whatever works for you and the space you have!

TAKE ADVANTAGE OF SMALL POCKETS OF TIME

This leads me to suggest that if your sewing space / sewing projects are organised well, you may be able to create a few pockets of time in your week when you can sew for 15-20 minutes. Possibly you could get up half an hour earlier a couple of days a week. I know it doesn’t sound like much, but I am a firm believer in small steps adding up over time, and if you managed to just sew for 20 minutes three times a week, that’s 52 hours in a year!

PUT IT IN YOUR SCHEDULE

If you’ve been reading these emails for a while, you might know that I am really into having a schedule and planning my week in advance (if you would like to know more about my method, you can see this past post). Can you schedule time to sew? It might mean saying no to other things in your schedule, but the benefits to blocking out time to do things that you love are usually worth the sacrifice.

BATCH SIMILAR TASKS

I find that it helps to batch similar tasks. For example, I normally cut two garments at the same time. This way if you’ve cleared your table for cutting, you can get more done with less time. It’s also a good opportunity to listen to a good podcast or put something on Netflix to watch in the background. The same goes for taping PDF patterns together. 

I also try to sew similar fabrics / colours one after the other. This means my overlocker is threaded in the correct colour - and often my sewing machine is too! 

FOCUS ON QUALITY OVER QUANTITY

I know that it can sometimes kill your sew-jo when you feel like you have no time to sew. I tackle this by reminding myself of the joy I will get from sitting down to just focus on one sewing project. I know it can get overwhelming seeing some makers churning out a new make every week, but I’d suggest focusing on quality over quantity, and using that as your driver.

For example, last year I decided that I would make myself a pair of jeans. I wanted them to be the kind of jeans I would wear over and over, so committed to getting them right no matter how long it took me. I ended up making three toiles (muslins) and then spent days on the jeans themselves! When they were finished I realised the waist was too high and ended up removing the fly and waistband so I could move it all down by 3cm. It doesn't sound like something that would be worth the effort, but it really was the difference between a pair of jeans I would actually wear and I pair I wouldn't. Yes it took a lot of time, but in the end I made a pair of jeans that fit me well and that I love. Now when I’m feeling overwhelmed about finding time to sew / thinking about what I should make, I remind myself that if I make just one thing this year that I love as much as my jeans, that will be a huge win!

GO ON A SEWING RETREAT OR MAKE YOUR OWN

This may not be something that you are in a position to do, but consider going on a sewing retreat for the weekend. There are more and more of this style of event popping up all over the world, so there might be one close to you that you can save up and plan for.

Alternatively, find some sewing friends in your local area and consider hosting a sewing day at your house or in a local hall / sewing studio. There are also studios where you can go and sew by the hour. I feel like booking something in (and exchanging money) is a great motivator to keep you accountable to a goal you have.

OTHER RESOURCES

• Busy and Finding time to sew (Sewcialists)

• Finding time to sew (Christine Haynes)

• Making time to sew with Lauren Taylor (Love to Sew podcast)

• Speedy sewing (Love to Sew podcast)

• You don’t have to sew everything (Love to Sew podcast)

I hope you find some of these suggestions helpful!

Happy sewing,

Emily

---

resources mentioned in this issue

• Love to Sew podcast

• Q&A Issue 4: Making a plan for the year / quarter. Post can be found here.

• Busy and Finding time to sew (Sewcialists). Post can be found here. 

• Finding time to sew (Christine Haynes). Post can be found here.

• Making time to sew with Lauren Taylor (Love to Sew podcast). Episode can be found here.

• Speedy sewing (Love to Sew podcast). Episode can be found here.

• You don't have to sew everything (Love to Sew podcast). Episode can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi. 

---

More posts in the series

ISSUE 19 - Piping and the Darlow pants pattern

THE Q & A SERIES - PIPING AND THE DARLOW PANTS PATTERN

Hi Emily

I am thinking of purchasing the Darlow Pants pattern. I was curios to know how the outlining on the pants is achieved. Is it bias tape used in the seams to create the borderlines? I did not mention it in the notions. I would like to know before I purchase.

Thanks you,
- Heather

---

Hi Heather,

Thank you for reaching out and for your interest in the Darlow pants pattern!

The lines shown on the sample photographs have actually been illustrated on. The panel lines are they key feature of these pants, so I wanted to be sure that customers could see them in the photographs (and I was a bit silly when I chose to sew the samples in black and off white!).

I have seen some customers use piping though to highlight the panel lines - so that could be an option. You can see an example of that here.

The other option would be topstitching along the panel lines to highlight them. An example of this can be seen here.

I hope that helps you decide if this pattern will be a good fit for you!

Let me know if there is anything else I can assist with.

Talk soon,

Emily

---

resources mentioned in this issue

• Darlow pants pattern can be purchased here.

• Darlow pants with piping. Instagram photo here.

• Darlow pants with topstitching. Instagram photo here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi. 

---

More posts in the series

ISSUE 18 - Adding in-seam pockets to the Peppermint jumpsuit pattern

THE Q & A SERIES - ADDING IN-SEAM POCKETS TO THE PEPPERMINT JUMPSUIT PATTERN

Hi Emily

It's me again...sewing another one of your fabulous patterns. I wanted to know for the Jumpsuit where would the best place to put pockets? Is there a standard measurement or is it just up to the person? I love pockets and I thought this would be a great addition to the jumpsuit to add slit pockets.

Any tips would be great.  Thank you once again for you wonderful patterns.

Regards,
-Stacy

---

Hi Stacy,

Thanks for getting in touch. I am pleased to hear you are giving the Peppermint jumpsuit a go!

There probably is a standard measurement for pocket placement, but I also don't know what it is! I don’t think knowing the standard measurement is the most important thing, it’s more about knowing what this measurement is for you and adjusting patterns / adding pockets that are comfortable and practical for you to use.

The best way to decide on pocket placement is by holding the pattern piece up to your body (if you don’t have a toile / muslin to use as a reference) and then putting your hands where you would comfortably have a pocket. Take a pencil and mark this position on the pattern (I mark where I would like the top of the pocket to be). 

To get you started - I have a dress that was drafted from the Peppermint Jumpsuit pattern and the pockets are positioned 31cm (12in) down from the top of the side seam. I'm roughly 170cm (5'7") tall - this might help you as a guide. 

The other thing you can do is look at your ready to wear clothes and take the measurement off one of those (if you like the pocket position on the garment) and then transfer that to the pattern.

Once you have your measurement, mark it on the front pattern piece by measuring down from the top of the side seam (you will be marking where the top of the finished pocket will sit on the side seam).

Take an in-seam pocket piece from a pattern you already have and trace a copy on a piece of pattern paper. 

If you don't have an in-seam pocket pattern that you can use, you can download one here. If you would like to learn how to draft one from scratch, you can find a tutorial about that here.

Do not cut out the pocket piece just yet.

Place your pocket piece onto the front of the jumpsuit (this is when semi-transparent pattern paper can come in handy), and line up the top notch on the pocket pattern with the point you marked on the front of the jumpsuit in the previous step.

Line up the side seam line as closely as you can. If the pocket and the garment had a different amount of seam allowance included at the side seam, be sure to line up the stitch lines. As the jumpsuit and the pocket have the same seam allowance, you can simply line up the outside (cut line) edge. Use a weight to hold the pocket in place.

You will notice in the illustration above that the pocket does not follow the same line as the jumpsuit towards the bottom of the pocket - this is because the pocket piece is from a different pattern. 

Make any changes to the pocket shaping that are required by redrawing the lines. For example, in the case of the example - I just needed to smooth out the bottom of the pocket by tracing the side seam of the jumpsuit. 

Before removing the pocket, transfer the notches onto the side seam of the jumpsuit underneath using a tracing wheel. 

Remove the pocket piece and cut out, following the new line/s - rather than the original traced version.

Mark the notches on the side seam of the front jumpsuit piece (using the points transferred from the pocket in the previous step).

On the side seam of the Peppermint jumpsuit there are a number of balance notches (these help you line up long seams and ensure you are not stretching the fabric), I'd suggest removing* the two that are closest to the new pocket notches to save confusion. If you want to keep them, just make sure to mark the pocket placement between the notches so you can refer to it later when you are positioning your pockets.

*TIP: To remove notches I normally just cover them up with a small piece of masking tape.

Transfer the pocket notches to the back pattern piece by lining up the side seams and transferring with a pattern notcher or tracing wheel.

Now you are ready to go!

If you need directions about how to sew the pockets in, you can use this tutorial here from the Acton dress sew-along.

I hope this was helpful!

Happy sewing,

Emily

---

resources mentioned in this issue

• Peppermint Jumpsuit pattern can be downloaded for free here.

• In-seam pocket pattern can be downloaded here.

• How to draft in-seam pockets. Tutorial can be found here. 

• Tools for patternmaking. Post can be found here.

• The Acton sew-along: Sewing in-seam pockets. Tutorial can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi. 

---

More posts in the series

ISSUE 17 - GRADING BETWEEN PANT SIZES - PEPPERMINT WIDE LEG PANTS PATTERN

THE Q & A SERIES - GRADING BETWEEN PANT SIZES (THE PEPPERMINT WIDE LEG PANTS)

Hi Emily,

Could you please explain how I can grade between pattern sizes. In the instructions you say that I should use a diagonal line between the 2 sizes, but I don't understand what to do. Is it possible to show that in pictures or a video? That would be so helpful!

I feel a bit insecure whether I have to grade between sizes or not for the wide leg pants. My waist is 74 cm, hip 100/101 cm. Do you think I should grade between C and D or just make D? I’m afraid the pants might become too wide at the waist…. Could you advise me? The fabric I want to use is a cotton twill.

