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If necessity is the mother of all inventions… then figuring out how to stay warm is as good a catalyst as any. Our ancient ancestors created a simple yet highly effective technology that kept people warm, and enabled them to migrate to otherwise uninhabitable corners of the globe. Our ancestors figured out that sandwiching lofty natural fibers, such as wool or cotton, between two layers of cloth, then stitching the layers together, would create a highly insulating fabric known as quilting.

Generally, we associate quilting with the cozy bed coverings that our grandmothers made, but not necessarily with clothing. There is evidence that quilted fabric was actually worn in China and Europe as far back as we have been able to trace. Quilted petticoats and skirts, as it turns out, have played an important part in fashion history, providing much needed warmth along the way.

Folkwear's cozy and beautiful 206 Quilted Prairie Skirt is the link to the old ways of designing warm clothes while providing ways to make modern versions of this classic.  We hope you will find inspiration in this blog to make a version that is all your own. Be sure to check out all the additional historical information and tips provided with the pattern.

You do not have to be a master quilter to enjoy making this skirt. The quilting can be done by hand or using a sewing machine, or a combination of both. Or use a pre-quilted fabric like the skirt featured and modeled above. Folkwear’s very own Molly made her skirt out of a jacquard fabric (pre-quilted look) with this fabric!

The design you choose can come from your own creativity, inspired by traditional quilting, or somewhere in-between. Use a fine fabric like silk or velvet, for a fancy evening out. Or make an everyday quilted skirt out of wool, cotton, flannel, denim, fleece, or linen for any activity made better when encased in your very own wearable quilt. The possibilities are only limited by your imagination.

Folkwear's 206 Quilted Skirt sample, close up on on quilting design included in the pattern.

Let's learn more about the history that inspired the 206 Quilted Skirt pattern and why this garment was so popular for so long!  And, we hope you will make your own version and enjoy a truly personal statement piece that will add warmth to any wardrobe.

The history of quilted petticoats or skirts can be traced to at least 1644 in Europe. It is possible these garments were worn a early as 1530. This period saw the advent of an extremely important innovation in clothing. For the first time since the Minoan culture of Crete some three thousand years previous, long gowns with voluminous bell skirts, shaped by bulky petticoats became popular in Europe. This popular new skirt design was split from the waist to hem, displaying the lavish pleated petticoat underneath. This split created a long upside-down “V”, a mirror image of the “V” shaped neckline.

This Renaissance split-skirt fashion persisted until about 1630, when women were still exhibiting their magnificent undergowns by holding up their long skirts while walking. After 1670, skirts became even more full and reached to the ground, splitting again in the front to reveal richly worked petticoats underneath, which, according to the famous English diarist, Samuel Pepys, was often the most ornate and expensive item of the dress. Elaborate methods were used to hold back the overskirt to make the most of the precious petticoat; a particularly ornate procedure was to bunch up the overskirt like a bustle and fasten it in place with a ribbon attached to the shoulder of the bodice.

These petticoats were made of three layers; a bottom and top layer, with batting made of wool, cotton, or linen sandwiched in the middle, the layers were then stitched together resulting in a quilted effect. Petticoats were worn not only for layering warmth but to create a desired shape and structure to the skirts worn over them. Batting or wadding as it was also called, often did not extend up the entire length of the petticoat, leaving the waistband free of extra bulk. All kinds of extra padding were used during this era to enhance the natural body form, depending on the desired effect and style of the day. Quilted petticoats served through the addition of extra padding and a top layer that smoothed out and concealed any combination and variety of hoops, panniers, bum rolls, etc., hidden underneath.

Caraco jacket in printed cotton, 1770-1790, skirt in quilted silk satin, 1750-1790

During this time, fashion changed in incremental steps, which in this case, helped to ensure the petticoat to remain as popular as ever throughout Europe. However, it would be in eighteenth century England, that the quilted petticoat hit it’s peak in popularity. It seemed just about every lady was wearing one! This was in part due to the cold damp weather of the British isles and the availability of a broadening range of fabrics made possible by the expanding trade industry. These fabrics included cotton, linen, silk, and wool. Hence, the quilted petticoat would become synonymous with the Georgian Era. This popularity extended to France and America as well.

During the Georgian Era, a change occurred in fashion that brought petticoats out of hiding and to the visible foreground. Petticoats were now worn as the outer most layer, often with many separate crinoline layers made of cotton or linen underneath. This quilted petticoat design was typically tied at either side of the waistband, with gaps in the side seams that allowed for easy access to a pair of pockets worn underneath. Learn about the History of the Pocket here. This visible quilted petticoat was so popular that it translated to all segments of society, from nobility to laborers.

Well-to-do ladies wore their gowns open at the front, not unlike a stage curtain that revealed and showed off the highly prized, elaborately stitched, decorative statement piece underneath. This staging or framing showed off the petticoat typically in a contrasting or matching colored fabric made or silk or satin. Fabrics made of vivid and highly saturated colors in red, pink, blue, green, and yellow were highly fashionable. Shades of white, silver, and gold fabrics were very popular as well.

