News

It is the tail end of summer here where I live and I'm working to navigate our new routines for the autumn and school year. No matter the distractions, my mind shifts to the difficulties of the world. The plight in Afghanistan is close to our hearts here at Folkwear, where we feel a connection to the cultures and histories of our patterns and the folks, often women, who created beautiful garments and art with textiles and thread. We want to do what we can to help. We are donating 10% of all our retail sales for the full month of August to two organizations working to support women in - and escaping from - Afghanistan. 

In addition to our support for these two groups, we encourage you to investigate refugee resettlement organizations in your own community. Many of these local groups are actively working now to find homes for refugees from Afghanistan and many other parts of our world in your town. Whether you support them with financial contributions, or by offering a welcoming hand to a family making a start in a strange land, this work is very important. Supporting and welcoming newcomers to our neighborhoods is a very human and individual way to do good in the world. I've found that sewing and making, or showing interest in clothes, bridges lots of cultural gaps and creates beautiful connections.  

• Women For Afghan Women main website https://womenforafghanwomen.org
• Women for Women International https://www.womenforwomen.org

 

by Cynthia Anderson
The Folkwear 216 Schoolmistress Pattern comprises two perfect companion pieces; a feminine-yet-tailored shirtwaist (blouse) and a skirt made of flattering gores with a fun box pleat in back. In 1908, this pairing would have matched and been a popular ready-to-wear item, covering pages in the Sears catalog. The beauty of these garments is that they can still be made and worn as a coordinated ensemble or as separates to be mixed in any way that inspires. Pair the shirtwaist with your favorite jeans or skirt… pair the skirt with any combinations of blouses, tops, vests, or sweaters to expand your wardrobe. Learn about the 216 Shirtwaist in the previous post Making the Scalloped Front Placket for the 216 Schoolmistress Shirtwaist. In this post this easy-to-make skirt gets it’s due appreciation.
The 216 Schoolmistress Skirt Pattern is just as flattering, versatile, and contemporary now as it was over a hundred years ago. Originally, the skirts were quite plainly cut, usually in gores with or without inverted pleats. Our pattern includes an inverted pleat that makes for easy movement. Gores are triangles that are smaller at the waist and get wider as the length extends towards the bottom of the skirt, creating a graceful silhouette. When stitched this easy construction creates an A-line that fits though the waist and hips while allowing for easy movement.  
Wear this skirt short or long, made for a special occasion or for everyday. It can be worn year round depending on the fabric. I can not think of a woven fabric that would not work for this lovely skirt. Light to mid-weight wool, cotton, linen, and silk will all work. Even a mid to heavy weight knit could work if the stretch is stable. Gored skirts look lovely made of fabrics with drape or without drape. It just depends on what you like. The gore construction is the perfect canvas for getting creative and mixing beautifully curated fabrics. The bottom trim can be added to mimic the pleats on the shirtwaist or eliminate for a simple yet elegant silhouette.

Gored skirts are as easy to construct as they are flattering, and can be worn by nearly all body sizes and shapes. In this blog I will demonstrate how easy it is to grade between sizes and enlarge the size offerings, to help you achieve the fit you need.
Grading the Skirt Up

All printed commercial patterns come in a range sizes, yet precious few bodies ever exactly fit one size perfectly. If you think of a pattern as a starting guide, that is meant to be altered, then you can begin to think of how to use a pattern that can be made to fit you, instead of you fitting the pattern. It would be a shame to overlook this beautiful skirt because of fit concerns or a limited size range (though the size range is quite small for this pattern).

What you are about to learn in this blog, is not a quick fix for a full bottom and/or stomach adjustment. Grading can be complex depending on the issues and is a skill that requires time and effort to learn. Learning to fit is the most perplexing aspect of sewing and the part that every sewist eventually must face. To understand fitting you have to start somewhere and grading a skirt is the perfect place to start.

The idea is to start with the widest measurement you require. For most women this is the hip measurement, however it could be the waist. The general grading rule (but not always) is to start with the widest part of your body, then tapper or grade towards the more narrow portion. To make a skirt fit, the hips and waist are the focus. For this skirt to fit properly, the waist should sit at the body’s natural waist and the fabric should gently cascade over the hips. This skirt is not meant to fit too snugly over the hips, it has enough ease or built-in roominess to allow for comfort when sitting, standing, and walking

The 216 Schoolmistress Skirt pattern currently only goes up to a size 14, which has a 28-inch waist. We intend to size this pattern up in the future, but luckily you do not have to wait. Expanding the sizes, at least by a few sizes, is not difficult when working with gores. I will demonstrate how to grade this skirt between sizes at the waist and hip. I will also demonstrate how to size the skirt up by adding to the seam allowances.
One additional point, when making sizing adjustments you must make a muslin first! Yes, I know a muslin takes time and materials, but it is essential if you do not want to ruin your 'final' fabric. 
Grading Between Sizes
Grading between sizes on a skirt is fairly simple.  This is a great technique to use when your hip and waist measurements put you between sizes on a pattern.  For instance, if your hip measurement puts you at a size 14 and your waist measurement puts you at a size 12.  The rule of thumb for grading between sizes is that you should just be going up or down 2 sizes or less.  If grading between 3 or more sizes (e.g. from size 8 waist to 16 hip) the proportions of the garment can get skewed and not look right.  For large differences, there are other fitting techniques to make adjustments, but we are not covering those here.  

When making adjustments, it is best to trace the pattern and not use the original. Mistakes happen and experimenting on your original pattern may end in regret. Instead, take the time to trace the pattern to experiment and learn on. To grade a pattern between sizes, trace the sizes you will be grading between to a piece of tracing paper or fabric tracing material, such as Swedish Tracing Fabric. Use a hip curve or French curve to connect the two sizes using a smooth and continuous line. Be sure to make the same exact adjustment to both side seams.
In the case of the 216 Schoolmistress Skirt, the side pieces J and K are adjusted on the double notched edges (7). Because the pattern is cut two, the side seams for both the front and back side seams are adjusted. In the photos below the largest hip measurement of 38 inches (97cm) was used and graded to the smallest waist measurement of 24 inches (61cm).

Enlarging the Pattern
The 216 Schoolmistress pattern currently only goes up to a size 14 with a 28 inch (71cm) waist. Luckily, this pattern can be graded up even if the size increase is fairly significant. This is done by adding more to the seam allowance edges of the panels. I am using the largest size pattern as a guide and as a starting point for the waist enlargement. Since the larger pattern sizes are limited I am focusing on sizing up and not down, but the principle is the same.
Because gored skirts are made up of several panels, each pattern will need to be adjusted if the size increase is two sizes or more. This will ensure the proportions of the panels remain consistent. Pattern pieces I,J,K,M,N,O,P,Q,R, and S will need adjusting.
The waist is a logical place to start, because it is a straightforward concept. For this reason I always start with the waist. However, double check the hip measurement as well. With a gored skirt design you always want some ease in the hip. You can adjust the hip measurement at the same time as the waist adjustment, if you feel confident in doing so. I prefer to make one adjustment at a time. But this is totally up to you and your skill level.

I need a 31 inch (79cm) waist measurement, so I will need to add 3 inches (8cm) to the 28 inch (71cm) waist of the size 14. To enlarge the skirt sizes, each pattern piece will need to be graded up equally, adding width on the side seam allowances. Three inches (8cm) sounds like a lot, but once the measurement is evenly distributed to all the pattern pieces, it seems less so.