Thank you very much in advance!

P.S. About your question regarding plans for 2020: I am going to try to reuse 'old' clothes to make something new. For instance, make a blouse out of an old shirt of my husband that has a little hole in the sleeve. And I want to make a bag out of an old leather jacket from my mother in law.
I started sewing 3 months ago and so far I made a pleated skirt, an a-line skirt, the peppermint every day dress and I just finished the wrap top. I love your patterns because of the very clear is instructions. I learn a lot from them. Thank you so much!

- Marjon
Almere, The Netherlands

---

Hi Marjon,

Thank you for your email. I am thrilled to hear you are enjoying using my patterns!

Wow, it sounds like you are really sewing up a storm in your first few month of sewing - well done!

In regard to your question about sizing, I have a tutorial about grading between sizes on my website here. 

In terms of your question in regard to the Peppermint Wide Leg pants, rather than grading between sizes at the side seam, I would suggest altering the darts. Grading between sizes at the side seam is a good method for a lot of patterns and it will work with this pattern, but I think you would be better off keeping the side seam intact as it will give you a nicer shape, and the adjustment you're needing to make isn't a large one.

INCREASE DART WIDTH

What I would suggest doing is cutting the pattern in a size D. This is the right fit for your hip measurement, but will be about 2cm (3/4in) too big for you at the waist. It is much easier to make a pattern smaller, than make a pattern larger, so the size D is definitely the best starting point for your measurements.

As you are wanting to reduce the waist by 2cm (3/4in), you will be wanting to increase the width of each dart by 1cm (3/8in) (i.e. 2 darts at a 1cm increase = 2cm removed in total), to make the finished waist measurement 2cm (3/4in) smaller.

To do this, take the BACK LEG pattern piece and measuring from the dart arms (where the dart arms intersect with the stitch line), mark a point 5mm away on each side of the dart. You need to mark this point on the stitch line (faint grey line on the pattern), rather than the cut line (black line) on the pattern because the waist measurement is taken from the stitch line. My patterns all have the stitch line marked - but if you were using a pattern that does not have the seam allowance marked, simply mark it in before making an adjustment.

Re-draw the dart arms by drawing straight lines from the points marked on the stitch line in the previous step, down to the tip of the dart. Continue the lines so that they run to the cut line (edge of the pattern), as illustrated above. 

RE-SHAPE WAISTLINE

To complete the change to the dart, you will need to move the notches to be in line with the new dart arms. You will also need to re-shape the top of the dart, so that you get a nice smooth waistline when the dart is sewn. I have a tutorial on my website about dart shaping here. 

REMOVING MORE FROM THE WAIST

If you were needing to remove more from the waist, you could also take a little bit of width from the side seam. I thought I would add notes about this, just in case you are reading and would like to make a similar adjustment to the pattern, but would like to remove more than a few centimetres from the waist.

For example, if you needed to remove 4cm (1 1/2in) from the waist in total, you could remove 2cm (3/4in) from the darts as illustrated already and then remove the other 2cm (3/4in) from the front and back side seams - 1cm (3/8in) from the front waist and 1cm (3/8in) from the back waist. As each piece is cut as a pair, you need to remove half of this amount from each pattern piece. In the case of the example, this would mean taking 5mm from the front side seam (1cm in total when cut as a pair) and the other 5mm from the back side seam (1cm in total when cut as a pair). 

You can see this illustrated above - I marked a point 5mm in from the side seam, on the stitch line, and then re-drew the the top section of the side seam, by drawing a nice smooth curve that started at the point marked and re-joined the original stitch line at the hip point. Once I was happy with the new stitch line, I added the 1.2cm (1/2in) seam allowance. You then need to cut along the new cut line to remove the excess from the side seam that is no longer needed.

For the front pant leg, remember that you will also need to make the change to the pocket pieces. Do this by placing the pattern pieces one on top of the other (lining up the edges as if they have been sewn together) and then holding in place with pattern weights. You can then mark the new cut line as you did for the back piece, before cutting through all the layers to copy the adjustment across the three pattern pieces.

TO KEEP IN MIND

The other thing to keep in mind when making adjustments like this, is that there are small changes you can make during the making process itself. For example, you might make this 2cm (3/4in) waist adjustment and then make the pants and realise that you could do with removing another 2cm (3/4in). That is okay! You can simply take a few more millimetres from the darts and also take some from the side seam. This is why it's a really good idea to make sure you have staystitched your waist seam so that you can try your pants on before attaching the waistband. You can even wait to cut your waistband until you have fitted the pants (as any changes to the waist of the pants will also impact the waistband), so you know you are cutting the right size waistband.

To make changes while I am making a garment, I like to use a ruler and tailor's chalk to mark the amendment on the fabric itself, making sure the alteration is the same on each side of the garment, so that things remain symmetrical. I then make a note on a post-it about what I did and staple it to the pattern pieces, so that next time I use the pattern I know to make the adjustment/s to the pattern before cutting.

ALTER WAISTBAND PIECES

If you have made changes to the waist edge of any pants, you will need to adjust the waistband pieces to reflect the changes. 

For the case of this example, I will go back to Marjon's measurements - we have removed 2cm (3/4in) from the back waistline of the pants and we now need to remove the same amount from the back waistband too. 

Take the pattern piece and cut it in half vertically. This saves you from making the amendment on each side of the pattern, as you can cut the waistband on the fold once you have made the change, or re-cut your pattern piece in full after making the change (this ensures your pattern piece remains symmetrical).

Take a ruler and mark a line through the pattern piece at the notch (this notch indicates where the waistband lines up with the dart, so reflects the point on the waist where we made the adjustment on the pant piece).

Cut along the line marked in the previous step.

On the section of the waistband with the grainline, mark a point 1cm (3/8in) from the cut line, on both the top and bottom of the waistband (on the stitch line). We are marking 1cm (3/8in) as this is the amount that was removed from the waistline on the pant back, so we need to remove the same amount from the waistband.

Join these two marks with a straight line (if you have a clear ruler with horizontally markings you could miss the previous step and mark this line in straight away, using the cut line as a reference). 

Stick the pieces back together by aligning the cut edge of the left side with the line marked on the right side. Tape or glue in place.

Move the notch over by half the amount removed from the piece. For example, 1cm (3/8in) was removed from the piece, so the notch will need to move 5mm to the left (this is because on the back pant, 5mm was taken from each side of the dart - rather than 1cm from one place).

The alteration hasn't made any difference to the cut line on the top and bottom edge of the pattern piece as we only removed 1cm (3/8in), but if the change was more drastic, you might need to smooth out the edges after making the alteration. To do this, take a line of best fit and draw a smooth curve.

Cut the back waistband piece on the fold, or trace a copy onto a piece of paper before cutting it on the fold from paper to create a full pattern piece (pinning the paper in place before cutting can prevent it from wiggling around).

The final thing you should always do after making alterations to a pattern, is to walk in your seams to check that everything still lines up correctly (such as notches) and the seams that will be sewn together are the correct length. You can find a tutorial on my website about checking patterns here.

I hope this was helpful!

Happy sewing,

Emily

---

resources mentioned in this issue

• The Acton Sew-along: How to Grade between sizes. Tutorial can be found here. 

• Peppermint Wide Leg pants pattern can be downloaded for free here.

• In the Folds sizing chart can be found here.

• How to add dart shaping. Tutorial can be found here. 

• Checking patterns: Curved seams. Tutorial can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi. 

---

More posts in the series

ISSUE 16 - Starting a business without formal training

THE Q & A SERIES - STARTING A BUSINESS WITHOUT FORMAL TRAINING

Hi there!

I think this is such a great series you are doing, and I really appreciate how thorough your responses are! I am a home sewist and an aspiring designer and pattern-maker. I don’t have any formal training, and I have a background in a completely different field (education). I’m really struggling against the voice in my head that’s telling me I’ll never be able to do this and all my efforts won’t go anywhere.

I was wondering if you have any advice for someone who is trying to learn patternmaking and fashion design, and hoping to starting a business without formal training? I’m soaking up as much as I can from classes on Bluprint and Skillshare, and I’d be so appreciative of any additional resources or suggestions you may have for someone who is starting from scratch!

Thank you for taking the time to read this!

Sofia

---

Hi Sofia,

This is a great question, and one that I think many creatives struggle with, or have at least thought about! Many creative ventures are self-taught, and it makes sense that for many there is a tipping point where you go from sewing (or any other type of craft) for fun to realising it could be the beginning of a new career or business venture. 

I have to be honest and say that I find this question a little tricky to answer because I do have a formal education in fashion design and I can see a clear path from my university degree, to where I am now (although the journey has been far from linear). In saying that though, so little of my day-to-day work for In the Folds is related to what I learned at university, so I’m almost certain I could be doing my job without my degree behind me. 

When I started In the Folds I envisaged days at the studio, patternmaking new pieces, cutting fabric and sewing samples. The reality is very different. I spend most of my days working on my computer, doing many different tasks that I have learned on the job, by reading countless marketing and business books, watching hours of Youtube videos, doing online courses, following tutorials meticulously to make something work in the way I would like it to or just plain winging it until I work it out. So although my degree gave me a really solid foundation of skills and knowledge to get started with, it is definitely the learning I have done since then that has kept my business running. I often think that if I was going to go back to university and study something it would be business, marketing or entrepreneurship as, at the end of the day, I think these are the skills that lead to a business being successful. 