The hand stitching used could vary greatly to create patterns and designs that ranged from simple to elaborate. Geometric patterns such as stripes, and diamonds were common. More realistic motifs such as florals, animals, swirly flourishes, even scenes and landscapes were popular, as well. Usually the most elaborate and detailed stitching work was centered at the front of the petticoat where it was the most visible. The amount of details on the remainder of the skirt would vary depending on how much of the petticoat was visible due to the drape of the curtaining fabric used to set it off. The more elaborate stitches and quilting designs were very much an indication of wealth and status. Fine and elaborate petticoats could take months if not years to to make, therefore an extravagance only the wealthy could afford. Even among the rich a used petticoat was a welcomed and prized gift.

The outer most display of the petticoat may have been the focal point of the outfit and an indicator of the status of the wearer, however the underneath or backing was not an overlooked afterthought. Just because the underneath side of the petticoat or skirt was not seen, did not mean it was denied creative consideration. 

Granted the underneath or backing material of petticoats was not as elaborate as the featured side, even for the wealthy. This was in part due to a modest nod towards economics and practicality for those with more than enough means. The underneath side was not seen, so cheaper fabrics like sturdy linen or calico cotton were used. The underneath sides of historical petticoats often demonstrate how more common fabrics were combined to express whimsy, sophisticated color and texture combinations, while providing a possible insight into the individuality of the maker or wearer -- no matter their economic status.

Because women had little opportunity to express themselves creatively as individuals and had very little true privacy, their clothing became an outlet of individual expression and control. Throughout history, we often find hidden elements left behind in women’s garments that reveal a secret peek into the personalities of the individual who wore them.

The wealthy women who wore these beautiful garments and the poorer women who made them, lived lives on polar ends of the social and economic spectrum. While some wealthy women crafted beautiful hand work and sometimes made their own petticoats, this was generally work relegated to the poor. It was not only the fine fabrics their gowns were made of, or the degree of detail and artistry in which they were stitched, that separated the classes. Petticoats had a way of revealing the story of the haves and have nots.

A romanticized depiction of field work.

Makers of these fine garments were paid a pittance for their talents and labor. It was not a lucrative way to earn a living by any means. It took copious amounts of time to create such works of art and the rewards were barely enough to survive on. The poor women who created such stunning beauty for others to show off, were not only denied a fair wage for their efforts, but denied the ability to indulge themselves in their own talents.

Poor women made many fewer and simpler versions of petticoats for themselves and their families. These petticoats were made of everyday durable fabrics, like calico cotton, wool, and rough hewn linen. Their petticoats were much more practical to fit their lifestyles. Figure shaping under paddings encumbered and restricted the movement of women who worked and labored. The extra expense of such unnecessary items were not a priority to the poor. Therefore, petticoats were worn more simply and plainly, due to the need for practicality and warmth. Aprons generally tied or looped at the waist, replaced the fancier framing fabric counterparts of wealthy women's outfits.

Poor women may have not been able to afford the fabrics they would have chosen, but that did not keep them from paying attention to the aesthetic of the days fashions. Just like their wealthy counterparts, poor women were interested in fashion and took pride in displaying their knowledge of current fashions the best they could. They used the best fabrics they could acquire for the outer layer of their petticoats and they economized for the underneath layer, often creating charming and sophisticated displays of artistic talent. Often these petticoats were made of a miss-match of what ever fabric they had on hand or could be traded with other women. This did not mean these women lacked in displaying a sophisticated design sense. Besides needing fabric that could withstand the rigors of physical labor, they simply did not have the luxury of extra hours to spend on their own clothes. Their stitching was much simpler and less of it, because of the time required to do more. Simply stitched channels were often the extent of any quilted details. Despite having to make do with what they had or could afford, these women still managed to make petticoats worthy of admiration.

Even though quilted petticoats were hugely popular among almost all women of the period there was a harsh distinction none-the-less. Women of polarizing economics may have been bound by a desire to partake in fashion on whatever level they could afford. However, their common bond may have only been a shared warmth provided by their quilted petticoats, but little else.

Eventually this practical fashion made it's way to the "new" world, where women on the cold prairies wore these skirts - and where Folkwear got the inspiration and samples for our pattern.   

Clothing has always held more meaning for women that just protecting one’s body from the elements. Even when women have been denied beauty due to their economies, they have found ways to create their own. I hope you find inspiration in making something beautiful for yourself or someone else and continue to forge the bond that unites those who appreciate what it takes to make something from nothing.

The Folkwear 206 Quilted Prairie Skirt Pattern is the perfect canvas in which to celebrate your own creativity and at the same time recapture a bit the spirits of our ancestors. As always we look forward to seeing what you have been inspired to create!

This month Folkwear is featuring the 111 Nepali Blouse Pattern, which is a beautiful piece, often worn by Nepali women as an over blouse.  While this blouse is considered a traditional garment, typically made of velvet, it has a truly contemporary feel, which makes it a perfect complement to any wardrobe.

This versatile pattern can be made for any season or occasion. For everyday wear it would be lovely made of fabrics such as cotton, linen, rayon, light wools, or even knits. Any fabric with a bit of drape and a light to medium weight would be suitable. When made in velvet or silk it is transformed into an elegant and comfortable garment whether for a special occasion or for blissfully lounging about. Shorten the sleeves for warmer temps and enjoy year round.  The blouse can be worn open at the collar (simply omit the top sets of ties and cut just four ties for the waist). The ties could also be made of ribbon or even be replaced with buttons, hooks, frogs, or snaps.