To enlarge the waist 3 inches (8cm), the additional 3 inches (8cm) needs to be evenly distributed to each of the 12 side seam edges. I know there are seven gores equaling 14 edges, but keep reading and I will explain.
To keep the proportions of the gores equal, the same amount of width will need to be added to the side seams of each gore that "determines fit." To do this divide 3 inches (8cm) by 12 = .25 inches (6mm).
But wait a minute... there are seven gores... (7x2=14)? Yes there are seven gores, however the Center Back edge of Back M does not get additional width and there are two Back M pieces (14-2=12). The Center Back edges do not get addition width added because the idea is to keep the fabric on grain and to avoid causing complications with the pleat. The calculation (above) results in 1/4 inch (6mm), to be added to each seam edge, except on the Center Back edge of Piece M. The red lines below indicate the edges of the pattern pieces I, J, K, and M that receive the additional 1/4 inch (6mm). Pattern piece Pleat Panel L does not get an adjustment. Keep reading to understand why. Note: For pattern pieces that are cut on the fold (pattern piece I), only the seam edge will receive the additional 1/4 inch (6mm). Because the pattern is cut on the fold the added allowance is already built in.
Now, for why pattern piece Pleat Panel L does not get an adjustment. Since the skirt is designed with an inverted pleat, the pleat does not need to be graded for each individual size adjustment. Think of the pleat as a proportional element and not one that affects fit. However, the pleat will need to be made wider if the pattern is sized up significantly. It would look odd to have a tiny pleat on a large skirt.
Don't forget the accompanying pattern pieces! The waistband and hem trim edges will need the extra 1/4 inch added to their seam allowance as well. Below are all the pattern pieces used, with a red line to indicate which edge the width adjustments are made.  
Grading the Hip
Ok, the waist is graded up and it fits beautifully. The adjustment I made increased the width of the entire skirt not just at the waist. But what if the hip measurement is still not wide enough? Typically, with a gored skirt design plenty of ease is already built into the hip area, as much as 5-7 inches, and this particular pattern has 4.5 inches of ease at the hip (finished measurement of 42.5" at hip for largest size).
So for the waist adjustment I made, I also added 3" to the hip.  The finished measurement for the hip is now 45.5 inches.  If you finish the waist adjustment and still want to add additional width to the hip, or you want to JUST add width to the hip (i.e. your waist fits size 14, but you want more room in the hip) you can use the pattern you created to fit your waist or use the largest size and work on a hip adjustment. Place and tape a piece of Swedish Tracing Fabric under the pattern large enough to adjust for your hip measurement. In commercial sizing, the hip measurement falls 7-9 inches from the waist. I find that 7 inches works for me, but everyone is different. However, this is where it helps to know your own body proportions.
Starting with the largest size (38" hip), take the difference between your hip measurement and the largest size.  For instance, if your hip is 42" (42-38=4), you have 4 inches.  You can also add a little more ease to the skirt, which can be helpful if your size fluctuates.  If you want to add more ease, add add 2-1/2 inches (6cm) to the hip difference measurement (e.g. 4+2.5 = 6.5). Now divide this measurement by the number of side seams as we did for the waist measurement increase.  Mark the extra width on your pattern at the hip area (7-9 inches from waist).  Using a smooth continuous line connect the hip width to the waist edge. Refer the Grading Between Sizes technique earlier in this post. Remember that you don't want to add too much size to the hips without also adding to the waist so the proportions of the garment don't get thrown off too much. 
I hope this post will help you understand how to make simple fitting and sizing adjustments to not only this 216 Schoolmistress Skirt, but to any gored skirt pattern you might have. Remember that patterns are a guide to making the garment you dream of. All aspects of learning to sew take time like any good education. Folkwear hopes to inspire and celebrate all students and teachers whether you are heading back to the classroom or the sewing studio. Don't delay... the Folkwear 216 Schoolmistress Shirtwaist & Skirt Printed Pattern is on sale through the month of August!

by Cynthia Anderson

This month Folkwear is featuring the 216 Schoolmistress Shirtwaist & Skirt Pattern. These garments date from around 1907, a time when women's clothing became more man-tailored which was a new and exciting twist in women's fashion.

In case you were wondering, a shirtwaist is a blouse. Shirt, but to the waist*. This type of fitted blouse appeared as early as 1890, making it one of the first fashions to originate in America. This humble beginning of men's tailoring being added to women's wear would launch an aesthetic that would make the careers of many modern designers to come.

The pieces featured in this pattern are both elegant and flattering, and deceptively easy to construct. The beautifully blended details of the blouse are varied on the front and the back, providing delightful surprises coming and going!  The pattern allows for two front facings versions, one simple and one uniquely scalloped. Two sets of wide tucks extend over the shoulders framing the scalloped facing on the front and then converge in a lovely v-shape at the waist shaping tie detail, that finishes with a small gathered peplum on the back. The gored skirt included in the pattern is an elegant companion to the shirtwaist and it is worthy of more attention and will be featured in a separate blog post.

 

In this post I will focus on the making of the scalloped front facing of the shirtwaist. This detail is not hard to make and should not be missed! Once you give it a try you will not be able to resist adding this tailored touch to other worthy projects. Learning to make this unique detail is satisfying and enjoyable.

The turn of the century was a time of change for women and their clothes changed in tandem. As capitalism took hold in Western society, work shifted from family, home-based businesses to larger endeavors. Many women were working for pay outside the home for the very first time, and engaging in active sports like never before. Along with this new found sense of independence came the need for practical clothing that had long been the the privilege solely of men. The shirtwaist design allowed for practical mobility with tailored details adopted from men's clothing, while still retaining the feminine aesthetic.

This pattern was originally taken from a matched set made in white cotton with tiny squares woven with black thread. Using the same fabric for both a top and a bottom was popular during this time. This matching pairing was referred to as "shirtwaist suits." Unless a woman was wealthy, her wardrobe would have been limited to a few cherished pieces that were worn regularly. Making a shirtwaist and skirt out of the same fabric allowed for a coordinated look, while the separate pieces had the added benefit of practical interchangeability allowing for a more diverse wardrobe. This idea of how to build a wardrobe is one we still abide by today.

Fabrics
Originally the shirtwaist and skirt would have been made of cotton, linen, light weight wool, silks, taffeta, gingham, percale or organdy. Due to the tailoring details of this design, fabrics that will allow for crisp edges, while allowing for a soft drape are ideal. Look for fabrics that are fine, densely woven, and light to mid-weight. Cotton lawn, batiste, and shirting would be just as perfect now as they were at the turn of the century. Cotton flannel and light weight wool would be perfect for winter. For a dressier look silk would be amazing.

The details of this shirtwaist allow for a prefect opportunity to get creative. Cut the collar, facing, cuffs, and ties on the bias for a creative use of a fabric with a stripe or directional print. Mix solids, stripes, and prints in anyway that makes your heart sing. Even mix up the types of fabrics - just remember to make the fine details out of fabrics that will not try to unravel on you. And always launder different types of fabrics before combining them.

Getting Started

This shirtwaist is not difficult to make, but the goal of this blog is to give you some tips and techniques that will ensure you achieve the clean finish that the scalloped front focal point requires.

In this demonstration I am using cotton muslin with contrasting red thread to make the techniques easy to see. I am not constructing the entire blouse... just  the front (View B) using the scalloped front facing on the right side only.  

To make the scalloped front cut one single layer of fabric for each Front  piece. Typically the front of a blouse is cut two pieces at the same time. But, this is where the pattern is a bit different and each side of the front is cut separately due to the scalloped edge of the right side. It will help to trace off a separate pattern pieces for the right side and the left side for this pattern since they are layered on top of each other. The left side is also wider than the right side as it creates its own facing. 

I cut the LEFT side of the front first, with the pattern placed right side up on the right side of the fabric. For the RIGHT side I flipped the pattern over (writing side down), placing it on the right side of the fabric. This should result in mirroring Front A pieces as in the photo below.

The RIGHT side of Front A will receive the Front Facing C. Notice (as mentioned above) that the Left side is wider than the right side. This is because the Left side of Front A will fold under creating it's own built in facing. This facing goes together in nifty unexpected ways.

To reduce confusion I have labeled the right and left sides (as you wear them and according to the pattern pieces) with a bit of masking tape on the right sides of the fabric.

 

Working on LEFT Side of Front 

As always, it is a good idea to staystitch any curve. Make a staystitch along the scalloped edge of the Left Front just within the 1/4 inch (6mm) seam allowance. This staystitch will not only provide stability to the edges, but will serve as a fast and easy guide for turning and pressing the edges under. The photo below shows the wrong side of the Left Front facing up.

Notice the drawn fold line (in the photo below) was also added to the wrong side. I will use it make a long basting stitch, to use as a folding guide and remove later. See the next photos.

 

Now, clip the inside of the curves to release the fabric so it will turn under smoothly. Trim the points so they will eventually be nice and crisp when turned. Notice how small the clips are in the photo below. The tighter a curve, the finer the clip should be. Remember clips are made to release the weave of the fabric so smooth curves can be achieved. If your final curve is not as smooth as you would like, simply go back and clip a bit more.

Press under the edges using the 1/4-inch (6mm) staystich as a guide. Since the turned under edge is small, use your fingers to help get the folds started and to crease the fabric before pressing. It is not necessary that your staystitch guide line be absolutely perfect. The idea is to give yourself enough of a guide to allow you to keep the curves smooth. Adjust the folding and pressing until you are satisfied with the results.

In the photo below the pressed curve is seen from the right side facing up. Even though this edge will be turned to the inside of the Shirtwaist front and will be hidden from view, it is nice to have it neat. 

Using the straight basting stitch as a guide, fold the Left Front under to the inside. Pin and stitch close to the edge of the pressed scallop edges. Continue stitching along the straight portion to the bottom edge of the the shirtwaist as well.

Note that using shorter stitches when stitching curves is beneficial, because the smaller stitches are easier to control, they make a sturdier and more stable stitch line and hold, and generally look nice and neat.