In terms of more tangible advice and resources for you, it sounds like you are on the right track - learning what you can from online course and practicing at home.

I have a few other suggestions that might help, some very practical, while others are about mindset.

Get used to that voice

If you’re wanting to start a business or go out on your own in any way - or even change careers - get used to that little voice in your head that’s telling you that your efforts won’t go anywhere. Unfortunately that voice comes with the territory, but I can tell you that it gets easier to manage (well at least mine has).

This voice of mine became present in my life when I decided to work in the home sewing world, rather than the fashion industry. I questioned whether I was going the right way, if I would be able to get the experience I needed for a fashion job, if I was wasting my education…. you name it, I thought it! But the excitement of starting a new business and serving a community of makers trumped those fears every time and I worked on just ignoring that voice when it began to whisper.

After a while though, as my business grew and I learned more and more skills related to running it, I started to quantify my learnings and realised that what I was learning was experience I could use to get another job, if for any reason I needed to. All this is to say, try to get to a place where you focus on the skills you are learning, as new skills will always lead to something. It may not be exactly what you have in mind now, but skills are valuable and if all goes pear shaped, you can put them on your CV and find a job related to the new found skills. Well at least that's my plan!

Value the skills you do have

I’m not sure what exactly you are planning on doing if you do take this leap, but your career in education could really help in the sewing world, if that’s where you are hoping to end up! I think one of the most important aspects of my job is making clear and easy to follow instructions that all makers will understand - so I’d imagine your experience in teaching would really help you with aspects of the job like this!

I can imagine that you also have plenty of skills that are very relevant to the career you are hoping to go into, that you haven't even thought about. For example, I have a lot of work experience in customer service and didn't realise how helpful that would be until I started my business and people mentioned time and time again how much they appreciate the level of service I provide to my customers. Until that point I saw this experience as completely irrelevant to the job - I now can see countless parallels to things I have learned through previous (unrelated) jobs I have had and the work I do today.

Find a mentor

Can you find a tutor or mentor in your local area, or even online? You might reach out to local fashion schools or colleges to see if there are any students towards the end of their courses who might be interested in private tutoring - or even a teacher who teaches on the side.

A couple of years ago I was struggling with the fit of a particular pattern and I found a local patternmaker that could help. Although what she showed me was helpful, the main thing that she helped me with was my confidence! I was doing things correctly and she reminded me that patternmaking (even for the patternmakers who have been doing it for decades), involves trial and error and I just needed to stick with it until I found the right solution.

Work experience

Have you thought about doing work experience or an internship? I know this can be almost impossible if you work full time, but I learned a lot from interning with a local designer when I was at university. If you are in a position to do this, you may want to contact a few small designers in your local area and see if they would be open to you lending a hand for a few hours a week. I think the smaller the business, the better!

I interned with a designer who was working on her own and I learned so much! I was able to work on a range of different things, as she was doing it all herself, and it also means there’s time for you to talk one-on-one with someone who is doing the type of job you would like to do.

Get help / outsource

The other thing I think you need to think about is that you really don’t have to do it all! People say this all the time and I really didn’t believe it until a couple of years into running In the Folds.

When I started the business I did every little thing myself - whether I was good at it or not. By this point I have a much better idea of the tasks I should be doing and the tasks I can outsource. For example, when I started, I manually graded my patterns into the 10 sizes in my size range (in Adobe Illustrator as I don’t have computer grading software)! As you can probably imagine, it was a long and very monotonous process.

Eventually I realised I needed to outsource this task as there was no way I could produce more patterns at the rate I was going. I found a fantastic freelancer online, who was able to grade the patterns with CAD software for a rate that is far cheaper than the days it was taking me to grade manually. It did help that I do know how to grade patterns though as I can check the patterns when they’re returned and spot any issues if there are any. So I'd recommend at least wrapping your head around the process of grading before outsourcing, if you can. I think this and this is a good place to start if you would like to get your head around grading.  

Have the right people around you

Also try and get as many creative people around you. I run my business from a shared creative space and having others who are on a similar journey to me does the world of difference. I also have my partner and friends who I can call who really understand my business and can put my doubts to rest when that little voice returns.

On this note, have these types of conversations with the people who will understand. Some people will always direct you to the safe path, or encourage you to stay put with what you're doing. That is completely fine, I just wouldn't be asking their advice if you need a little nudge to take the leap you want to take.

Look to others for guidance / inspiration

Look at other people doing the kind of job you would like to do and speak to them if you can, or listen to / read interviews they have done.

You will realise that there are plenty of people out there doing jobs in industries that they don’t have formal qualifications in. I love reading interviews and listening to podcasts with people from my industry (or related industries) and learning how they got to where they are. Often the route is far less straightforward than it seems from the outside! Jenny Rushmore of Cashmerette is also a great example of this or Heather Lou of Closet Case Patterns - who took her experience in interior design into the world of patternmaking. If you are looking for more business inspiration and start-up success stories, I’d also recommend listening to How I Built This.

I hope this motivated you and didn’t overwhelm you. Try to pace yourself and not get carried away by the details. In time you will be able to look back and realise how much you have learned and how much closer you are to reaching your goal!

Happy sewing,

Emily

---

resources mentioned in this issue

• Making Sense of pattern grading by Threads. Post can be found here. 

• How to make a sewing pattern bigger (or smaller) - pattern grading by Melly Sews. Post can be found here.

• Times, they are a 'changing: A conversation about Growth and adaptation - Elizabeth Suzann. Audio essay can be found here. 

• Elizabeth Suzann, Ask me anything: Professional. Post can be found here.

• Elizabeth Suzann, Ask me anything: Personal. Post can be found here.

• Curvy Sewing with Jenny Rushmore - Love to Sew podcast. Episode can be found here.

• Let's talk money with Heather Lewenza - Seamwork Radio. Episode can be found here.

• How I Built This with Guy Raz. Listen to the podcast here. 

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi. 

---

More posts in the series

ISSUE 15 - Why use a hem facing?

THE Q & A SERIES - WHY USE A HEM FACING?

Hello,

I bought the Rushcutter dress pattern and I'm planning on making View A in a medium weight denim, thick but soft. I was wondering, since the fabric already has so much structure, are the hem facings necessary? Are they supposed to give extra form to the dress shape or is it more of an aesthetic detail?

Thanks for any help, I'm still a beginner but I'm looking forward to developing lots of new skills with this pattern :)

Mariana

---

Hi Mariana,

I am pleased to hear you will making the Rushcutter dress! It's a great pattern to use to step up your skills.

Denim is a perfect fabric choice for the Rushcutter!

Hem facings work really well with mid to heavy weight fabric as it will add a bit of extra weight to the hemline, which helps the garment and the hem sit nicely. Also, hem facings are the cleanest way to finish a curved hemline.

View B of the Rushcutter uses a turned up hem as it's designed for lightweight fabrics, which are more suitable for this kind of hem finish - but I would be hesitant to recommend this hem finish on a midweight fabric. Without having the fabric in my hand, it's hard to suggest another hem treatment you could use - if you decide to give the hem facings a miss.

I have a denim Rushcutter myself and I think it would have been quite difficult to turn up the hem without the hem facing as there ends up being quite a bit of bulk in the seams where the pockets attach.

I hope you enjoy using the pattern!

For those of you reading along at home, that would like to know more about hem facings, you can take a look at this post about drafting your own hem facing. If you would like to see how you go about attaching a hem facing, you can check out this post in the Rushcutter dress sew-along.

Happy sewing,

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• The Rushcutter dress sewing pattern. Pattern can be found here.

• How to draft a hem facing. Tutorial can be found here.

• Sewing a hem facing. Sew-along post can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 14 - WHAT ARE YOU WORKING ON IN 2020?

THE Q & A SERIES - WHAT ARE YOU WORKING ON IN 2020?

Hi lovely makers,

I am mixing things up a bit for this week's issue of the Q & A series and have decided to ask YOU a question!

With the start of the new year here, I would love to know what you will be working on in 2020? What skills would you like to learn or what struggles are you looking to overcome? What projects would you like to complete? This could be related to sewing / making practice or even creative business (I know there are quite a few creative business owners who read this email too)!

Simply press reply on this email and let me know what you've got in mind. I would love to hear from you! If you are reading this post on the blog, simply send me an email with your reply. 

As for me, although I feel that I achieved a lot of my business goals in 2019 (you can see this post with more about how I managed to do that) I realised that I didn't leave enough time in my plan for fun. So in 2020 one of my goals is to leave some space and time for things that bring me joy. And one of those things will be more personal sewing projects! I need to think a bit more about how I will do this, because I have learned over the years that setting the goal is the easy bit, it's the coming up with the plan and setting new habits and sticking to them that is the tricky bit! Wish me luck!

I hope you all had a fantastic holiday period and that your year is off to a lovely (and hopefully relaxed) start.

I'll be back with regular Q & A programming next week, so if you have a question that you would like answered - submit it using the button below!

Happy sewing,

Emily
 

---

RESOURCES MENTIONED IN THIS ISSUE

• Making a plan for the year / quarter. Issue 4 of the Q & A series can be found here. 

---

P.S. Thank you for all the lovely emails in response to my last email about the Australian bushfires. For those of you who are still looking to help, recently I have seen some really interesting initiatives created to assist with the recovery effort in areas that fires have passed through. 

• It's my Shout

• Spend with Them

• Shop My Town

• You can also donate directly to families impacted by the bushfires on Go Fund Me - one such campaign here

---

P.P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 13 - Alternative seam finishes for the Collins top

THE Q & A SERIES - ALTERNATE SEAM FINISHES FOR THE COLLINS TOP

Hi Emily!