Since the Nepali Blouse is traditionally made of velvet, this is a perfect opportunity to learn more about velvet and how to handle it.  Velvet can be a tricky fabric to sew with, but the tips below will make it much easier and less intimidating to work with.

Most velvets available today are made of rayon or silk. They generally have a very drapey effect and sometimes a bit of stretch, that work well for tops, blouse, skirts, dresses, pants, and scarfs. The photos below shows the soft silky drape of silk rayon velvet. This type of velvet has a distinct nap, which captures the light creating a beautiful shimmer.

 Velvet can also be made of cotton and polyester blends, which generally have a more stiff hand or feel, and are perfect  for  more structured pieces, like coats and jackets. The velvets in the photos below are made of cotton and have a stiffer drape and the sheen is typically more subdued than silk and rayon velvets.

While silk and rayon velvets are stunning and rich fabrics, they are not the easiest fabrics to control and require a bit of extra attention. This blog will help provide some tips to ensure successful sewing for any velvet sewing project on your list. Use these tips for making the 111 Nepali Blouse, as well as the 120 Navajo Blouse and the 124 Bolivian Milkmaid Jacket, which are also traditionally made in velvet. 

Also view or download these tips as a PDF.

PREPARING THE PATTERN AND CUTTING THE FABRIC

• Velvet is a napped (or pile) fabric.  This means that the right side of the fabric has a direction that the pile (or fuzzy stuff on top) runs.  The fabic has a different feel and look depending on whether the nap is running up or down. To determine the direction of the nap, rub your hand along the lengthwise grain. The fabric will feel smooth in one direction (with the nap) and rough in the opposite direction (against the nap). Also, the fabric’s color or shade will appear darker with the nap going in one direction than the other. An upward nap creates a deeper and richer effect. A downward nap creates a more glistening or shimmering effect. There is no right or wrong when deciding on the nap effect you like, just personal preference.
• Once you have determined the desired nap direction, be sure that all pattern pieces are placed pointing in the same direction (e.g., top edges of all pieces pointing in same direction). In pattern directions, this is a “With Nap” cutting layout, which usually requires more fabric than a “Without Nap” layout.  
• If you cut the pattern out of a double layer of fabric, baste the two layers together along the selvage edges before pinning the pattern to the fabric. This will help keep the material from shifting and sliding.
• If working with a double layer of fabric is too slippery and difficult, cut the pattern out of a single layer of fabric. Just be sure to cut both right and left pieces when appropriate (e.g., fronts, sleeves, facings). To do this, place the pattern piece on the fabric printed side up and cut out; then place it printed side down and cut out. Remember to point the pieces in the same direction.
• Working with a single layer of velvet can be easier. Adding a layer of disposable fabric as a base, such as muslin or a thrifted cotton sheet, can make all the difference in creating more stability. Lay a single layer of stabilizing fabric on a cutting surface, then sandwiching the velvet between the disposable fabric base and the pattern. Pin and cut through all the layers of fabric. Paper could be substituted for the base layer of fabric, but this is not generally recommended because cutting paper dulls scissors or blades. The extra layer of disposable fabric really does a good job to stabilize squirmy velvet and silk fabrics.
• Pin pattern pieces to the fabric only in the seam allowances. Pinholes often remain visible, because they punch out some of the pile threads, and you won't want these holes to show in the finished garment.
• If the fabric frays or unravels badly, apply a small amount of fray retardant to all raw edges as soon as you cut out the pattern pieces.
• Use silk thread for marking and basting, as it does not leave holes or imprints in the fabric.

INTERFACING

• Fusible interfacing is generally not a good choice for velvets or other pile fabrics, be­ cause the pressure you apply with the iron to fuse the adhesive also crushes the pile of the material. Therefore, select a sew-in interfacing and baste the interfacing to the wrong side of the pattern pieces before assembling the garment. Baste only in the seam allowances.
• You can purchase different weights of non­fusible interfacing, or you can use a light­ weight cotton (e.g., batiste) or silk organza for a low-bulk, sew-in interfacing. Test a sample of fabric to see how it feels and drapes with the different interfacing possibilities.
• For a more structured result, cut the interfacing on the straight grain. For a drapey, less structured effect, cut the interfacing on the bias.
• There are very-low-heat fusible interfacings on the market today. If you choose one of these, place the fabric’s right side on a needleboard (or another piece of velvet set right-side-up) before fusing the interfacing to the wrong side, so you won’t crush the pile, and use as little pressure as possible. Experiment on fabric scraps first!
• It is not recommended to iron or press the right side of velvet, this will crush the pile or nap. Remove creases by steaming. Steam the wrong side with an iron, but avoid placing the weight of the iron on the fabric. Using a clothing/fabric steamer on the wrong side of the velvet is ideal.

STITCHING TIPS

• When sewing with plush velvets or other heavily napped fabrics, increase the stitch length a bit. Experiment with different stitch lengths on fabric scraps to achieve smooth, secure, pucker-free seams. 
• Use silk thread for stitching, which result in easier and smooth stitching. 
• Baste all seams before stitching, to keep the various layers from shifting. Use a baste stitch and then make a small backstitch every three inches or so as you go. Baste diagonally across the stitching line, rather than along it or parallel to it (see illustration below). If the layers still shift, baste on each side of the stitching line as well as diagonally across it.