When stitching the scallops, try to pivot at the tip of each point for a smooth finish. Small or short stitches will make this easier.

The photo below shows the stitching is visible on the right side of Left side of Front A for a beautiful finish. Even though this finish will not be seen from the outside of the garment, it is a delightful secret touch for the wearer!

Working on the RIGHT Side of Front

Now, orient the Front Facing C as shown below. Take notice that the points to the scallops face right, with the right side facing up. Staystich along the smooth scalloped curves on the left side of the Front Facing. Clip the curves as seen below and as indicated on the pattern. The idea is to clip up to the curve cleavage, staying inside the staystitch.

Reorient the facing again. Working with the WRONG side of Front Facing C facing up, use the staystitching as a folding guide, being sure to fold and press the edge towards the pointed edge of the scallops (similar to what we did with the left side front).

Pin and stitch RIGHT side of Front Facing to WRONG side of the Right Front, using a 1/4-inch (6mm) seam allowance (NOT the usual 1/2-inch seam allowance). You should be stitching the pointy edge of the scallop edge. Remember the facing will be turned to the right side of the Right Front... not the wrong side as you normally would.

Clip inside the curves and trim off the points as before. Be sure to carefully trim the points as seen in the third photo below. A clean and close trim will ensure the point turns cleanly, resulting in a sharp point.

Now this is the exciting part! Turn the facing to the outside (right side) of the Right Front. Working with the right side facing up, press the curved edges with a slight roll towards the inside of the garment. The idea is to roll the edge just enough that the stitched seam is not visible on the right side of the garment. Use your fingers to make a sharp tip on the points before pressing. Try to avoid any turning tools on the points because you are likely to stretch them in an unfortunate manner. If you made your curve clips small enough and point trims close to the stitching, then the crisp edge should easily be achieved. This is a craft detail that will make the shirtwaist scalloped front a delight to wear and behold!

 

 

One last bit of stitching to go. Pin the facing to securely hold it in place for stitching. You may or may not want to hand or machine baste the facing in place before making the final top-stitching. The final top-stitching serves as a construction element, holding the facing in place and it can also be a final decorative detail if you like.

Top-stitching is typically made with a longer stitch than a construction stitch. However, longer stitches can be tricky on curves and at pivoting points. Luckily, this final bit of stitching is done on the smooth side of the curve and points are not an issue. I recommend cutting a second Front Facing C piece out of the fabric you are using and experiment with the top-stitch length before attempting the final curves. This will enable you to gage the best stitching length. Once you have decided on your top-stitch length, consider whether you want your stitching to blend in with your fabric or stand out as a design detail.

 

Even though this demonstration was just made out of muslin, you can see how delightful the details are on the front of the Folkwear 216 Schoolmistress Shirtwaist and how a bit of top-stitching can make a project special. Don't forget about how good the buttons are going to look! Of course, if your stitching is especially fine, use hidden snaps to keep the front clean and simple.

Below are the final photos of the muslin demonstration. I hope this blog post will encourage you to try the scalloped front facing for this truly lovely shirtwaist blouse. If you like the front detailing... just have a look at the back. This is a special piece, so prepare yourself for all the compliments to come.

 

 

Purchase your pattern early so you will be ready to enjoy wearing the 216 Schoolmistress Shirtwaist come fall. Pair with your favorite jeans or make it's companion skirt. This shirtwaist blouse and its unique details will surly be a welcomed addition to anyone yearning for a touch of feminine romanticism when the temperatures turn cool and crisp... no mater whether you head back to school or just because.

Don't forget the 216 Schoolmistress Shirtwaist Pattern also comes with a beautifully constructed gored skirt. The skirt design is a perfect romantic companion piece to the shirtwaist and a must to make just because it is so versatile and stunning. In a separate post we will show you how to grade this gored skirt between sizes to help you achieve a perfect fit.

 

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 *We try not to get too intense on the interesting etymology of garment words but this is hard. Suffice to say that the word 'shirt' was once used for a garment that continued down below the waist. We would now use the word 'shift' or 'slip' or 'chemise' for this type of garment. Adding 'waist' to the word, 'shirtwaist', denoted a garment that ended at the waist. Shorter, waist-length 'shirts' are a relatively modern invention.

This is much like the word 'waistcoat' which we would now just call a 'vest'. It was the word 'coat' (coat/cloak) which was a long garment worn on the outer layer, with the word 'waist' to identify that you stopped the garment at the waist. We are not going to go on and on with the extra geeky-info that waist/vest are related words. 

 

 

 

Got a Cowgirl spirit? Then you definitely need the Folkwear the 243 Cowgirl Skirt to channel that energy!  Whether heading for a wild rodeo, saloon, country picnic, or dance floor this Western-styled skirt has lots of flair. This skirt has all the details needed and then some to make an everyday or a fun occasion piece. This easy  to make pattern is on sale all month. The Folkwear 243 Rodeo Cowgirl skirt comes as a PDF Pattern.

 

Both Views included in the pattern feature a flared A-line silhouette, shaped waistline with front and back darts, waist facing, lace-up back closing, and several easy-to-apply hip yoke shapes for fun. View A sports a shaped hem applique. View B has a swishy hem flounce and hip/pocket yoke.

For the perfect cowgirl fabrics to make the skirt consider denim, cotton, linen, suede, leather, lace, or silk. Then add your personal cowgirl statement in fringe and embroidery or studs and applique patches, to create an adventurous collection of skirts for everyday, weekend, and party wear.

Every cowgirl knows that a true cowgirl skirt needs a sassy swish of fringe! Customizing your skirt with fringe is easy and fun to do. Fringe trim can be found ready made or easily make your own. Keep reading to learn to make your own fringe!

Either dress your skirt up or down depending on your mood. Even change the fringe out for another color. Fringe can be applied to the wrong side of your garment, just under the hem edge or other edges.  Use a quick and easy whip-stitch to secure the fringe. If you decide to remove the fringe... then just snip the whip-stitch and wear sans fringe for a simple everyday look (see photo below). Dress up your cowgirl skirt or not... adding fringe is easy and commitment free!

 

Make Simple Fringe

To make your own fringe, cut strips of fabric 4-inches (10cm) wide, along lengthwise or crosswise grain. With chalk or thread, mark the 1/2-inch (13mm) stitching line along one edge. Cut the fringe ends 1/4-inch (6mm) wide, stopping at the marked line. During garment construction, sandwich the fringe strip between pieces being stitched together, matching the raw edges. Insert purchased or custom fringe in any seam you desire or topstitch to finished seams or hem.

Tips for Fringe Making

• Leather fringe is easy to make using a bladed and metal straight edge. Be sure to cut on a cutting surface. It might take a couple of cutting passes even if using a sharp blade, so be careful. Sharp scissors will work as well.

 

• Fringe can be made out of any fabric, but realize that fringe made from woven fabric may ravel and fray. If you do not want this effect, choose leather, suede, Ultrasuede, or other nonwoven fabric (felt) as a contrast to the main body of the garment (e.g. suede fringe on a denim skirt).

• Trim fringe out of seam allowances before stitching seams, to reduce bulk.

• Avoid fringing intricately shaped or very pointed areas, because fringe ends may cross each other and may not hang straight.

• To create twisted fringe in light-weight leather or suede. Dampen the fringe, twist to a desired tightness, and pin to a corkboard or piece of cardboard until dry. Using a spray bottle works great.

•  Add fringe to nearly any seam, but typical placements include along the yoke seams and hem edge as seen on the front and back views below.

 

Happy Trails!

 

In this blog post the 210 Armistice Blouse will undergo a few simple modifications to turn it into an everyday summer wardrobe staple. Make as simple or embellished as you like, the Edwardian Charm is not going anywhere. Just shortening the sleeves and turning it into a pull-on version does the trick for making the 210 Armistice Blouse into a refreshing top to beat the heat!

Check out the post, 210 Armistice Blouse... a Symbol For Change, for a bit of inspiring history to help get you started in what will become a new favorite summer top.

I am making this version of the Armistice blouse, with a nod to it’s history by using white handkerchief linen and adding a few small tucks to embellish the Vestee. I am also using French Seams as Edwardian women would have. Since I am demonstrating how to make a pull-on-over-the-head design, the Vestee is sewn to the front of the blouse on both sides, eliminating the need for buttonholes and buttons. However, you could add buttons for decorative touch? To keep the top loose and comfy I have decided to leave off the back shaping tie. However, there is no reason not to include the tie on the next version. The sleeves will be shortened. And I need to add a bit of length too.