I just have a quick question about the Collins Top! I’ve just started sewing with French seams because my fabric is pretty lightweight.. but struggling to work out how to do the middle back seam leaving the opening for the button. Do you have any tips?

- Polly

---

Hi Polly,

How exciting! I am thrilled to hear you are making the Collins top!

I'd say that your options are:

1. Finish the edges of the centre back with bias binding. This one might not be ideal if your fabric is too lightweight. The photo above is from the Flynn jacket - but should give you a good idea of what this finish looks like!

2. Finish the centre back seam allowances with a double turn and stitch (almost like a rolled hem). You can find instructions on how to do this in the Little Book of Seam Finishes (a free e-book that you can download), along with the other finishes mentioned in this email (and many more).

3. Stitch the centre back seam closed with a French seam. You can actually get the Collins on and off without the button closure, so if you’re not too attached to the idea of having the opening this option could be a good one. You can find a tutorial in the Rushcutter sew-along here (pictured above).

Happy sewing,

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• The Collins top sewing pattern. Pattern can be found here.

• The Flynn jacket sewing pattern. Pattern can be found here.

• The Little Book of Seam Finishes e-book can be downloaded for free here.

• Sewing French seams (from the Rushcutter dress sew-along). Tutorial can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 12 - RELEASING YOUR CREATIVE WORK INTO THE WORLD

THE Q & A SERIES - RELEASING YOUR CREATIVE WORK INTO THE WORLD

Hi Emily!

I’m writing today because I’m wondering if I could get your advice. As I’ve grown my business, I’ve also grown in the number of criticisms received. I think I do a bad job of taking these too personally, even though the good feedback far, far outweighs the negative. (Why do we remember the harsh words more than the kind?)

I’m getting ready to test my first graded pattern and I find myself REALLY dragging my feet because I know it won’t fit everyone, it won’t make everyone happy, people will say mean things. So, I’d like to just ask you how you handle that criticism and still feel bold enough to put your work out there. How does that feel to you?

- S

---

Hi S,

Thanks for reaching out. I really like that we have been able to connect and it's great to know there are other people experiencing the many ups (and downs) of making sewing patterns.

This is definitely something I have gotten a lot better with over time, and I'd imagine it will be the same for you. A few things have really helped though and I am happy to tell you what has worked for me, in the hope it might help you too!

First thing, when I was testing the Rushcutter (my first pattern) I definitely took any form of constructive criticism very personally. Although there was a lot of positive feedback during testing, the negative is what stuck in my mind. I remember speaking to my partner about it and telling him what people didn't like about the pattern. I told him that some said there was too much ease in it, it was too big, the neckline was too high etc. He then pointed out that all of these things were design / preference things and that there actually wasn't anything wrong with the pattern.

This has stuck in my mind and is something I constantly remind myself of. If there is a mistake in the grading, construction etc. I will always fix it, but if someone doesn't like the design, then that is not something I will change or tamper with as I believe this is what integrity of design is about. My designs will not always be to everyone's liking, but I think it's really important to stick to your guns as you can't please everyone. Now when I read through the feedback, I will ask myself "Is this something they don't like about the design, or is it a flaw in the pattern?"

I am very grateful that I learned this early on and did stick to my vision, as to this day this is still the most popular of my patterns!

Speaking of feedback - ask people very particular questions. I am not sure how your pattern testing runs, but I create a feedback form with very specific questions. I do not look at the feedback until the testing period is over and look at it all in one go to save stressing about something that might only be a big deal for one tester. I learned this lesson the hard way!

The other thing I have recently been thinking about and that I want to work on in future, is opening testing to customers only. In past tests I have opened it on Instagram for everyone, but have recently realised that so many people apply who have never used one of my patterns as they just want to experience pattern testing. At times I think this has been slightly detrimental to the quality of feedback I have received because some of these makers don't really get what I do or my style / mission doesn't resonate with them. They might have been looking for a quick and easy project and that's not at all what my work is about. I really try to make my testing period an enjoyable experience for all involved, so I think making sure we're all roughly on the same page from the outset is a good place to start.

Related to this is acknowledging with feedback, "is this person really my customer?" I know who I am making my patterns for and it is not everyone. For example, someone who loves all things 'fit and flare' etc. is probably not going to like my patterns and that is okay. Their feedback is likely to say that my design should have much less ease or be more shaped at the waist etc.

Also, I don't think anyone will say anything mean when giving feedback - at least not intentionally. Makers are generally lovely people (obviously there are some exceptions to this) and will try to be kind (or at least that is my experience). I do my testing in a Slack group and I really love connecting with the whole group through that platform. I think it helps to run testing in a group like that, as makers will help each other along and it takes some of the pressure off your shoulders. I think it also adds to the experience for the testers as they can connect with each other and learn from each other.

The last thing that comes to mind is that I think we need to seperate ourselves from our work. I really struggle with this one, but am constantly working on it. If someone doesn't like what I'm doing, it is not a reflection on me or my character, it is my work and that is seperate from me (although it does feel like my baby latched onto me most of the time). This one is getting easier as I connect with more of my tribe with each pattern release.

Have you read Daring Greatly by Brené Brown? Or watched her show on Netflix? If you haven't, I think it would be a good thing to read right now. It's all about putting yourself out there.

It starts with this quote from Theodore Roosevelt which I think is an important one for us creatives to keep in mind as it can be really hard to put yourself out there again, particularly after receiving negative feedback / comments:

“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.”

I hope this helps you! And let me know if you have any more questions.

Best of luck with pattern testing! I am sure it will go really well. And if it doesn't, you'll just learn something for next time!

Talk soon,

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• The Rushcutter dress sewing pattern. Pattern can be found here.

• Daring Greatly by Brene Brown. Book can be found here.

• Brene Brown: The Call to Courage. The Netflix show can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series. Past issues from the Q & A series can be found here.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 11 - A DIGITAL HOME FOR THE Q & A SERIES

THE Q & A SERIES - a digital home for the Q&A series

Hi Emily,

I'm enjoying the Q&A email series.

However, I missed a couple of the first emails.

I may have missed it, but is there a place to find all the emails?

Love your work!

Cheers,

Vanessa

Brisbane, Australia

---

Hi Vanessa,

I am so pleased you are enjoying the Q & A email series! It has been a thrill to receive so many lovely emails in the last couple of months about this series. I am excited to let you know that the posts now have a digital home.

You can find all past issues here and I will continue to update the page weekly.

Happy sewing!

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• Past issues of the Q & A email series can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 10 - SELECTING YOUR NEXT PROJECT (FOR BEGINNERS AND BEYOND)

THE Q & A SERIES - SELECTING YOUR NEXT PROJECT (FOR BEGINNERS AND BEYOND)

Hi Emily,

I haven’t sewed in years and I’d love to start making clothes for myself and my kids. Where do you suggest I start? I’m nervous about picking something that’s too hard and complex and scaring me away from sewing all together!

Thanks!

- Lauren

Darwin, Australia.

---

Hi Lauren,

How exciting that you're looking to get back into sewing!

This is a great question and I think it's one that a lot of beginners should be mindful of, as when you're starting out (or getting back into it) I think confidence building projects are your best bet. These kind of projects give you a chance to get acquainted (or reacquainted) with your sewing machine and get a handle on some basic techniques.

Depending on your sewing experience, I'd suggest that absolute beginners start with something like a cotton tote bag or elasticated pyjama pants / shorts. 

If you're beyond that point and you're looking to get started on garment sewing, I have placed some of my patterns in order of difficulty below. This list might also be helpful if you’re looking to step up your sewing game, but you’re not sure which project to tackle next.

WRAP SKIRT

First up we have the Wrap skirt. I have placed this pattern as the most beginner friendly pattern in my range because you sew it from stable woven fabrics and it doesn't require a closure (except for a button hole).

By working through this pattern, you will gain confidence in: 

• sewing with woven fabrics

• sewing darts

• sewing french seams

Get the pattern here.

---

RUFFLE SLEEVE TOP

The Ruffle Sleeve Top is a simple woven shirt with a v-neck, bust darts, elbow length sleeve with ruffle and a neck facing. It has a boxy fit and is the perfect piece to take you from day to evening. It slips over the head and therefore does not have a closure. This is a great project for those of you who would like to learn some new skills.

By working through this pattern, you will gain confidence in:

• Sewing a facing

• Sewing gathers

• Setting in sleeves

• Sewing french seams

Get the pattern here.

---

Collins top

The Collins top was designed with beginners in mind. If you have mastered straight and curved seams, you’re ready to take on this pattern. Through careful drafting and interesting techniques, this pattern will give you that confidence boost you have been looking for.

By working through this pattern, you will gain confidence in: 

• sewing straight seams

• sewing curved seams

• piecing panels together 

• achieving a beautiful finish

• working with bias binding (view A only) 

• finishing a garment with an all-in-one facing (view B only)

Get the pattern here.

---

wrap top

The Wrap top is a cropped wrap top with three quarter length sleeves. It features a back neck facing and bust darts. Seams are finished with french seams for a beautiful and high end finish.

By working through this pattern, you will gain confidence in: 

• sewing woven fabrics

• getting a beautiful and clean finish with french seams

Get the pattern here.

---

EVERYDAY DRESS

The Everyday dress is a knee-length oversized reversible dress. One side of the dress has a soft v-neck, while the other has a round neck. The dress features relaxed boxy sleeves, inseam pockets, hem splits and an optional waist tie. The neckline is finished with a facing, for a clean finish that adds a lovely detail on both the inside and outside.