• You may want to shave or trim the pile or nap from seam allowances before stitching, to reduce bulk in the seams.
• Double-check the sewing instructions before stitching any seam permanently, to be sure you are completing the next step correctly. Ripped-out seams leave behind unsightly holes that cannot be hidden.
• Stitch seams in the same direction as the nap, as much as possible. If the nap is running down the garment, stitch seams from top to bottom; if the nap is running up the garment, stitch from bottom to top.
• If the fabric is especially slippery, encase it between two layers of tissue paper. Stitch the seam through tissue and fabric, then tear away the tissue paper.
• Stitch slowly! Stop every few inches, with the needle down in the fabric, and lift the presser foot to let the fabric relax. Lower the presser foot and continue stitching. 
• When sewing pile and non-pile fabrics together, such as velvet and lining, stitch the seam with the non-pile fabric on top and sew in the direction of the nap.
•  When hand stitching, catch a thread in the foundation fabric only, leaving the pile threads free.

 PRESSING TIPS

• Use scraps left over from cutting out the pattern to experiment with different heat settings and pressing surfaces, to determine what’s best for the selected fabric.
• To avoid crushing the pile or nap, use a needleboard, fluffy terrycloth towel, or piece of velvet fabric as the pressing surface. Press garment with nap down against the needles, towel loops, or fabric pile. Press very lightly and use lots of steam if appropriate for the selected fabric.
• If you must press the right side, use a piece of self-fabric or terrycloth as a pressing cloth and apply as little pressure as possible, to prevent crushing the pile.
• Steam the seams open. Finger press the seams to secure an open seam. Do not directly touch the iron to the velvet.
• To ”refresh” the nap of a garment made out of pile fabric, put it in the dryer with a few terrycloth towels. Set on air fluff (no heat) and run for just a few minutes, checking it often.

TEST SWATCHES

Because of the different nature of velvet fabric, it is a good idea to practice and experiment on a few scraps before you make your final project. Here are a few experiments to try using velvet.

• Try cutting two layers of velvet to see how it behaves.
• Experiment with how the naps directions look when stitched.
• Pin and baste in the seam allowances before cutting.
• Practice machine stitching the seams to see how the fabric behaves on the straight grain and in a curve.
• Evaluate the thickness of turned seams.
• Experiment with different stitch lengths and adjust if you get any puckers.
• Practice steaming to remove creases.
• Practice steaming and finger pressing the seams open.
• See how the velvet behaves going through a serger.

While working with velvet takes more time and effort, the benefits are well worth it. No other fabric compares with the unique quality of a stunning velvet. Use these tips to make a 111 Nepali Blouse and for all your other velvet sewing projects. 

View or download this as a PDF.

What a year this has been.  While it has definitely been less busy on the home front, at Folkwear we've had a surprisingly busy year.  

We started the year with a new employee, Cynthia, who has helped with pattern designs, blog posts, and lots of sewing.  And, Esi joined us half-way through the year to help with sewing and digital pattern work.  Then, when the pandemic started we closed our in-person retail section and set up safety measures for the office.  

The resurgence of home sewing was delightful to see.  From sewing masks to creating elaborate costumes, sewing gave people a task and a way to help as well as a way to escape difficulties and create.  

One of the bigger challenges we faced this year, behind-the-scenes, is updating older patterns.  We realized that when we go to re-print many of our patterns, the original printing plates have gone bad.  Which means that we have to re-create the pattern and digitize it.  This also gives us the opportunity to re-size some of our patterns to make them available in larger sizes.  And, since we have a digital pattern, we have also started making the patterns available as PDF patterns.  And, we have found that you all really like PDF patterns.  Certainly, the paper patterns are not going anywhere (most people still love paper patterns), but PDF patterns have become much more popular.  There is no shipping cost, so international customers appreciate the PDF patterns, and they are instantly available.  

Here are a few accomplishments we've made at Folkwear this year:

Pattern releases:

• 1920's Flapper Dress (PDF pattern only)
• 158 Ghanaian Smock
• 211 Two Middies (re-release)
• 229 Sailor Pants
• 262 Spectator Coat (re-release)

 PDF patterns released:

• 101 Gaza Dress
• 102 French Cheesemaker's Smock
• 104 Egyptian Shirt
• 106 Turkish Coat
• 111 Nepali Blouse
• 112 Japanese Field Clothing
• 119 Sarouelles
• 122 Hong Kong Cheongsam
• 124 Bolivian Milkmaid's Jacket
• 126 Vests of Greece and Poland
• 129 Japanese Hapi and Haori
• 144 Belly Dancer
• 158 Ghanaian Smock
• 205 Gibson Girl Blouse
• 209 Walking Skirt
• 210 Armistice Blouse
• 211 Two Middies
• 219 Intimacies
• 227 Edwardian Gown
• 229 Sailor Pants
• 250 Hollywood Pants
• 262 Spectator Coat
• 267 M'Lady's Corset
• 270 Metro Middy Blouse

Patterns re-sized this year:

• 104 Egyptian Shirt (now up to 2XL)
• 111 Nepali Blouse (now up to 2XL)
• 119 Sarouelles (now up to 2XL)
• 126 Vests of Greece and Poland (now up to 2XL)
• 227 Edwardian Gown (up to 3XL in PDF only for now)
• 250 Hollywood Pants (up to 3XL in PDF only for now)

Tutorials:

• Pocket Series: patch pockets, in seam pockets, welt pockets
• Flamenco rose (fabric rose)
• Beaded embroidery (flapper dress)
• Chinese Jacket embellishments, Part 1, Part 2, Part 3
• Fitting adjustments for Sailor Pants
• Make the 211 Two Middies into a dress
• 229 Sailor Pants Sew Along
• Explaining the construction of the 261 Paris Promenade Dress
• Sewing tips for making the 122 Hong Kong Cheongsam
• 211 Two Middies Sew Along
• Add simple short sleeves to the 1920s Flapper Dress
• Make a dress from the 240 Rosie the Riveter overalls pattern

Free Pattern releases:

• Vintage pocketbook (with design from 114 Chinese Jacket)
• Parasol

Cynthia wrote several interesting fashion history blogs this year.  One of the most popular was History of the Pocket.