The Armistice Blouse was traditionally made of light-weight gauzy linen and cotton fabrics. Keep in mind that these early Edwardian blouses were worn with sometimes two or three layers underneath, which helped to prevent see through. Just keep the fabric opacity of the fabric you chose in mind. Though sheer fabrics are a lovely excuse to add a dainty camisole underneath.

White was the color de jour for fabrics and synonymous with the Edwardian period (See 210 Armistice History blog to learn more), that is not to say that colored fabrics, as well as prints and stripes were were not popular too. Take a good look at the lovely use of white stripes used in the version below.

Just about any woven fabric is an excellent choice for making this blouse for modern wearing. Since we are focusing on a summer version, light weight to mid-weight fabrics are ideal. To achieve the crisp-airiness of the original designs look for light-weight cottons, like cotton batiste, voile, lawn, broadcloth, shirting, seersucker, and eyelet.

Of course, you can not go wrong with handkerchief linen. Consider light-weight silk like haboti or cotton and silk blends as well. For a truly comfortable fabric and in keeping with the soft Edwardian-look, pick a fabric with a nice soft drape. If you like the idea of naturally dyed colored cotton and linen fabrics with eyelet laces and ribbons to match check out www.botanicatinctoria.com.


Making Pattern Adjustments

To get started I need to make a few pattern adjustments first. I am adding 1/2-inch (13mm) to the length of the size medium. That means I need to add a 1/2-inch (13mm) to The Front A, Back B, Front Facing F, and Vestee C pattern pieces. The sleeve is simply cut to the length I have decided on, including the hem.

Adjust Vestee to Accomodate Hoizontal Tucks

Even though the pattern comes with a vestee pattern piece with vertical tucks, I want to add horizontal tucks to my vestee. Folding up the fabric to make tucks takes up the length, so I need to accommodate for this by adding more length. But how much? Well that depends on the width of the tuck. I am using five 1/4-inch (3mm) tucks. When folded each tuck takes up 1/2-inch (13mm) of fabric "real estate", so to speak. This results in 2 1/2-inches (6cm) being used up to create the five tucks.

That means I need to add back the 2 1/2-inches (6cm) to the orignial length of the size medium. Plus, the 1/2-inch (13mm) I decided to add to the blouse length.

To keep the vestee approximately the width the pattern intended, use the extra width at the foldline as the seam allowance. The idea is to have 1/2-inch (6mm) seam allowance on each vetical edge of the vestee. (See the photo above).

Cutting Out the Pattern

To keep this version of the Armistice blouse simple, I am eliminating the need for pattern pieces; Tie D, Turn Back Cuff J, Cuff K, and Placket I. And I am not using the wider vertical tucked version of pattern piece C.

Decide on Seam Finish Before Starting Construction

Once all the pattern pieces are adjusted and cut out, decide how you want to finish the seams? The Armistce Blouse is a perfect project for using French Seams. The use of French Seaming was popular in Edwardian garment making. Before sewing machines were available, fine French Seams were sewn by hand. Luckily, French Seams can easily be made using a sewing machine. This technique is not hard, creating a strong encased seam, with a lovely finish. Using French Seams is a way to celebrate a historical technique that is still considered fine craftswoman-ship today. French Seams are ideal for fine fabric seamwork. So consider giving French Seams a try using Folkwear's 210 Armistce Blouse Pattern!

Use the usual 1/2-inch (13mm) seam allowance and finish the seams as you like... if not using French Seams.

Note: French seams are not used for all sewing construction needs. Typically, only the shoulder seams, side seams, and the sleeves seams are made with French Seams. Sleeves that have a tight curve at the shoulder can be tricky, resulting in a finished seam that will not lay nicely and may pucker-up. It is perfectly ok to pick and choose where French Seams work best.

French Seam Shoulder and Side Seam Construction Using 1/2-Inch (13mm) Seam Allowance

French Seams are made by starting with the WRONG sides of the fabric together... NOT right sides together, as you normally would. On the raw edge of your work, align and match any notches, stitch a scant 3/16-inch (4mm) seam. Press the seam to one side (either will do). Turn right sides together, encasing the tiny seam, and press the edge neatly or pinch the fabric with your fingers to create a clean edge. The tiny seam should be sandwiched between the two layers of fabric. Then stitch a 5/16-inch (8mm) seamline, taking care to avoid catching the tiny raw edge encased in the fold.

The idea is to only use up the amount allotted for the seam allowance. In this case the seam allowance is 1/2-inch (13mm). You will need to adjust your French Seam calculations depending on the width of your seam allowance and how small you want the finished French Seam to be. Experiment with different weight fabrics and varying seam allowances widths to see what the limitations are. Extremely small French Seams were a badge of pride and craftswoman-ship for Edwardian sewists.

Before the shoulder seams are made, the gathers at the shoulders need to made first. Make two rows of gathering stitches outside the 1/2-inch (13mm) seam allowance as indicated on the Front A pattern piece. Pull the gathers up so that the Front fits the Back at the shoulder, pin to hold in place then stitch the seam allowance. Remember... wrong sides together and a scant 3/16-inch (4mm) seam if making French Seams.

Below is a view with wrong sides together and the scant 3/16-inch (4mm) seam. The gathering is made below the 1/2-nch (13mm) seam allowance.

For the French Seam just press to either side to prepare to stitch the next step.

The right sides turned together with the scant seam sandwiched in between the two layers of fabric. This is where the right and wrong sides can get confusing, but follow along.

The Scant seam allowance should be neatly encased in the final seam.

Sew the next stitch line at 5/16-Inch (8mm). Besure to back stitch at hte beginning and ends of the stitchline.

Repeat for the opposite shoulder seam.

Sew the side seams now as you prefer. Side seams are perfect for French Seams, so use the same technique as above.

Notice below, the side seams are pinned with wrong sides together. The gathered seam at the shoulder is rightside facing up.

Stitch a scant 3/16-inch (4mm) seam.

Turn the right sides together sandwiching the scant seam allowance inside.

Stitch the next seam allowance at 5/16-inch (8mm ) on the wrong side.

Press the side seams towards the back.

Notice that the shoulder is pressed up towards the back of the blouse and the side seams are pressed towards the back of the blouse.

Neck and Front Facing

Next, construct the Front facing. With right sides together, stitch the Neck Facing to the Front Facings F matching the notch. Press the seams open. Press under on the 1/2-inch (13mm) Fold Line on the Facings.

Note: It is not recommented to use French Seams in this sort of situation, because the seams are too bulky. In this case the seams should lay as flat as possible.

It is always a good idea to make a stabilizing stay-stitch along any curves, as seen on the Neck Facing.

To make pressing a turned under edge easier and quicker, make a long basting stitch to use as a guide (see below). The basting stitch can easily be removed later.

 

 

The Collar

 With right sides together pin and stitch Collar Piece(s) C, using 1/2-inch (13mm) seam allowance, stitching on all un-notched sides. Trim the seam allowances and corners. Turn the collar rightside out and press, being sure to slightly roll the edges under to create a clean finish.

Note: If you are embellishing your collar with lace, be sure to see the pattern instructions for more helpful details.

Attach the Collar and Facing to the Front

With the right side of the blouse facing up, pin the Collar to the edge of the blouse neckline, matching the Center Backs and notches. Be sure to treat both layers of the collar as one layer. Baste to secure the collar is in place.

With right sides together, pin and stitch the front and Neck Facings to the blouse at th Neck and Front Opening, sandwiching the Collar in between. Match the shoulder seams, Center Backs, and the notches. Trim the seam allowances to cut down on the bulk fabric at the neck and collar. Trim the seam allowance down the front facings as well.

Turn the facing to the inside of the blouse, press creating a clean edge, and hand whip-stitch the pressed-under edges to the inside of the blouse. Please do not let hand work disuade you. Sometimes the only way to achieve a nice finish is to to use a needle and thread. Handstitching forces you to slow down, it is relaxing (if you give it a chance), and sometimes allows for more control than machine sewing.

The Vestee Tucks

I am using the narrow Vestee C pattern piece. The top edge is finished with two 1/4-inch (6mm) turned under edges according to the pattern instructions, four evenly spaced 1/4-inch (6mm) tucks are added (I change my mind from my original tuck making plan). Then the bottom edge is hemmed and the vertical side edges are finished with two 1/4-inch (6mm) turned under edges.

Below shows the pinned fold where a 1/4-inch (6mm) tuck will be sewn.

Sewing the tuck using the edge of the presser foot as a guide.

Below the wrong side of the Vestee Facing is facing up and the tucks are pressed downward. FYI: Tucks generally fold downwards and outwards.

 See "Adjust Vestee to Accomodate Hoizontal Tucks", earlier in the blog to see how to calculated and add the tucks.