By working through this pattern, you will gain confidence in: 

• sewing with woven fabrics

• sewing in-seam pockets

• sewing facings

• sewing a hem split

Get the pattern here.

---

THE RUSHCUTTER DRESS

The Rushcutter dress is an oversized knee-length, A-line dress, designed for woven fabrics, available in two different styles. It is beautifully designed and carefully drafted to include many interesting details, to make this a very enjoyable sew for sewers at a range of different levels.

View A features three-quarter length raglan sleeves, large side pockets, invisible zip, bound neckline and a wide hem facing.

View B is a sleeveless version, with back button closure. It features in-seam pockets, with neckline and armholes finished with bias binding. Included in the pattern is an optional waist sash, that is suitable for both styles.

By working through this pattern, you will gain confidence in: 

• sewing a straight seam

• sewing a curved seam

• bias facing armholes / neckline

• sewing buttonholes

• buttons and an invisible zip (depending on which view you decide to make)

Get the pattern here.

---

FLYNN JACKET

The Flynn jacket is a loose-fitting jacket designed for woven fabrics. With two different styles, it is the perfect layering piece for autumn and winter.

Flynn features a wrap around collar, a high-low hem and in-seam pockets. All seams are finished with bias binding, for a beautiful and high-end finish. The Flynn jacket can be worn open, or closed discreetly with a hook and eye.

View A has a dropped shoulder and sleeve with a hem facing. It also features an inverted box-pleat in the back. The sleeves on View A are designed to be worn either straight or folded back, for a more casual look.

View B is sleeveless and features armhole facings and a flat back piece (no pleat). It has been designed to be worn over long sleeve tops and dresses. It works equally well worn over sleeveless tops and t-shirts. View B has a closer fit to View A, due to its sleeveless design and flat back piece.

The pattern is placed at a Level 2 on the In the Folds pattern skill scale, and was designed for advanced beginners who are ready for new challenges. Through careful drafting and beautiful finishing techniques, this pattern will have you feeling very proud of both the inside and outside of your new handmade jacket. It is a great entry level jacket as it does not require lining, and due to its oversized silhouette, it is easy to achieve a good fit.

By working through this pattern, you will gain confidence in: 

• sewing curved seams

• sewing pockets

• setting in sleeves

• bias bound seams

Get the pattern here.

I hope this helps you select a project that will be rewarding and fulfilling (and give you something beautiful to wear)!

Happy sewing,

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• The Wrap skirt. Get the pattern here.

• The Ruffle sleeve top. Get the pattern here.

• The Collins top. Get the pattern here.

• The Wrap top. Get the pattern here.

• The Everyday dress. Get the pattern here.

• The Rushcutter dress. Get the pattern here.

• The Flynn jacket. Get the pattern here.

• The Acton dress. Get the pattern here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 9 - ATTACHING DOUBLE FOLD BIAS BINDING

THE Q & A SERIES - ATTACHING DOUBLE FOLD BIAS TAPE

Hi Emily,

Regardless if i use pre-made bias tape or make my own, I get so confused on how to apply and my garments don't look as neat as I'd like.

Can you please break down the steps to applying bias tape if A) you want the bias tape to SHOW ON THE RIGHT SIDE of your garment and B) you do not want your bias tape to show on the right side of your garment?

Thanks so much!

- RG
Portland, Oregon

---

Hi RG,

In last week's issue, I showed you how to sew single fold bias tape (which answers part B of your question - 'you do not want your bias tape to show on the right side of your garment') and today I will be showing you how to sew double fold bias tape.

In case you missed last week's issue, I will include the overview about bias binding again - so just skip through this part if you read Issue 8 of the Q & A series.

WHAT IS BIAS BINDING?

Bias binding is a strip of fabric cut on the bias (diagonal to the grainline / selvedge) that can be used in a variety of applications. By cutting the fabric on the bias, it gives the fabric a small amount of stretch, which makes it ideal for finishing curves and wrapping around seams (in the case of bias bound seams).

---

SINGLE FOLD & DOUBLE FOLD BIAS BINDING

In the photo above, the Collins top is inside out - showing the finish of the binding on the inside.

Single fold bias binding is the type of binding you will most often see in ready to wear fashion, as well as most sewing patterns that include a bound neckline or armholes.

This type of binding will give you a clean finish on the right side of the garment (you will just see a stitch line where the binding has been secured), and on the inside of the garment you will be able to see the bias strip neatly finished and stitched along the edge.

---

Double fold bias binding is what you will use if you want to see the bias binding on both the right side of the garment and the inside of the garment.

There is an extra fold put in the binding (which is what gives it the 'double fold' name) that is used to wrap around the edge of the garment, so it is visible on both sides.

This week's issue will show you how to apply double fold bias binding.

---

WHAT TYPE OF BINDING TO USE

You can make your own bias binding or purchase it by the metre / yard from a store. If making your own bias binding, I recommend using a lightweight cotton fabric such as cotton lawn or cotton shirting. You can also consider using a contrasting colour or print to add a fun pop of colour to the inside of your garment.

Depending on what instructions you are following, information changes slightly from person to person when it comes to the best way to cut your own binding as well as apply it. The instructions I am giving you today is the way I was taught at university and is the method I continue to use today. Like anything in sewing, find the techniques that work for you!

When choosing which bias binding to purchase / how wide to cut your own, consider how much bias binding you would like to see on the right side of the garment. Keep in mind, that it is easier to get a flatter finish when using narrow bias binding, rather than a wider option. Remember, due to the double fold, you will see half as much bias binding on each side of the garment as you would if you used the single fold method (if using the same width bias binding for each option).

For example, if using 12mm (1⁄2in) binding for the single fold method, your finished binding will be 12mm (1⁄2in) on the inside of your garment. If you were to use this same binding and apply it using the double fold method, you would see 6mm (1⁄4in) binding on the inside of the garment and the other 6mm (1⁄4in) would be seen on the outside of the garment.

For the case of the example, we will use 25mm (1in) bias binding. If purchasing binding, you will need to buy 25mm (1in) bias binding. If you are making it yourself, you will need to cut 4cm (1 1⁄2) strips from a square of fabric and then fold the bias binding with a bias tape maker or fold and press by hand. The reason for the difference in width between the home made and the store-bought is that when buying pre-made bias binding, the width on the label refers to the width of the exposed part of the binding (as this is what you will see when the binding has been sewn on the garment), rather than the width of the binding when it's pressed flat.

For more information on cutting your own binding, you can see this tutorial.

---

Applying bias binding to a neckline

I will guide you through binding a neckline, as this is one of the most common applications, and once you’ve nailed a neckline, you should be able to apply binding to any curve!

These instructions will guide you through applying double fold bias binding to the neckline of the Collins top. The Collins top has an opening in the back, so the binding does not need to be joined. For a neckline without an opening, you need to join the two ends of the binding (see this tutorial for more information on joining binding).

Please note: when you are applying double fold bias binding (so that the bias binding can be seen on both the right and wrong side of the garment), you will need to remove the seam allowance from the seam you are attaching it to - unless the pattern was designed to have double fold bis binding applied (in which case the seam allowance will have already been removed). In the case of the Collins top, you will need to remove the 1cm (3⁄8in) seam allowance.

Using a tape measure, measure around the neckline of the top, starting from the centre back on one side, and continuing around the neckline until you reach the centre back on the other side of the back opening.

a Cut a piece of bias binding about 4cm (1⅝in) longer than your neck measurement (the neck of the top).

b If you have made your own binding, fold the binding in half with wrong sides together. (If you are using store-bought binding, the binding will already have the folds made in steps b - d).

c Unfold the binding (the crease is there to guide the next folds).

d Fold the outside edges towards the centre fold created in STEP b. Press.

e Unfold the binding for the time being (the creases will help you apply the binding). In the case of the Collins top, fold back the short ends by 2cm (3/4in).

With the top inside out, pin the binding to the neckline (right side of binding pinned to wrong side of top). In the case of the Collins top, you need to have the short ends of the binding folded back at the centre back opening.

Start at one side of the centre back opening and line up the folded edge of the binding with the folded edge of the back opening. The centre back seam allowances of the top need to be folded inside the top.

Work your way around the neckline (being careful not to stretch the neckline or the binding) until you get to the other side.

Stitch the binding in place with a 1cm (3⁄8in) seam allowance (you can stitch along the first crease line). Check that all seam allowances are still pressed in the right direction.

If your fabric is thick or bulky, consider trimming / grading down the seam allowance around the neckline by 6mm (1⁄4in). If working on a curve Like this neckline), you can also clip into the curve (this will help the binding sit nice and flat).

Turn the top right side out. Wrap the bias binding around the raw edge of the neckline, bringing half of the bias binding to the outside of the top - use the creases created earlier to assist you. Adjust the binding, so that the fold just covers the stitch line underneath. Press and pin the bias binding in place.

To secure the bias binding, carefully edgestitch close to the fold with the right side of the top facing up.

Give the neckline a good press from both the right and wrong side of the top.

I hope that demystified the process of applying double fold bias and taught you are new finishing technique to have under your belt!

Happy sewing!

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• Issue 8 of the Q & A series can be found here.

• How to make your own bias binding (the low tech way) tutorial. Blog post can be found here.

• Collins top sewing pattern. Pattern can be found here.

• How to join bias binding - How to finish an armhole with bias binding tutorial. Blog post can be found here.

• The Rushcutter dress sewing pattern. Pattern can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 8 - ATTACHING SINGLE FOLD BIAS BINDING

THE Q & A SERIES - ATTACHING SINGLE FOLD BIAS BINDING

Hi Emily,

Regardless if i use pre-made bias tape or make my own, I get so confused on how to apply and my garments don't look as neat as I'd like.