I also did a bit of Folkwear sewing for myself (trying out patterns and tutorials, making modern versions and samples, etc.).  Some of my favorite makes are the 140 Flamenco skirt that I still wear and absolutely love; the 212 Five Frontier Shirts in linen; the 240 Rosie the Riveter shirt and dress I made from our tutorial (my favorite summer dress); 202 Victorian Shirt dress that is so warm and cozy; 126 Vests from Greece and Poland that is simple and easy; and 148 Back Forest Smock Dress I made with knit fabric (it's so pretty).  

Though I was not able to travel as much as I had hoped, I was able to get to Spain for a short visit in early February and learn more about flamenco and fashion.  

There have been other challenges this year too.  Our main pattern printer shut down twice this year for a total of 4 months.  Which meant that we ran out of patterns occasionally and had backordered patterns fairly often.  We are really hoping this problem will not continue in the new year.

Looking forward to the next year, we have lots of plans - for a few new patterns (lingerie and the like), for more PDF patterns (your favorites made into PDFs), and for more content such as tutorials, sew-alongs, and videos (we did add to our YouTube channel a bit this year, and hope for more in the new year).  We also plan to make more Folkwear samples and everyday wear.  And I, personally, want to make the 227 Edwardian Gown for myself.  

We are looking forward to 2021 - to better health, to more traveling, and to lots more sewing and creating.  

And we wish all the best for the new year for you as well!

- Molly and the Folkwear team

One of my greatest joys working with Folkwear is to see the creativity of the Folkwear sewing community.  I love the photos that customers send us showing off their unique garments made with Folkwear patterns.  It is truly fantastic to see how each sewist has their own personal touch and style imprinted on a pattern.  Thank you to all who have shared and contributed to the customer gallery.  It's why we keep on keeping on here at Folkwear!

We love sharing our creations too, and as you probably know, we carry a limited selection of fabrics here at Folkwear.  The fabrics we select to carry are sourced with our patterns in mind.  We have a hard time not wanting to keep them all to use ourselves, but alas, sharing is more fun!  This blog post highlights some of our recent sample or personal garments that we have made using the fabrics from our shop.  We hope they inspire you and bring a smile to your face.

Molly sewed the 242 Rodeo Cowgirl Jacket above for her mother using our Merchant & Mills cotton needle cord and organic yarn dyed linen.  The colors were so good together.  Read more about the jacket in our blog post.

Molly also made herself a very cute version of the 212 Five Frontier Shirts in organic yarn dyed linen from Birch Fabric.  The body is made using the Dusty Rose and the yoke and cuffs are made with Azure.  We are limited to the Apricot Brandy linen at the moment.  But, we should have more colors available again soon.  Did I mention that the linen is preshrunk?  Bonus!

 

 

We had so much fun working on developing the 229 Sailor Pants and reinvigorating the 211 Two Middies pattern.  It has been very rewarding to see them being made and worn! 

The picture above shows the 229 Sailor Pants and 211 Two Middies. The pants on the right are made with our 8oz Washed Denim from Merchant and Mills. And, our Japanese selvage denim (three versions) would be great for these too and would look very similar.  His Middy (View A) top is made with our Cotton Chambray.  The pants on the right are made with Gray Cotton Sanded Twill also from Merchant and Mills.  We also have this soft and sturdy fabric in Navy as well.

We often put together a simple holiday gift list this time of year.  And, I am excited about a few of the things we have on this year's list.  They are not all Folkwear - we want to point you to some amazing craftspeople and small businesses we have come across in the last year or so.  And, craftsfolks, small businesses, and artists need lots of support.  It has been a tough year for lots of people. 

So on to the list.

First, (and free) Folkwear has several free patterns for some great gifts that are easy and quick to sew up.  The cravat for any stylish gentleman/woman, the carry-all tote bag, a knitted 1950s stole, and a beautiful kimono ornament.

Cravat on my father-in-law

We also have several patterns that make wonderful, and quick-to-sew, gifts:

• 271 Sunset Wrap (paper pattern and PDF pattern)
• 129A Japanese Tabi (paper pattern)
• 146 Six Bags from Around the World (PDF only) (pick a bag to make - it will take you less than an hour).

271 Sunset Wrap

And, while you may have fabric in your stash for these projects, we love the following small business fabric stores:  Stone Mountain and Daughter Fabrics, Harts Fabric, Bolt Fabric Boutique, Oak Fabrics, Elfriede's Fine Fabrics, and Urbanstax (UK).  Check out their shops - they have nice online selections, good customer service, easy shipping, and great quality fabrics.