Sewing Vestee to Blouse Front

Next the Vestee is added to the blouse front. By sewing the vestee to the blouse on both long sides, the blouse becomes a pull-on-over-the-head version. So easy!

Stitch the right side of the Vestee to the right side of the Blouse. Attach the Vestee underneath the Front Facing, liniing up the pressed edge of the Vestee and whip-stitch or machine stitch, matching the large O's at the top as marked on the pattern. It is helpful to turn the blouse the blouse and Vestee with wrong side facing up. Before you completely stitch the Vestee to the blouse, double check the placement of the Vestee to be sure there is enough room to comfortably pull-on-over-your head. You don't want the Vestee to be too low either. Keep reading and learn what not to do.

Repeat for the left side. To make aligning and pining the left side easier, place a thin book or pad of paper sandwiched inside the blouse. An ironing board works too.

The instructions recommend hand whip-stitching the Vestee to the front sides, which I did the first time. ALERT. Notice, I said the "first time?" I hand whip-stitched the vestee into place... then after trying it on... discovered it was too low. The second time I machine stitched it. The look is different but it works.

Below shows the stitching hidden under the collar and ending at the top of the Vestee.

The front is all complete, even if I did not end up with the hand sewn finish as I had planned.

Sleeves Side Seam

Stitch the side seams of the sleeves right sides together as normal if you are not using French Seams. Because this pattern is ideal for French Seams the sleeves are finished neatly and cleanly. Refer to French Seam Shoulder and Side Seam Construction if you need a reminder follow the visual aid below.

Sleeve Hem
Once again I am using a basting stitch as a guide for turning under edges of the sleeve hem. Once the sleeve edge is turned, give it a clean press and stitch close to the fold edge. It is fine to hem sleeves before attaching to the armhole if you are confident about the sleeve length.

 

Whether using French Seams of not, to finish the sides seams of the sleeves be sure to press the seam towards the back.

Adding the Sleeves to the Armhole Using a French Seam

While French Seams for armhole construction is not for every project, it would be a shame not to take advantage of the benefits for the right project. As mentioned previously, French Seams and armholes work well together when a fine light-weight fabric is used and the curve of the armhole is not too tight or severe. Edwardian sewists would have never shyed away from a properly considered French Seamed sleeve.

Below is the armhole ready to receive the sleeve if using the normal method for setting a sleeve. Notice the shoulder seam and side seam are wrong side facing up, the black thread marks the cap of the shoulder, and the pin is pointing to the double back notch. Add a stay-stitch to the armhole, inside the seam allowance, if you have not already done so.

If adding the sleeve to the armhole using French Seams be sure to work with wrong sides together. To set the sleeve, ease the sleeve into the armhole, matching the underarm seams, shoulder cap, and notches as in the photo above. Note: The seam with the gathers that we first sewed fall forward on the front of the blouse and are not the actual shoulder seam. The shoulder seam is marked by a notch on the pattern.

For French Seaming following the same technique demonstrated previously. Follow the photos below for a visual aid.

 Below the first scant seam for the French Seam is sewn.

Whether making French Seams or not, lots of pins will help ensure your sleeve will lay as flat as possible to the armhole. Setting sleeves can be tricky, so take your time to avoid doing over.

Notice the tiny puckers inthe photo below. Despite all the pins, sometimes you stil get some puckers. Luckily they will press out.

The rights sides are turned togther and the edges aligned to create a clean edge. The pin to secure and sew the last 5/16-inch (8mm) seam line.

Press the seam towards the sleeve.

 

Hem the Bottom Edge

To hem the bottom of the blouse edge turn the raw edge under 1/4-inch (6mm) and press. Turn under again 1/4-inch (6mm) for a total of 1/2-inch (13mm) and press. Hand whip-stitch the hem or machine sew, stitching close to the folded edge.

Be sure both edges of the blouse front are even.

A Final Touch
To better secure the Vestee and preventing it from gaping, simply hand whip-stitch to the facing edge.

 

I hope you found this blog helpful, in not only how to make an everyday pull-on version of Folkwear's 210 Arnmistice Blouse...  but in the extra tips as well. Tag this blog as a reference on how to make French Seams and for the technique behind making tucks. Learning new tip and techniques makes sewing such a pleasure.

The 210 Armistice Blouse Pattern and the PDF version are on sale through the month. Don't delay, get your copy and discover why the 210 Armistice Blouse is a Folkwear Favorite!

 

 

 

 

The Folkwear 210 Armistice Blouse is typically associated with the romantic aesthetic of the Edwardian period. However, there is more to it's story. This blouse became synonymous with the fight for women's liberty in the early 20th century. The "War to end all wars" would unexpectedly create new found opportunities for women both state side and in Europe.

With WWI raging in Europe, women were asked to take on the roles previously held by men, who were called to fight on the battlefields. Filling the roles once held by men gave women a sense of purpose and the resulting independence was liberating. These new challenges empowered the minds and spirits of women to new possibilities.

The war would allow for a new day to dawn that would not be turned back and women took their opportunity to demand change. Women fought to claim the freedoms they had been previously denied. The Suffragette movement was established, uniting women like never before and transforming a generation of women, setting a lasting precedence. After a long and determined fight by both Black and white women, women's right to vote was partially won in 1920. This right was only granted to white women over the age of thirty, however. Black women were pushed aside by many white Suffragettes both within the voting rights movement and in the larger movement for civil rights for all. The fight would continue.

Nannie Burroughs holding banner reading, "Banner State Woman's National Baptist Convention" posed with eight unnamed women

Library of Congress, Lot 12572

 

The popularity of the Armistice blouse coincided with this time of great social change and unrest. This shift in society caused women's fashion to change as well, creating an irreversible fashion trend towards less cumbersome and restrictive clothes. Both white and Black women were called to work outside the home and their clothes required the practicality of movement. This resulted in clothing that liberated the body (a bit) while remaining feminine. 

While the Armistice blouse, with its shirt-waist style is generally thought of as romantically Edwardian, it was a transitional garment that physically removed the bindings of previously restrictive clothing, leading the way to our modern fashion aesthetics.

Credit Witness2Fashion

 
The easy straight forward construction of the Armistice blouse made it popular with women of all social and economic classes. While the blouse design itself was basically the same, each wearer could make a version uniquely their own. The front center "Vestee" was the focal point of the blouse design, with or without it's framing collar. The Armistice blouse was a perfect canvas for encouraging varying creative uses of scraps of laces, trims, tucks, and embroidery. The Armistice blouse became a proud rallying call of women's solidarity, while creating an opportunity for feminine individuality to shine.

                         Credit: Decor to Adore Blog: The Armistice Blouse

The Folkwear 210 Armistice Blouse exemplifies a cut that was popular throughout the decade, with long rectangular lapels over a center panel called a "Vestee.” Until about 1915, this vestee was collared demurely like Gibson Girl blouses of the Victorian era (see the Folkwear 205 Gibson Girl Blouse Pattern or PDF Version), but by 1917 it had become a simple squared inset. Because of a steadily dwindling supply of fabric, waistlines were less defined and casual deep necklines, lapels, and cuffed sleeves were much in favor.

 
Our blouse can be made in a simple untrimmed version or trimmed with lace on the collar, cuffs, and Vestee (as seen illustrated on the pattern cover). Tucks and/or drawn-thread work can be added on either version. Other variations you may wish to try include making the collar and cuffs out of contrasting fabric or novelty laces, or adding tucks to the front and the shoulder. You can learn more about all the beautiful techniques for embellishing the Armistice blouse in the bonus material included in the pattern.

Traditionally the Armistice Blouse was made of sheer gauzy white fabric. This was in part because dying technology had yet to be perfected, making white the main fabric choice. White also shows off fine hand sewn details that are synonymous with the Edwardian period. 

In the spirit of liberty and celebrating the women who have set the path for our own freedoms, I hope you will join in making the Folkwear 210 Armistice Blouse. The blouse is on sale throughout the month and it is also available in a PDF version.

Economist, attorney and civil rights activist, Dr. Sadie Tanner Mossell Alexander in a vestee-fronted blouse paired with a matching skirt. Note the very sheer fabric on the pleated vestee front and the sleeve ruffles. source BlackThen.com

In the next blog, learn to use the 210 Armistice Blouse Pattern to make a simplified-easy-breezy-everyday version to liberate you from the summer heat!

This is DAY THREE of the Chupa Sew Along. To start at the beginning, click here to see Day One.

Now that the 131 Tibetan Chupa is constructed, all that is left is finishing the neckline and armholes with facings, hemming the skirt, and making a simple loop closures that is paired with a button, and adding hook & eyes for closure security.

Finishing the Neckline
If you have not already cut the facings and interfacing for the Chupa now is the time. Note: If you are working with a bulky fabric, you may wish to substitute a lighter-weight lining fabric for the facings.