Can you please break down the steps to applying bias tape if A) you want the bias tape to SHOW ON THE RIGHT SIDE of your garment and B) you do not want your bias tape to show on the right side of your garment?

Thanks so much!

- RG
Portland, Oregon

---

Hi RG,

Bias binding can be a beautiful finish for armholes, necklines and finishing seams (among may other applications), but I understand it can also be tricky to get right.

I am more than happy to set out some tips, and then I'd suggest just getting lots of practice! It is one of those things that once you get the hang of it, it will come a lot more easily to you and you will be wanting to reach for the bias binding more and more!

I'm going to split this answer over the next two issues of the Q & A series, so the two applications remain clear and seperate and you will be able to refer to each issue when you need it (and I also don't want to scare you off by writing the longest email of all time!)

WHAT IS BIAS BINDING?

Bias binding is a strip of fabric cut on the bias (diagonal to the grainline / selvedge) that can be used in a variety of applications. By cutting the fabric on the bias, it gives the fabric a small amount of stretch, which makes it ideal for finishing curves and wrapping around seams (in the case of bias bound seams).

---

SINGLE FOLD & DOUBLE FOLD BIAS BINDING

In the photo above, the Collins top is inside out - showing the finish of the binding on the inside.

Single fold bias binding is the type of binding you will most often see in ready to wear fashion, as well as most sewing patterns that include a bound neckline or armholes.

This type of binding will give you a clean finish on the right side of the garment (you will just see a stitch line where the binding has been secured), and on the inside of the garment you will be able to see the bias strip neatly finished and stitched along the edge.

This issue will show you how to apply single fold bias binding.

---

Double fold bias binding is what you will use if you want to see the bias binding on both the right side of the garment and the inside of the garment.

There is an extra fold put in the binding (which is what gives it the 'double fold' name) that is used to wrap around the edge of the garment, so it is visible on both sides.

Next week's issue will show you how to apply double fold bias binding.

---

WHAT TYPE OF BINDING TO USE

You can make your own bias binding or purchase it by the metre / yard from a store. If making your own bias binding, I recommend using a lightweight cotton fabric such as cotton lawn or cotton shirting. You can also consider using a contrasting colour or print to add a fun pop of colour to the inside of your garment.

Depending on what instructions you are following, information changes slightly from person to person when it comes to the best way to cut your own binding as well as apply it. The instructions I am giving you today is the way I was taught at university and is the method I continue to use today. Like anything in sewing, find the techniques that work for you!

If purchasing binding, you will need to buy 25mm (1in) single fold bias binding. If you are making it yourself, you will need to cut 3.2cm (1¼in) strips from a square of fabric and then fold the bias binding with a bias tape maker or fold and press by hand. The reason for the difference in width between the home made and the store-bought is that when buying pre-made bias binding, the width on the label refers to the width of the exposed part of the binding (as this is what you will see when the binding has been sewn on the garment), rather than the width of the binding when it's pressed flat.

For more information on cutting your own binding, you can see this tutorial.

---

APPLYING BIAS BINDING TO A NECKLINE

I will guide you through binding a neckline as this is one of the most common applications, and once you’ve nailed a neckline, you should be able to apply binding to any curve!

These instructions will guide you through applying bias binding to the neckline of the Collins top. The Collins top has an opening in the back, so the binding does not need to be joined. For a neckline without an opening, you need to join the two ends of the binding (see this tutorial for more information on joining binding).

If you prefer photos (rather than illustrations), you can see the photo tutorial here.

Using a tape measure, measure around the neckline of the top, starting from the centre back on one side, and continuing around the neckline until you reach the centre back on the other side of the back opening.

a Cut a piece of bias binding about 4cm (1⅝in) longer than your neck measurement (the neck of the top).
b If you have made your own binding, place it right side down and press one long edge of the binding under by 1cm (⅜in). (If you are using store-bought binding, the binding will already have these folds made in steps b and c).
c Repeat for the other (long) side.
d Press both short edges under by 2cm (¾in).

Unfold the binding for the time being (the creases will help you apply the binding).

With the top right side out, pin the binding to the neckline with right sides together (top is right side out). In the case of the Collins top, you need to have the short ends of the binding folded.

Start at one side of the centre back opening and line up the folded edge of the binding with the folded edge of the back opening. The centre back seam allowances need to be folded inside the top.

Work your way around the neckline (being careful not to stretch the neckline or the binding) until you get to the other side.

Stitch the binding in place with a 1cm (⅜in) seam allowance (you can stitch along the crease line). Check that all seam allowances are still pressed in the right direction.

Trim down the seam allowance around the neckline by 6mm (¼in), and then clip and grade.

Flip the binding up to show the right side. Using your finger, press the seam allowance up towards the binding and understitch the seam allowance to the binding.

Turn the top inside out and fold the neck binding to the inside of the neckline, rolling the seamline towards the inside of the top slightly. With the raw edge of the binding folded under, press the binding flat around the neckline. Pin in place. Stitch along the folded edge of the binding.

Give the neckline a good press from both the right and wrong side of the top.

I hope that demystified the process of applying single fold bias binding to a curve. Next week I will show you how to finish a neckline with double fold binding!

Would you like to have a practice sewing this finish? Both the Rushcutter dress and the Collins top include a bias bound neckline.

Happy sewing!

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• How to make your own bias binding (the low tech way) tutorial. Blog post can be found here.

• Collins top sewing pattern. Pattern can be found here.

• How to join bias binding - How to finish an armhole with bias binding tutorial. Blog post can be found here.

• The Collins top sew-along: Binding the neckline. Blog post can be found here.

• The Rushcutter dress sewing pattern. Pattern can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 7 - CUTTING LINEN (OR OTHER TRICKY FABRICS)

THE Q & A SERIES - CUTTING LINEN (OR OTHER TRICKY FABRICS)

Hi Emily,

I love sewing with linen, but have real trouble keeping my fabric straight; it always "moves" when I mark it to cut it out. Are there any tricks to keep linen in place?

Thanks

- Jutta
Twickenham, UK.

---

Hi Jutta,

This is a great question! Linen generally has quite a loose weave - this is what makes it so beautiful to wear, but is also what can make it tricky to cut.

What I suggest you do with any fabrics that are tricky to cut (silks, chiffons, some rayons, some linens etc.) is to cut the fabric sandwiched between layers of paper.

Yep, I said it... paper! A lot of people in the home sewing word freak out at the mere suggestion of this, but in the industry it is common practice. I learned this trick when I studied fashion at university and it was a complete game changer! And yes, my fabric scissors have lived to tell the tale.

So if you're game to give it a go, continue reading...

prepare the paper

The way I do it is I take a large sheet of paper (I use "dot and cross" drafting paper) and draw a straight line along one of the long sides and one of the short sides. Use a long ruler (preferably clear) and use the dots and crosses as a guide.

If you would like to know more about the tools I suggest for patternmaking - please see this blog post from a few years ago.

prepare the fabric

Measure out the amount of fabric you require. If possible tear the amount you need.

Tearing generally ensures that you have got the fabric on grain - sometimes if your fabric is not great quality though, you will notice when you tear it that the grain is not straight.

If your fabric does not tear nicely - or doesn't tear at all (it's always a good idea to check on a small scrap of fabric first), you can find your cross grain by snipping into the edge of the fabric and then pulling a thread or two down from the cross-wise grain. This will create a straight line that you can cut along - continue across the whole width of fabric. Check out this tutorial from Colette if you need more details on how to do it this way.

If it looks like your sides aren't quite straight in comparison to each other, you may need to stretch the fabric on the bias (diagonals).

PIN SELVEDGE

Next, take the fabric and place it on top of the pattern paper, on a flat surface. With the fabric right side up, line up one edge (selvedge side) with the horizontal line on the paper (we'll deal with the vertical line soon).

Pin in place, being careful to check the edge remains straight between each pin.

If you are working on the fold (you will cut a pair of each piece), carefully fold the fabric in half, by bringing the opposite selvedge towards you. Line up the selvedge with the pinned edge, and then pin in place (using the original pins, so that the pins are now holding two layers of fabric and a layer of paper).

If you are cutting flat (single layer of fabric), you can skip this step.

PIN OTHER AXIS

Carefully line up the torn / cut edges on the left side with the vertical axis (marked with the vertical line on the paper). Make sure both layers of fabric are straight on the cross-wise grain, and then pin in place. I generally just pin the two sides (one vertical and one horizontal), but if you feel it will make things easier for you, you can also pin the other two sides of fabric to the paper.

Gently smooth out any wrinkles or bubbles in the fabric. I use a long plastic ruler to do this.

TOP LAYER OF PAPER

Put another layer of paper on top, sandwiching the fabric in between the two layers, before putting pins through all four layers (you can use new pins, or carefully remove the pins from the fabric between the paper and pin through all 4 layers).

Alternatively, if your fabric seems stable enough - you can miss this step and just have one layer of paper underneath the fabric. For example, for linen I would say that normally one layer of paper is enough as it shouldn't shift too much when it's pinned to the paper. For silk, I'd definitely put on the top layer of paper.

MARK/PLACE PATTERN PIECES

Now, place the pattern pieces on top of the paper, and line up the grainline on each pattern piece with the selvedges pinned to the paper.

I normally just pin the pieces in place and then cut. If you have your pattern on card, you can simply trace around each piece, and use a few pins to anchor them. You could also use pattern weights instead.