Folkwear also has a couple of bag kits to make, or give as gifts - the Japanese Carpenter's Bag Kit and the Turkish Drawstring Bag Kit.

Bianca, of Thanks, I Made Them, has a wide selection of pattern weights that are beautiful and fun.  Get the Folkwear pattern weights for 20% with code FOLKWEARLOVE for the rest of the year!

I also really love the sewing tools from Modern American Vintage. These gorgeous wooden tools are perfect to bring a natural element into your sewing room, and are nice gifts for sewists in your life.  Love them!

The beautiful fabric store, Bolt, has a really nice selection of toweling in stock, as does Harts Fabric.  Make a set of pretty kitchen towels for someone by just hemming the two unfinished edges (or zig-zagging and fringing).  So pretty (and simple)!

And, if you love gorgeous hand-made textiles from around the world, these towels from Sabahar would make an amazing gift (they are fair-trade too, made in Ethiopia).  

If you are in the UK, or don't mind the shipping (often its not too bad), Foundland has some beautiful and interesting items that would make fun gifts:  Korean tabletop brushes, Japanese slippers, or a sweet little flower press (and lots more).

I just discovered the beautiful beaded earrings at Lillie Nell - made by Native American artist, Holly Nolan.  These would be special!

Finally, for sustainable, organic, fair-trade, textile goods (that you don't have to sew), check out Global Mamas.  Their bags, clothes, jewelry, and accessories are all made in Ghana by women who batik the fabric, sew the items, and manage the workings of the business.  And, their prices are great!

The smock is a traditional garment that has long been a favorite for its easy comfort and romantic billowy styling. In this blog you will learn how to make size adjustments to two of Folkwear's favorite smock patterns, the 102 French Cheesemaker's Smock and the 148 Black Forest Smock. 

The Folkwear 102 French Cheesemaker’s Smock pattern was taken from an original smock worn by cheesemakers in Roquefort, France. The Folkwear 148 Black Forest Smock, or Kittel, as it is also called, was an over-garment worn by workers in Germany, Switzerland, and France.  Smock wearing goes as far back as the medieval period, worn by laborers and craftsmen who needed easy to wear clothing that allowed for a full range of movement for all kinds of work. For this reason the smock became an enduring wardrobe stable for centuries. Because of its practically and comfort, the smock became an iconic look for cheese maker’s, agricultural workers, artists, gardeners, pirates, school children and others. Medieval and Renaissance reenactors also love these smocks designs. And, they make beautiful and simple everyday dresses, tunics, or shirts.

Traditional smocks are made of simple-to-construct rectangles, which means they can easily be made to fit anyone. They are easy to size up or down and anyone with a needle and thread can make a one. 

These are two of Folkwear's oldest patterns, and the sizing is not typical of most sewing patterns.  There are basic sizes for large and small and/or men and women.  There is a lot of flexibility in the pattern design, because there is a LOT of ease built which can accommodate many different sized bodies (~10-12 inches of ease at chest and hip).  However, if your fall out of the range of these sizes, or want to add more ease to the garment, it is fairly easy to make these patterns larger, and that is what we are going to show today.  The finished measurements for both smocks are below.  You can use them as a starting point to decide if you need to add more width or length to your garment.  

Finished measurements:

• 102 French Cheesemaker's Smock - 
• Men's size:  58 inch (147cm) at chest and 31-1/8 inch (79cm) length.  For chest measurements up to 46" (117cm)
• Women's size: 52 inch (132cm) at chest and 29 inch (74cm) length.  For chest measurements up to about 40"-42" (102-107cm)
• 148 Black Forest Smock - 
• Men's size: 55-1/2" (141cm) at chest, 58-3/4" (149cm) at hip.  For chest measurements up to 44" (112cm).
• Women's medium: 49-1/2" (126cm) at chest, 52-3/4" (139cm) at hip.  For chest measurements up to 38"-40" (97-102cm) and hip measurements 40"-42" (102-107cm).
• Women's small: 47-1/4" (120cm) at chest, 50-1/2" (128) at hip.  For chest measurements up to 34"-36" (86-91cm) and hip measurements 36"-38" (91-97cm).

You can see that there is a lot of ease in the patterns and while your measurements may be larger than the sizing, the pattern may still fit you well, with 6 inches of ease.

Keep in mind that the "Men's" size is just the largest size, and the "Women's" sizes are just the smaller sizes.  They can be used by any gender, of course (and at some point, we will probably change the size "names"). 

Also, keep in mind that both of these patterns utilize an under-arm gusset to attach the sleeve to the body of the garment.  This was originally a way to save fabric - it provides room in the arm/chest for working, while allowing the sleeves and body pieces to be cut as rectangles.  When you are using your own hand-woven fabric, as they were when these patterns were originally used, you did not waste fabric by cutting curves for sleeves and armholes.  Geometric shaping also helped with finishing edges and preventing fraying.  These gussets actually add a little bit more room in the chest - an inch or two.  And, the gusset for the French Cheesemaker's Smock can be eliminated for very small people who do not need or want extra room.  

Because the 102 French Cheesemaker's Smock and the 148 Black Forest Smock are constructed in much the same way, making size adjustments for each design is the same. The French Cheesemaker's Smock can be made longer to make a tunic, dress, or night gown. The Black Forest Smock already comes in a shirt and dress length.