To ensure that the neckband facings are made more stable and strengthened, baste or fuse the interfacing to the wrong sides of Left Neckband E and Right Neckband F. Be sure to handle (when stitching or pressing) the facing pieces with care, especially if your fabric is a lose weave. Any time a fabric is cut off grain and especially on a curve the fabric is not stable and may stretch.

Be sure to apply the interfacing to the Neckband pieces, not the facing. It is easy to confuse which is the neckband and which is the facing. When cutting two, the neckband will be pattern piece on top, with the right side facing up.

Simply pick the top pattern piece up and place it on the interfacing to ensure you have the correct pieces paired.

If using a non-fusible interfacing, stitch the interfacing to the Neckband pieces within the seam allowance. Make a stay-stitch 1/4-inch (6mm) from the outer edge this will work nicely, helping to stabilize the curved edges.

With right sides together, stitch the Left and the Right Neckband at the center back, matching the notches. Press the seam open.

Repeat doing the same with the Neck Facings pieces. Don't forget to stabilize the edges with a stay stitch 1/4-inch (6mm) from the edge.

Press under 1/2-inch (13mm) along the curved notched edges of the neckband facings. Trim away half of the seam allowance, leaving to 1/4-inch (6mm). Remember the 1/4-inch (6mm) stay-stitch I made to help stabilize the facing curves? It now conveniently serves as a cutting guide.

 

Hint: Any time you need to fold and press an edge neatly and cleanly, simply sew a basting stitch to use as a guide. This simple guide technique helps to create a smooth and even edge quickly and easily. Then the basting stitch can easily be removed.

With right sides together, pin and stitch the neckband to the neckband facings along the long curved unnotched edge and both ends, being sure to match the center backs. Trim the seam allowances and the corners, clip the curves to help release the fabric, turn, and press.

Prepare the Neckline for the Neckband and Facing
Clip to the stay-stitching along all the curved neckline edges to release the fabric so that the neckband and facing will lay nicely together along the curves.

With right sides together, baste and then final stitch the neckband to the chip neckline. Match the center backs, notches, and small dots on neckband to shoulder seams. The idea behind basting the neckband on first is to allow you to easily fix any puckers or adjust any easing that might need to occur. Once the neckband and the neckline align and fit together properly, then make the final stitching on the 1/2-inch (13mm) seam allowance. Trim the seam allowances and press the seam towards the neckband.

In the photo below the neckband is sewn to the neckline and I have left pins that correspond to the center back, shoulders, and notches.

Slip-stitch the pressed edge of the neckband facing over the neckline seam. Note: Finish the shoulder seams before sewing the facing down.

If you like topstitch the neckband 1/4-inch (6mm) from the edge, meeting the stitching at the side opening. I decided not to topstitch the neckband this time. I hand stitched the neckband facing in place and decided it looked nice without any extra stitch work.

 

Finishing the Armholes
The armholes are finished with a simple facing that folds to the inside of the garment and is not visible on the right side.

With right sides together, stitch Front Armhole G to Back Armhole H at the shoulder and the underarm seams, matching the notches. Stitch and press the seams open.

 Turn under 1/4-inch (6mm) along the outer unnotched edges of the armhole facings and press or baste to hold the edge down securely. If basting, you will eventually remove the basting stitching. I found pressing was enough to keep the fabric laying nicely after pressing. But this will depend to the fabric you use.

To attach the facing to the armhole; with right sides together stitch the armhole facing to the armholes, matching the notches, shoulder seams, and underarm seams. Trim the seam allowances, clip the curves, turn facings to the inside of the armhole, and press.

 

Making the Closures
Since the Chupa bodice is a wrap design, it needs a little help from a few pairs of Hooks & Eyes in strategic places to help ensure a secure closure. I also decided to use a couple of snaps just to see how they would work?

The wrap closure to the Chupa is on the right side of the garment as you would wear it. Align all the edges to be sure your hook & eye (snaps in this case) placement will nicely match-up. Sew a hook & eye on the right side opening where the side extension meets the bodice side seam. Typically the eye goes on the top of the underneath edge and the hook goes on the underneath side of the top edge. In the case of using snaps, the part with the whole goes on the top of the underneath edge and the part with the point goes on the underneath side of the top edge.

I decided to add another snap to keep the sides neatly closed. Whether using hook & eyes or snaps be sure to place them inside the edges far enough from the outer edge that they are not visible on the right side of the garment.

 With the right side of the garment facing up, sew a couple of hooks on the hemmed edge of Front Underflap, one at the bottom and the other just below the neckband. Be sure to place the hooks in a bit from the hemmed edge. I lined the curved tip of the hook with the stitch line of the hemmed edge (see below). Set the eyes aside for now. 

In the photo below the Front Underflap has been pulled to the outside of the garment so you can better see the hook placement.

 

Making Loop Closure
Now, for the decorative wrap closure. This simple closure is make using two strips of fabric cut using pattern piece I (i). One of the strips is made shorter by cutting 2 1/2 -inches off one end.

On both closure pieces, press under 1/4-inch (6mm) along both long edges. Use a Bias Tape Maker to make this task easier. Then fold again along the center foldline and topstitch close to both long edges. It is difficult to back stitch on such a small strip of fabric, so do not feel it is necessary.

 

Front Loop Closure
Slip the shorter closure into the shank of the button. If the shank is too small to accommodate the closure strip, fold the strip in half and hand stitch the button to the fold. I am using a 3/8-inch vintage shoe button.

Press under the raw ends of the closure strip 1/4-inch (6mm) and position on the neckband so the button just extends beyond the corner edge. Topstitch the pressed-under ends securely in place.

 

 Hooks & Eyes on Front Underflap
Try on the Chupa to help you make any wrap adjustments. The extensions wrap around to the back and tie in the back or wrapped around and tied in the front. Place a pin vertically where the button meets the right side (this may fall forward or backward of the side seam). Also place pins along the left dart on the front, making sure the pins are even with the two hooks already sewn on the edge of the Front Underflap.

Be sure the hooks are securely attached to the dart at the stitching line.

Sew two eyes at the pin markings on the left dart on the inside of the front.  The pins will should help determine the spot in which to sew the eyes. The idea is to align the hooks & eyes.

Back Loop Closure
Fold the remaining (longer) Closure strip in half. Press the raw edges under 1/4-inch (6mm), and position on the back. Stitch to the right side of the back using a topstitch close to the folded under edges to secure in place. Be sure to position so the loop end overlaps the pin. Since the front loop with the button is already in place you can also use the button to help in postioning the back loop. I found it easier to topstitch the looped end to accommodate the button first, before attaching the loop closure to the back (as seen below). Either way is fine.

 Top stitch close to the edge of the closure being sure to allow for enough space at the looped end to accommodate the button easily.

 

The Hem
Try the Chupa on and have a look at the hem to see if you need to make any adjustments. When wrapped, the edges of the extension may not be even with the rest of the hemline. Due to the wrapping of this design, there is some forgiveness in the hemming. Personally I am perfectly ok with this as long as there is not an obvious unevenness.

If using a lighter-weight fabric, press under 1/2-inch (13mm) along the raw edge, then turn up along the hemline and slipstitch or machine stitch close to the folded under edge.

If using a heavier-weight fabric, stitch hem tape (or a preferred trim) along the raw edge and turn up once along the hemline and slipstittch or machine stitch into place.

I hope you have enjoyed this Sew Along, and will enjoy wearing your new Folkwear 131 Tibetan Chupa all summer long. If you have not yet made a Chupa, I hope this Sew Along will answer any questions you might have had about its construction. It is such an easy piece to make and so flattering to wear.

Be sure to check out @WeepingMyrtle on Folkwear's Instagram page for a truly beautifully made Chupa! The hand stitching details are so lovely! Not only do we love seeing what you have been inspired to make... we can not help but beam with pride.

 

 

 

 

Tibetian Chupa Sew Along, Day 2, where we talk about how to lay your pattern pieces out on a length of fabric that is not *exactly* what you are supposed to be using. We also talk about darts, and how to use a hemostat to turn a belt! Join our Chupa Sew Along!

by Cynthia Anderson

This is Day 1 of the sew along.  
Click here for Day 2.
Click here for Day 3.  

The Folkwear 131 Tibetan Chupa is a wrapped jumper that has a centuries-long history in Tibet. Along with its deep traditional roots, the Tibetan Chupa makes a beautiful contemporary garment that is perfect for any season. The Folkwear team thought we would introduce you to the Folkwear 131 Tibetan Chupa & Skirt pattern in a Sew Along to inspire your summer sewing.