Carefully cut into each notch, and mark drill holes / darts etc. with a tailor's tack or chalk.

TIP: I find it easier to leave the cut pieces between the layers of paper until I'm ready to sew them. This way, they remain protected, but are also much easier to identify.

This tutorial was originally featured in the blog post 'The Acton Sew-along : 6 tips for sewing with silk (or other delicate fabrics). Check out this post for more tips for working with tricky fabrics!

I hope this solution solves your problem Jutta!

Happy sewing,

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• Dot and cross drafting paper. Can be purchased by the roll here.

• Tools for pattern making blog post. Blog post can be found here.

• Finding the grainline. Blog post can be found here.

• The Acton Sew-along : 6 tips for sewing with silk (or other delicate fabrics). Check out the post here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 6 - SELECTING THE CORRECT SIZE

THE Q & A SERIES - SELECTING THE CORRECT SIZE

Hi Emily

Thank you for sharing your extensive knowledge of all things sewing and drafting with us, I for one soak up everything you post.

I was wondering which size to choose when my measurements fall in the middle of two sizes? My bust is 93cm, do I choose size D or E, and adjust side and shoulder seams for fit later?

This new platform of answering questions is a wonderful way to expand our knowledge of all things sewing and drafting from a trained professional. Thanks again.

- Helen
Scarborough, Australia

---

Hi Helen,

Thanks for the email.

I am pleased to hear you like the format of this new email series. I am really excited to have the opportunity to connect with more makers through this platform!

This is a great question, and one I can see being very beneficial to a lot of other makers, also struggling with this question - so thank you for asking it!

There is not a straightforward answer to this question, as choosing a size, when you're between sizes (like so many of us are), will often depend on the pattern. In saying that though, it is not a difficult process at all and once you get the hang of what to look for, you will become a natural!

Below I will go through what I think you should consider before selecting a size for some of my patterns (and this should also help you when using other designer's patterns too).

Without all your measurements in front of me, I will take a guess and say that for most of my patterns you will be fine to choose a size D. With a bust of 93cm, your measurement is only 2cm larger than the size D bust measurement, and generally my patterns have a lot of design ease in them, so that 2cm should not make a difference. The only pattern that you would need to adjust would be the Acton dress (due to the fitted nature of the bodice) - more details on this below.

In saying this though, it is always good to know your high bust measurement, as choosing your size based on your high bust measurement will normally give you the best fit (more details on that below).

IN THE FOLDS SIZING

All In the Folds patterns are drafted for a B cup bust. A B cup bust, in sewing terms, is slightly different to what a B cup means when purchasing a ready to wear bra. Basically, it refers to the difference between your high bust measurement and your full bust measurement. I think it's important no matter what pattern you are using, to have an accurate measurement for your cup size, as well as know what cup size the pattern is drafted for. For more information about working out your sewing bust cup size, you can see the introduction section of this post here.

EDIT: 02/02/23 Our latest patterns are now available in two size brackets: sizes A - J and sizes G - P. There is a 4 size overlap (G - J) so that you can grade between pattern sizes when required.

The size A - J pattern is drafted for a B cup bust (5cm / 2in difference between high bust and full bust measurements). The size G - P pattern is drafted for a D cup bust (10cm / 4in difference between high bust and full bust measurements). If your measurements are in the overlap section of our size charts (G - J), w suggest using the G-P range to achieve the best fit.

You can find our updated sizing chart here.

This post from the Curvy Sewing Collective also gives great information about finding your cup size, as well as a list of many designers and the cup size they use when drafting.

Although my patterns are drafted for a B cup bust, most of my patterns have a considerable amount of ease in the bust area (except for the Acton dress), so this also needs to be taken into consideration when selecting a size (and before considering making an alteration).

MAKING A TOILE (MUSLIN)

I am a strong believer in making a toile (some of you might know it as a muslin). Although taking your measurements gives you a really good idea of where to start with selecting a size / making adjustments, nothing beats what you can learn from making a toile. Even though I have been sewing since I was a child, I never make a garment without first making a toile (yes, even for a sack dress!). It means that by the time I get to cutting the "proper" fabric, I can relax and enjoy the process - knowing that the garment I finish with will (most likely) be something that I will love to wear.

For guidance on making a toile, check out this post from the Rushcutter sew-along.

THE RUSHCUTTER

When it comes to making The Rushcutter dress, the your high bust and full bust measurements are the most important measurements to consider. As the dress is slightly A-line in shape (and very boxy), it is most important to get a good fit through the shoulders and neckline, and due to the amount of ease in the waist and hips, it is likely you will be fine to leave the pattern as-is, even if your waist and / or hips are a bigger or smaller size than your bust.

If you have an A cup, B cup or C cup size bust, you should be able to take your high bust measurement and cut the pattern according to that size. If your bust is between sizes it's likely you can afford to go down a size as there is a significant amount of ease at the bust.

To see how much ease is included in a pattern, simply compare the body measurements to the finished garment measurements. For example, the finished garment measurement for a size C is 100cm (39 3/8") and the body measurement for this size is 86cm (33 7/8") - therefore there is 14cm (5 1/2") ease in the bust.

If you have a cup size larger than a C, what you need to do is take your high bust measurement and add 5cm (2in) to it (this 5cm / 2in is the equivalent of a B cup bust - what the pattern is drafted for). Select the size based on your high bust, plus the 5cm (2in). You will need to make a full bust adjustment to change the pattern from the measurement found and your actual bust measurement. A tutorial on doing a FBA can be found here.

The Rushcutter sizing info can be found here.

THE COLLINS TOP

The Collins top is intended to have a substantial amount of design ease in it to create a fun and dramatic shape. For this reason, I suggest focusing on your bust measurements (both high and full bust) when selecting your size, so that you get a good fit through the chest.

Use your high bust measurement to select your size and then your full bust measurement to work out whether or not you need to do a Small Bust Adjustment (SBA) or Full Bust Adjustment (FBA). If your bust is more than a couple of sizes bigger or smaller than your high bust, it might be a good idea to make the alteration (if you have an A cup or C cup bust, you will like be okay to cut the pattern as-is, without making the alteration).

If you have a large bust and decide not to do a FBA, you may want to add some extra length to the front of the pattern to ensure the top doesn't become too short. If your measurements are between sizes, I suggest selecting the smaller size due to the amount of ease in the pattern.

The Collins top sizing info can be found here.

THE ACTON DRESS

Unlike the Collins top and the Rushcutter dress, the Acton dress does not have much ease in the bust. It is designed to be a fitted bodice, so selecting the correct size for this pattern is a little more important than the other two patterns discussed.

Again, take your high bust measurement and your full bust measurement to work out if you will need to make a Full Bust Adjustment (FBA) or a Small Bust Adjustment (SBA).

If the difference between your high bust measurement and your full bust measurement is greater than 5cm (2in) you will need to do a FBA. If it is smaller than 5cm (2in) you will need to do a SBA.

You should definitely make a toile of this pattern! Even if it's just of the bodice section. By making a toile, you can check the fit, and make any adjustments before cutting into your “real” fabric. It is also important to make a toile for the Acton, as it is difficult to make adjustments to the fit as you go, as the bodice is fully lined.

The other thing that is important to check on the Acton dress, is the strap length. The length of the straps will significantly impact how your bodice sits, so have a play to make sure the "peak" of the bodice (the fullest part) is sitting directly on the fullest part of your bust. This can be tricky to do on your own, so if possible find someone to give you a hand pinning the straps in position on the back.

Detailed instructions about making a toile for the Acton can be found here.

The Acton dress sizing info can be found here.

---

I hope this helps you with your selecting your size when you're using my patterns, as well as other designers!

Happy sewing,

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• The difference between your high bust and full bust measurements. Look at the introduction of this post.

• A guide to pattern cup size - Curvy Sewing Collective. Post can be found here.

• How to (and why) make a toile / muslin. Post can be found here.

• Making a Full Bust Adjustment (FBA). Tutorial can be found here.

• Lengthening the Collins top pattern. Tutorial can be found here.

• Making a toile of the Acton dress. Tutorial can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 5 - LENGTHENING THE PEPPERMINT WRAP TOP

THE Q & A SERIES - LENGTHENING THE PEPPERMINT WRAP TOP

Hello

This is my first ever make of one of your patterns, and I love how it turned out. I have a query though, I would like to lengthen it slightly, so where would I do that on the pattern, if I did it from the base of the bodice and back it would also increase the width of the ties.

Thanks for a wonderful pattern and my first ever french seams without any stress.

Julie

---

(Please note, the photo above shows Julie's original top. Scroll to the bottom to see the lengthened version).

Hi Julie,

Thank you so much for taking the time to add your submission to the Makers Gallery! I really appreciate it.

I am so pleased you enjoyed using your first In the Folds pattern. It looks fantastic!

I have done a few illustrations to explain how I would go about lengthening the top, as you're right, it's not as straightforward as how you would normally go about lengthening a pattern, due to the wrap sections.

STEP 1 - PREPARE YOUR PATTERN

To start, consider if you would like to make the alteration to the original pattern, or trace a copy. The beautiful thing about PDF patterns is that you can always re-print the original if required, but if you think you will be wanting the original, I'd suggest saving time and tracing a copy now. If tracing, be sure to transfer all important markings, such as dart point and notches.

STEP 2 - MARK LENGTHENING LINE

Mark a horizontal line through the pattern. I suggest marking the line between the two notches. To make sure the line is horizontal - check that it is perpendicular to the grainline.