In this blog you will learn to make the same easy sizing adjustments that have been passed down through history, using the French Cheesemaker's Smock as an example.  

Comfort, practicality, and romantic styling make smocks a great choice for any wardrobe and can be made of any number of fabrics. Cotton flannel, light and medium weight linens, cottons batiste, lawn, flannel, faille, fine wale corduroy, silks habotai, silk de chine, knits, and any fabric that allows for a nice drape and is not too stiff. Also, be sure to to see Making the Black Forest Smock with Knits featured on our blog.

Adjust the 102 French Cheesemaker's Smock

This blog will concentrate on adding width and the length to the men's 102 French Cheesemaker's Smock made from muslin. The neck opening and placket are already generous and will remain unchanged for this blog. Sizing adjustments are made to the pattern pieces Front A, Back B, Sleeve C, Shoulder Yoke & Facing F, and Wristband H.

Note: The measurements added for the purpose of this demonstration are not significant, but simply used to illustrate how to make the adjustments. When making adjustments of any consequence, be sure to make a test muslin.

The largest size of the pattern finishes at 58 inches (147cm) at the chest. For the purpose of this demonstration, 1 inch (25mm) has been added to the chest width to give a bit more ease to fit a 48-50 inch (127cm) chest. The final measurement will be 59 inches (150cm) in circumference, and gives the smock a good drape and plenty of ease.

An additional 2 inches (51mm) has been added to the length of the smock for a final measurement of 29.5 inches (749cm).  The smocks may need to be lengthened or shortened to adjust for personal preference or for height of the wearer.

I also widened the sleeve by 1 inch (25mm) to accommodate a 14 inch (36cm) bicep.  Again, there is lot of ease in the sleeve, but if you want more or need a larger size, this is an easy way to do it.  The sleeve has also been lengthened 2 inches (51mm) to fit a 24 inch (61cm) arm length. The final shoulder/sleeve/arm measurement is 31.5 from the neck edge to the wristband edge.

Add width and/or length to pattern piece Front A, Back B, and Sleeve C.

Determine the width you desire, adding half the width measurement to either side of pattern pieces Front A. In this case, I added 1/2 inch (13mm) to each side of Front A for a total of 1 inch (25mm) of added width.

An additional 2 inches (51mm) has been added to the length of Front A.

Because pattern pieces B is cut on the fold, add half the width requirement to the non-fold edge of the pattern. In this case 1/2 inch (13mm) I added to the non-fold edge of Back B for a total of 1 inch (2.5cm) of added width when cut on the fold.

I also added 2 inches (51mm) has been added to the length of Back B, as well.

Be sure any width or length adjustments made on pieces Front A and Back B are the same. 

I added the same 1/2" (13mm) measurement adjustment to the outer, or sleeve edge, of the Shoulder Yoke & Facing F.

Both Shoulder Yoke & Facing F and Front A with width adjustment and aligned matching notches.

Both Shoulder Yoke & Facing F and Front B with width adjustment and aligned matching notches.

Pattern piece Sleeve C is also cut on the fold, so I added half the width requirement to the non-fold edge of the pattern. In this case 1/2 inch (13mm) is added to the non-fold edge of Sleeve C for a total of 1 inch (2.5cm) of added width when cut on the fold.

Adjust the sleeve length to the measurement you require. In this case, I added 2 inches (51mm) to the bottom of the sleeve.  .

Once the pattern sizing adjustments are made, I used the adjusted pattern pieces to cut out my new pattern.  Use the sewing instructions to construct the smock. 

Front View.

Front view with Gusset added under the sleeve for extra room.

A Back View. Notice the soft gathering at the back neck.

A Quick and Easy Adjustment for the 148 Black Forest Smock

The adjustments for 148 Black Forest Smock are the same as the 102 French Cheesemaker's Smock, with the exception of Side Panel C.  This panel should not receive any added extra width to it's sides. If you adjust the length of the smock, then the length of Side Panel C should be adjusted to the same length. When getting started, have a look at the pattern instructions to see how this portion of the smock is constructed.

The idea is to add additional width to the Front, Back, and Shoulder Yokes. To do this, add half the width needed to the non-fold side of Front A and Back B. In this case I/2 inch (13mm) is added to the non-fold edge of Front A and Back B for a total of 1 inch (2.5cm) of added width when cut on the fold. Widening the Front and Back will allow for more fullness to both the shirt-length or the dress-length versions of the smock.

Add the same adjustment to the outside of the Shoulder Yoke pieces as you did to the front/back pieces (here I added 1/2"/13mm). 

And, that's all there is to it.  

Note: If you add width measurement adjustments to the sleeves, then, the gusset notches on the front and back (where you attach the gusset) may move slightly.  That is normal and fine.  You should be able to easily see where the side panel, gusset, and sleeve connect.

Once the measurement adjustments are made, construct the smock according to the pattern instructions.

You can use these typical adjustments to size up many of Folkwear's oldest patterns, the traditionally constructed garments with rectangular pattern pieces. 

Both the 102 French Cheesemaker's Smock and the 148 Black Forest Smock are perfect for adding layering warmth to any winter wardrobe. When the weather turns warm, shorten the sleeves and enjoy the comfort of a smock made of a billowy cool fabric. Either way, add a touch of romantic comfort to your wardrobe and enjoy wearing an easy to make Folkwear smock.