In this Sew Along, you will learn to make pattern that is not only simple to make, but flattering to wear. The pattern makes the dress shown, but also includes a versatile Chupa-Inspired Wrap Skirt that will make an exciting and fun addition to any skirt collection.

The Chupa was traditionally worn with added layers of aprons, woolen sashes, and a panel coat (like our 118 Tibetan Panel Coat). It can be worn alone or with a blouse (like our 111 Nepali Blouse). The Chupa design features an asymmetrical bodice wrap front, front and back shaping darts, wide neckband, simple faced armholes, and unique side extensions that wrap around the back to tie in front. The resulting silhouette is slim, yet the wrapped extensions provide enough leg room to make walking easy. Both the Chupa and Chupa-Inspired Wrap Skirt can be made in the traditional ankle length or below-knee length. Of course, you can alter the length any way that best suits you.

 

Front & Back Views of the Chupa and Skirt

 

To get started consult the Sizing and Yardage Requirement chart (on the back of the pattern sleeve) to choose your size and fabric yardage needed for your project.

 

Also, have a close look at the Finished Length Measurements provided (bottom left hand column on back of pattern) for the Chupa & Skirt to help in determining the best size for you.

Be sure to read the bonus material included in the Folkwear 131 Tibetan Chupa & Wrap Skirt Pattern for more history and  information to inspire your sewing.

Here's the Sew Along Schedule:

• Day One (today): Introduction to the 131 Tibetan Chupa & Skirt and preparing to sew; selecting your size, and fabric.

• Day Two: Laying out the pattern pieces on the fabric and beginning construction; making the darts, shoulder seams, stay-stitching neckline, and making ties.

• Day Three: Sewing the side seams, neckbands, armholes and finishing.

 

 

Materials Needed:

• Fabric yardage that corresponds to your size and the length of your project.

• Sewing thread (depending on your design)

• One 3/8-inch (1cm) Ball Button or alternative choice

• Four Pairs of Hooks & Eyes
• Interfacing (sew-in or fusible)

 
Choosing Summer Fabrics
Any natural fiber fabric would be ideal for making the Chupa or skirt for everyday summer wearing. Look for light to medium weight cottons and linens. Fabrics that breathe and whisk away moisture are a joy when the temperatures rise. When picking a fabric remember to consider the drape. This pattern is made even more lovely when made with a fabric that has flowy-ness. For this reason rayon and tencel would be nice. Pick a solid, patterned, striped, or eyelet fabric and rest assured this pattern makes up beautifully in just about any fabric you choose. Do keep in mind that the fabric you choose will be doubled with the wrap extensions and the ties should withstand being tied a multitude of times. Woven fabrics tend work better than knit fabrics for this pattern.

Use more than one fabric design and have some fun. The ties, neck facing, and armhole facings could be made in a different fabric from the main body fabric of the Chupa. I do suggest making a muslin before using a combination of different fabrics so you will understand the construction and how you might creatively use different fabric combinations. Once you understand the construction of this design, your creativity can take off!

Even though this Sew Along focuses on summer Chupa sewing, I must say after having just made this dress for the demonstration purpose of this blog, I am already planning a version for Fall... just so you know. If you are already experiencing winter somewhere in the world or like to plan ahead, I have you in mind too.

Choosing Fall/Winter Fabrics
When you consider the cold winter climate of Tibet, it is not hard to understand how the Chupa was developed to be both versatile and practical. Of course, what was good enough ages ago can still be relevant in modern wardrobes too.
The wrapping of the design at the waist helps lend a warm comfort like a cozy blanket. In the winter the Chupa was traditionally worn fur-lined or padded for extra protection from the cold. Maybe a faux fur-lined version would be prudent just in case the power goes out?

Any cozy fabric that is not too stiff would be a great choice. Look for light to medium-weight wool, such as flannel, gaberdine, and tweeds. Medium-weight cottons such as denim, corduroy, velveteen, and poplin are good choices. For a dressy or casual look consider silk fabrics like haboti, charmeuse, and noil. Once again look for light to medium-weight silk fabrics, with a bit of drape.

Getting Started: Prepare Your Fabric
Once you have your fabric, it is a good idea to test for washability and shrinkage. Cut a small swatch 3"x4" (8cm x 10cm) of fabric from the corner of your yardage. Place the swatch on a piece of paper and trace around it. Keep the tracing for a reference. Wash and dry your swatch the way you intend on laundering your finished garment. Now, lay the swatch back down on the tracing and compare. Did the swatch shrink? Did the fabric change in an unacceptable way?  If your yardage shrank in a substantial way, you may need more yardage or a different fabric. This little test helps to eliminate any unfortunate surprises resulting in disappointment.

If you are fine with your swatch test, go ahead and prepare to wash and dry your yardage according to how you intend to launder the final garment, or according to any care instructions that the fabric requires.

Before you wash, you can serge the raw edges, or sew a straight stitch or long basting stitch, to the raw edges of your fabric yardage. This will prevent your fabric from unraveling and getting tangled, when being put through the rigors of washing and drying.

After you launder your fabric, determine the right side of the fabric.  If it is not apparent, you can choose which will be the right side. Thread a needle with a bit of contrasting thread and catch a few threads of the right side of the fabric, in the selvage.  Tie the marking thread off with a few tiny knots to secure. This step can save a lot of time second guessing yourself on which is the right side.

Give your fabric a good pressing, not only to smooth it out so the pattern will lay down well, but to force yourself to give the fabric one last inspection before you lay out your pattern.

Trace off your pattern
In order to preserve your pattern and keep it intact, consider tracing off the pattern size you require and make any adjustments needed on the traced pattern and not on the original. News print or a roll of paper will work, however, Swedish tracing paper is really fabulous for this. Swedish tracing paper behaves like a cross between paper and fabric. It is durable (will take endless pinning and folding) and it is transparent enough to make tracing your pattern easy. It takes both pencil and ink well. It irons well too.

Trace and cut your pattern out accurately. Be sure to add all notches, dots, and instructional markings too.

For now gather your materials, trace and cut out your paper pattern in your size, and prepare your fabric. Join me next week for Day Two of the Sew Along and learn some tips when laying out your pattern on your fabric and the beginning construction of the Folkwear 131 Tibetan Chupa. The pattern is on sale though the month and a pdf version is available too.

 

 

 

Embroidering the edges of your garment is a great way to to add a simple embellishment as well as a great way to get started with embroidery.  Edge stitches can be very simple and go very quickly.  And at the same time, they add something special to your garment that makes it personalized and unique.  Use a contrasting thread to make the stitching stand out or complimentary thread to blend colors.  Use edge embroidery on neck lines, cuffs, hem edges, pocket edges, or along the front of a jacket or open shirt.

 

Lots of Folkwear patterns are perfect for adding edge stitching to (and are even traditional to the pattern).  142 Old Mexico Dress often has stitching along the neckline and sleeve and hem edges.  You can see an example in the photos above of a white 142 Old Mexico Blouse with a complimentary light peach thread used to do a blanket stitch on the neckline, sleeve hems, and yoke edge; and our blue sample with colorful crewel embroidery along the neck edge.  109 Little Folks has a Mexican Blouse as well as Turkish Shirt that both look very cute with embroidered edges.  The 157 Moroccan Djellaba is another great pattern for adding this type of embroidery to the edges.  You can also use these stiches on ready-made garments that you want to add a little color or interest to.

There are several stitches used to embroider edges, and I will cover two common ones here:  blanket stitch (also called buttonhole stitch because when done very close together, it can finish a handmade buttonhole) and herringbone stitch (or cross-stitch).  These stitches can be purely decorative, or they can actually finish the edge of the fabric.  When stitched close together, these stitches can finish hems, depending on the fabric and finishing techniques and vision (and how it will be handled - hand-finished edges may not stand up to heavy duty washing machines, etc.).  

Materials needed

You will need an embroidery needle or crewel needle - one with an eye big enough for the thread you will use. 

For thread, use Perle cotton, crewel yarn (used in blue sample above), or embroidery thread/floss (used in white sample).  You will need to decide if you want a more delicate stitch or if you want it to stand out and even add some texture to the garment.  For a more delicate stitch, use 3 strands of embroidery thread or #8 (or #12) Perle cotton.  For a heavier look, use all 6 strands of embroidery floss or #5 perle cotton or crewel yarn.  

You may want to use an embroidery hoop, but for edge stitching, I usually do not.

Starting and stopping

To begin, I often tie a knot at the end of my thread and just begin.  But, experienced embroiderers take a few tiny criss-crossing stitches in the back of the fabric to secure the thread.  If you are going to machine stitch over the ends of the edges (i.e. enclose them in a seam), you don't need to secure those edges.  