You will see in the illustration that the line runs directly across the pattern, until it reaches the seam allowance line. At this point I have drawn a line that cuts through the seam allowance at a right angle. This will make it easier when you are using this section as a "hinge" (more details on this technique below).

Take a large piece of paper and mark two horizontal lines, the distance apart you would like to add to the top. For example, if you would like to add 5cm (2in) to the length of the top - draw the lines 5cm (2in) apart.

STEP 3 - CUT PATTERN

Cut through the line on the pattern piece, stopping when you get to the seam allowance line on the wrap side. Cut in to the seam allowance on the wrap side, stopping at the point on the seam allowance - creating a small hinge of paper (2mm or so wide).

STEP 4 - MAKE THE ADJUSTMENT

Place the pattern on top of the piece of paper with the lines marked.

Line up the top section of the pattern with the first line and stick down with glue or tape. Open up a dart in the side seam, using the hinge on the other side and move the lower section of the pattern until it reaches the lower line . Glue / tape in place.

More information about the 'cut and spread' technique can be found here, if this technique is new to you.

STEP 5 - RE-DRAW SIDE SEAM

Re-draw the side seam, by drawing a line of best fit. Move the notch back up to the original location (about 14cm below the first notch).

STEP 6 - ADJUST HEMLINE

You can also add a little more length to the front of the top at the hemline (if you like), by altering the shape of the hem as illustrated.

You can then lengthen the back of the top as you normally would - adding the same amount of length that you added to the front (measured at the side seam) and also moving the notches.

As this is quite a big alteration, I'd suggest making a toile/muslin before making the top, to check you are happy with the length and how the top is now sitting.

As this Q and A series is based on questions that I have received over time, I can let you know how this alteration worked for Julie. Here is her new lengthened top, made using this tutorial!

Happy sewing,

Emily

---

Resources mentioned in this newsletter

• Free Peppermint Wrap top pattern. Download the pattern here.

• Lengthen a pattern (the regular way). Step-by-step tutorial can be found here.

• Maker Stories - a place where you can see a range of people wearing In the Folds patterns and find out what alterations they made to the pattern (or submit your own make!) Maker Stories submissions can be found here.

• The 'Cut and Spread' technique. Tutorial can be found here.

• How to (and why) make a toile / muslin. Tutorial can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series

ISSUE 4 - MAKING A PLAN FOR THE YEAR / QUARTER

THE Q & A SERIES - MAKING A PLAN FOR THE YEAR / QUARTER

Hi Emily,

I messaged you recently about a post you made on Instagram talking about something you’re using to help you stay on top of your work. Would love to know what you’re using!

(The fact that it has taken a week for me to email you should be indicative of my current state of affairs!)

thanks so much,

- Dawn

---

Hi Dawn,

Thanks for the email.

I am sorry to hear you are struggling to keep on top of things. I totally feel your pain and was definitely in the same state for the first 3 years of running my business!

I am very happy to share with you what I have learned, in the hope it may help you too!

THE SYSTEM

The system I am using is probably something you could do in any project management program, or even in a paper diary, as I think it's more about the concept rather than the tools.

I am currently following this system in the project management system I use (Trello) as well as a paper planner (the planner is something I created myself which has been growing and adapting as I work out what works best for me). I am using the two formats as I do like the ability to sit down regularly and write on paper, particularly for the reflection exercises I do and the weekly planning, but then transferring all the important bits to Trello means that I can access my plan wherever I am, as I have the app on my phone - so that is really handy.

GOAL SETTING

For me, I think the goal setting is one of the most important parts of this system. Having my goals set and sorted means that I have a north star - something to refer to when I have difficult decisions to make or need to prioritise projects or tasks.

I spent a day at the beginning of the year doing some overall goal setting and thinking about what I wanted to work on for the year. I did this by reflecting on the previous year - what worked, what didn't and thinking about how I was feeling about each aspect of my life - things like business, finances, health etc. I used a simple ranking system (1-10) in each area to see what areas needed some work.

I didn't want to overwhelm myself with goals, so came up with just three to focus on for the year. My main goal is pretty simple and something I can keep coming back to when I'm questioning whether I should do something. It is related to the number of patterns I want to produce / release this year. I then have a few secondary goals that are more related to my personal life.

QUARTERLY PLANNING

I then decided to split the year into quarters - and this is probably the thing that has been the game changer for me. I created lists for the 12 weeks of each quarter (plus a 13th week that is a break week) and worked out when things needed to be done to meet the goal for the quarter.

For example, when I was creating patterns in collaboration with Peppermint magazine I put in the deadline for the sample to be made and then for the pattern to be published - these milestones were set in stone so it was very important I could always meet those deadlines. I would put the deadlines in my quarterly plan and then with this information I then worked out at what point I would need to send the pattern to be graded and illustrated (it takes the freelancer I work with 4 weeks to do it, so that helped me work out when it needed to be sent). From that I could go week by week and work out when the design needed to be finalised, when I needed to order fabric etc. I find the easiest way of doing this is by setting the project completion date and then working backwards, week by week, until all aspects of the project are accounted for.

I then did the same thing for my own patterns - working out timing in relation to the Peppermint pattern (as I can't swamp my freelancer with 2 jobs at the same time). I was realistic about how long things actually take me. For example, if I am working on a new pattern, I give myself the full quarter to work on design and development, so that means if there is a week without a more pressing deadline, I set a day aside to work on design and development. I did this for each task I wanted to complete for the quarter - trying to be realistic about what could actually get done.

For pattern releases, I put notes in the weeks before to do things like contact the testers, prepare website pages etc. For sample making, I put things like washing the fabric in my plan - this means I can be a lot more organised and also batch tasks when possible.

BREAKING IT DOWN FURTHER

Once I have a basic idea of what needs to be done when in the quarter, I add more detail. I have a list for each week of the quarter (I don’t plan any further than the quarter ahead, although have a rough idea of what will be happening for the remainder of the year. For a really small business, I think it’s difficult to realistically plan for more than 3 months in advance - so that’s the way I like to do things).

I then break each weekly list up by day and batch tasks together. This way I can see if I am setting myself reasonable amounts of work. For example, I only have 3 days a week to work on my business, so I might say, this week Wednesday is for admin and I batch all my tasks, Thursday is for sample sewing and Friday is for pattern creation and digitsation (computer based work). If something doesn’t fit or I realise I have overloaded myself - I will move the task to another week in the plan where it fits better. I find this the best way to set myself up for success, rather than packing my days to the brim and then feeling frustrated and overwhelmed when I (inevitably) don't manage to get everything done. If there is a conflict, I can look back at my goals and work out what is the priority, or consider getting outside help if it looks like I can't get through everything I need to get done.

I use the previous quarterly plan as a guide each time I sit down to do quarterly planning and tweak as I learn how long things really take. It’s a work in progress and I imagine that it is something that will always be changing and adapting as my business grows. But it's good that after I created my quarterly plan the first time, I have been able to just tweak it each quarter and have not needed to start from scratch.

WEEKLY PLANNING

As well as my 'Quarterly plan,' I have a 'Weekly to do' board in Trello. On a Sunday I do a reflection exercise from the previous week and take note of anything that didn’t get done, anything I’m struggling with etc. I then take a fresh weekly plan and copy down all the tasks from my Quarterly plan - allocating each task to the work days I have available. I do this all in my paper planner before transferring it to Trello (as mentioned earlier, I like having a digital copy so I can always access my plan on my phone, using the Trello app, even when I don’t have my planner with me).

I set a couple of goals / milestones for the week to ensure I am focused on my larger big-picture goals and am focused on doing the right work to get me there. I also add any tasks that I didn’t complete the previous week back into the current weekly plan.

DAILY CHECK-IN

Something I have added to my planner recently is space for a daily check-in. I realised that it was great to feel productive and get everything done, but there wasn’t any space in my day / plan for checking in and taking stock. I now answer a few questions each morning and evening in my planner (such as ‘What is the one thing you would like to get done today?’ ‘What will you do to celebrate completing it?’ 'What are you grateful for today?') and that is really helping me feel good about what I am achieving as well as reminding myself to schedule joyful things in my days too.

SCHEDULED BREAKS

Scheduling a break week has also been a game changer. It was so good last quarter to actually take scheduled time off and see it as a celebration for the hard work I had done. I think as creative business owners this is probably something we struggle with the most.

THE BENEFITS

The thing I have found most beneficial about the plan is that it has given me permission to not do certain things. It gives me a place to dump all the information so that when I am ready to do a particular task it is there. For example, I might suddenly think, 'I have to make a sample of xxx' and then I see it's in the plan for 2 weeks time and I can just forget about it. Prior to this I was just trying to work on everything at the same time and felt like I was never completing anything.

Working this way has also helped me realise that there are only so many hours in the day and to not over-commit myself. I try to be realistic about how long things will take so that I don't always feel like I am behind. I always try to make make my daily task list reasonable and achievable. If you struggle with this - consider writing down how long you expect the task to take next to each item. I often do this when I am feeling overwhelmed and suddenly realise I have scheduled 16 hours worth of things in a day - which is obviously setting myself up for defeat.

Although I try to always follow my plan, I am also working on going easy on myself when things don't go to plan. Most of my deadlines are self-imposed, and pushing something back by a couple of weeks is not going to be the end of the world.

Best of luck with it!

Emily

---

RESOURCES MENTIONED IN THIS ISSUE

• Trello can be found here.

---

P.S. Would you like to know what the Q & A series is all about? This page tells you a little bit more about the motive behind the series.

Don't have a question, but found this newsletter helpful? I'd love to hear from you! Get in touch and say hi.

---

More posts in the series