To end, I usually tie off my thread with a knot in the back of the fabric.  Again, you can take a few tiny criss-cross stitches to secure instead.  I usually hide my thread tail inside the fabric hem as well, cutting it after I've run it to the inside of the hem a few inches.

Blanket stitch  

This is probably the most common edge stitching and there are several variations.  

To make this stitch, come up from the back of the fabric, bring the needle up and through the loop made by the thread before it is pulled tight.  Then, pull thread tight enough to lay flat against the fabric.

Then, repeat this the entire length of the edge.  

There are several variations of this stitch that add a little more decoration. You can do a pattern of long and short stitches, for example, long, short long (see illustration below).  Add in a double space between the sets of stitches.  Or double up two blanket stitches for a bit more texture and boldness.  

Cross stitch, or Herringbone stitch

This is not true cross stitch and stitching aficionados might look askance at calling it Herringbone stitch also (since it's not quite perfect).  But, it is close enough.  This is another simple stitch that adds a bit of interest to edges.  This one is also great to use along seams as well.  It's perfect along the yoke/dress seam of the 142 Old Mexico Dress.  

To make this stitch, stich from the lower left of the stitch to the upper right, then bring the needle up just below the upper part of the stitch to make another diagonal stitching line.  Continue the diagonal stitches across the area where you want the cross stitching.  Then, cross the stitches with a lower right-to-upper left stitch.  You can make the stitches wide or more diagonal, cross the tops and bottoms of the Xs (this is what herringbone stitch is like), or keep the stitches (Xs) very separate from each other.  

 

These two stitches are combined below in one of our 142 Old Mexico Dress samples using crewel yarn for a colorful and fun look.  These stiches were taken right along the edge of the bottom of the yoke of the dress.  You can see the small stitches at the end/beginning of the cross stitch where they anchored the thread.  The yarn for blanket stitching here was variegated and changes colors in different areas of the garment.  

Hints:  if you have trouble with keeping any of these stitches even, you can use tiger tape that you can peel off your fabric after stitching.  Or mark your fabric with water soluble marker at intervals that you want to stitch.

Whatever embroidery stitches you choose, use your creativity with color, texture, and style to make something unique to you and, most importantly, have fun with it!

Did you learn anything?  Do you have questions?  Do you have some tips to add?  Leave a comment! And happy stitching!

 

 

by Whitney Remington

As a beginner sewist, I used to think of sewing patterns as a strict set of shapes and instructions to be followed to the letter, and that changing anything within would "ruin" it-- much as substituting the ingredients in a treasured family recipe might result in a very unfavorable reaction at the dinner table from guests who expect the original dish.

Following patterns right from the packet (other than the usual fit adjustments) certainly produces functional and beautiful garments to be sure!  But with passing time and growing skill, I realized that patterns are merely guidelines to make garments that you can customize to your own shape, needs, and tastes.  Don't like a design feature?  Omit it.  Too long?  Cut it short.  Too simple?  Fancy it up!  Body changes over time?  Alter your clothes to fit your body!  Not only is it totally ok to think outside the pattern envelope, whether in subtle or more extreme ways.  It can be fun and produce awesome clothes that suit your individuality, and your own creativity is the limit.  Here are a few examples of my own modified makes.

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While my #128 Russian Settlers Dress is loose and billowy in the main body, the top band-- which is one solid piece-- started to feel uncomfortably tight, likely due to quarantine weight gain.  I wasn't content to let this dress languish unworn in the closet, but I didn't want to part with it either!  So I cut open the top band at center front, neatly finished the edges, then hand-sewed eyelets at either end to insert a ribbon.  As I had already included the nursing slit when I first made this dress, it was incredibly quick to make this adjustment.  The nursing slit now serves as an adorable keyhole opening (with the excess length safety-pinned shut for modesty), and the top band can easily be adjusted to fit with the ribbon tie.

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The #261 Paris Promenade Dress is the first Folkwear Pattern that I've ever sewn, and I adore it for its effortless grace and comfort.  When I first sewed it up, the only "change" I made was to go 2 sizes smaller than recommended for my measurements.  This dress is still a favorite, three years later!  But I decided it needed a bit of a refresh.  So I lowered the top of the front apron piece by a few inches and shortened the sleeves a bit-- standing in front of a mirror, folding and pinning things into place to determine exactly how much I needed to adjust until it looked right.  It's a subtle change, but doing so vastly improved the style lines for me!

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I put so, so much effort into making muslins and fine-tuning the fit of these #240 Rosie The Riveter Overalls!  When the sewing was done, the fit was absolutely *chef's kiss* perfect!  Then just a few months later, my body changed... and the overalls became uncomfortably tight at the waist.  (I'm blaming quarantine yet again for this one.)  But I wasn't about let that throw Rosie's wrench into my awesome 1940's overalls-wearing plans!  So I opened up the side seams and inserted diamond-shaped patches to expand the fit at the waist.  To determine how much I needed to adjust, I took a new measurement of my waist (adding in a couple more inches, just in case), subtracted the waist measurement of the original overalls, and made the total width of both diamond patches reflect the difference, plus seam allowance.  Now my overalls are comfortable to wear again!

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The last few examples were of subtle changes... well now here's an example of deviously dramatic deviations from the pattern!  I definitely used the #503 Poiret Cocoon Coat shape more as a base guideline, and proceeded to just toss fabric recommendations and instructions out the window!  For both of my versions, I experimented by using poly chiffon and African wax print cotton, rather than the heavier fabrics suggested on the pattern envelope.  I also omitted linings and collars, and shortened the sleeves by simply cutting them from the ends, resulting in wider, airier sleeve openings.  To achieve a drapier look and tone down the floatiness of the lightweight fabrics, I used tassel trim to weigh down the hems of both, which also has the bonus of adding fun movement with the wiggling tassels!  For the African wax print version, the characteristic stiffness of the fabric posed an interesting challenge, as it really wanted to puff outwards rather than slink down as would befit this garment.  While the tassel trim alleviated some of that, adding tucks at the waist helped to tame the voluminosity even further, while also defining the waist in a way that I find very flattering.

 

Thanks so much for reading, and I hope learning about my creations will inspire you to try out some modifications of your own, whether they be tiny tweaks to full-blown pattern-hacks!

 

You can find Whitney, and see lots more of her Folkwear (and more) sewing makes as well as her adventures as a truck driver, on Instagram at @whitneygoose

I have been thinking of my summer wardrobe lately - thinking about what I want to add to my summer staples.  And I knew I wanted a new button down short-sleeved shirt for everyday wear.  One I could wear with jeans, shorts, and simple skirts.  When we decided to feature 256 At the Hop, I remembered that I have admired the shirt in this pattern, and I saw a customer make one several years ago and rave about how great it was.  While the skirt can be a canvas for lots of fun art and statement, the shirt can be a workhorse of daily fashion.  I found 1.5 yards of a beautiful hand block printed cotton from Ghana in my stash.  And decided to make it.

This is probably the simplest button down shirt I've ever made - or maybe the quickest one I've made.  There is a fold-over front placket, rounded collar, bust darts, and front and back tucks.  It came together very simply and easily.  I loved the little darts and tucks that give it a bit of shape.  You could add a front side pocket to it if you want to, but you'll need to draft it because there is not one is the pattern (probably also contributing to how quick this was to make).

I did make a few adjustments to the pattern I want to share.  First, I added a little over an inch to the front and back.  My torso is a bit longer than our typical Folkwear block.  This was perfect for me.  I also added interfacing to the front button plackets - just about an inch wide - to provide some stability to the buttonholes and button area.  You could also add interfacing to the collar/facing if you feel your fabric warrants it.  The pattern is not very clear in one step, but I folded the front button plackets to the inside by about 1/2" (13mm) to enclose the raw edge of fabric then I top stitched close to the edge - topstitching both at the edge of the shirt and at the edge of the turned-under edge - creating parallel lines one inch (2.5cm) apart on the placket.  If you actually cut the front pieces on the selvage, you don't need to fold under that edge.

The one drawback of this pattern is that it is graded in a fairly small size range.  When Taunton Press owned Folkwear (in the 1980s), they put out several patterns all in a narrow, and small, size range.  Over the years since, Folkwear has adopted a slightly different grade rule, but we still have a patterns in the old Taunton grade rule.  When we have the chance (i.e. a pattern is coming up for print) and the ability (i.e. pattern pieces are small enough, not super expensive, etc.), we try to grade it up.   But, we have a LOT of this pattern in stock.  While the pattern is on the smaller side of sizing, it makes a great shirt, cute skirt, and lovely sweater.  And, we should have a tutorial on sizing the skirt up soon too. But, I would definitely encourage you to make this shirt if you can!  It's a great one to add to your summer wardrobe!