There is so much to love about both of these easy to make smock patterns and the 148 Black Forest Smock pattern is on sale this month... so there is no excuse not to try making a great smock for yourself or as a holiday gift for someone special! As always, we love seeing what your have been inspired to make using Folkwear Patterns!

I feel that the 148 Black Forest Smock and the 110 Little Kittel are under-appreciated Folkwear patterns.  They are fun to make, and really quite easy, with lots of options for special customization.  Embroidery can be added to the neckband, cuffs, pocket openings, and/or shoulder yokes.  And, the patterns include embroidery designs to use! Different fabrics combined for fun color blocking.  And, the smocks make a simple silhouette that is easy to wear and can be made formal or informal depending on fabric - and made into a dress or shirt, depending on length!

I made the 110 Little Kittel for my daughter a few years ago from a beautiful blue corduroy.  I really wanted to add embroidery, but did not have time to do hand-embroidery, so I tried out some stitches on my machine to simulate the embroidery designs included in the pattern.  It was not hard at all and a lot of fun to figure out which stitches to use (and finally use some of those stitches my machine can do, but I never use).  If you use your sewing machine to embroider, make sure to use a stabilizer on the back side of the fabric - interfacing or a tear-away stabilizer will work fine.  

This past week, I decided to make a 148 Black Forest Smock for myself.  I wanted to make a simple smock (no embroidery) made into a short dress that I could wear with boots for winter.  I had a great, warm brown fabric in my stash, but it was a knit.  I decided that the medium-weight knit might be perfect for this pattern and it would be fun to see how it could work out.  And, then I could show you how to do the same!

The fabric is some combination of wool and/or mohair and synthetic.  It is thicker and heavier than a jersey and is a 2-way stretch, with over 50% stretch.  It is probably easier to use a knit with a little less stretch, but this fabric worked just fine.

There were only a few adjustments I made to the pattern to work for a knit fabric, and I am outlining those below.  I followed the instructions in the pattern for everything else.  I did not cut the welts (noted below) and I did not cut or use the shoulder yoke facings (only cut and used one set of shoulder yokes and did not face them).  I used a serger for sewing most seams; exceptions are outlined below as well.  If you don't have a serger, just use a zig-zag or stretch stitch for seams. I cut the smallest size, and since this pattern has a lot of ease, and I would be making it from a knit, this was perfect.  This is a traditional-style garment and one of our oldest patterns, so the sizing and construction is a little different from typical modern construction.  It is fairly easy to size the pattern up by adding to the front and back side seams and to the sleeve seam, as needed.  

Pockets

First, I cut all the pattern pieces as I would have for a woven fabric, except that I did not cut the welts for the pocket.  

But, I cut all the pocket pieces with an extra long section where it joins the smock so that I could use the technique for welt pockets that is a little easier to do and does not require an extra welt piece.  I added about an inch extra to the part of the pocket that juts out to join the body of the garment.

The first step in making the smock is to add the pockets.  To do this one-welt pocket without the welt, I started by putting the two pocket pieces (front and back) together over the pocket opening.  I've marked the corners of the welt pocket and the opening on the side piece with a purple marker. Then, I centered the pocket pieces over the opening and lined up the edges of the pocket with the opening line of the pocket.

I sewed, with a regular sewing machine and a straight stitch, along both long edges of the welt pocket, starting and ending at the corners of the welt pocket (marked with purple).

Then, I cut the welt pocket opening to 1/2" of the ends and snipped to each corner (don't cut the pocket pieces, just the side panel piece, as seen below). Note that the side panel is facing up in the photo below,  and the pocket pieces are on the other side.

Any one who sews, knows what a challenge fitting can be. The ultimate joy in learning to sew, and what makes it so rewarding, is the pleasure that comes  from wearing clothes that fit and bring you joy.

This blog is intended to help you make minor changes that can make a big difference in how your Folkwear's 229 Sailor Pants fit. If you are in between sizes, a simple grading technique can make all the difference. Or, if your waist is quite a bit smaller than you hips, a couple of easy-to-make darts can be all that stands between you and a good fit. Adjusting the depth of the crotch can make a difference too.

The 229 Sailor Pants pattern was directly taken from an authentic pair of sailor pants from the 1940's. Part of the authenticity of this design, means there are no side seams. However, side seams do allow for more options when it comes to shaping a garment, especially when considering the curves of the female body. However, adding side seams is a future blog.

Despite this sailor pant design having no side seams, a few simple and helpful adjustments will give you a better understanding on how to make the 229 Sailor Pants fit your shape. Because, there are no side seams to this pant design and the front has all the opening flap and darts, most sizing adjustments need to be made to the back of the pants.

Even though the techniques demonstrated here are simple, it is always best to make a test muslin first. All the adjustments for this blog are done making a muslin. Other than the adjustments, the pants are made according to the pattern instructions. We will be focusing on the back seam and waistband of the pants, mainly. Since the fit of the leg is not the focus of this tutorial, I only constructed  the pants to the knee.

To make sizing adjustments you need to consider the widest part of the body first. The widest part of your body can vary depending on your body shape. If your waist is the widest part, start by choosing the waist size that matches your measurement. The focus of this blog concentrates on making adjustments for the waist, hips, and crotch.

If your hips are the wider part of your lower body, there are a couple of approaches to take depending on how much difference there is between your waist and hip measurement.

Simple Grading Between Sizes

Sometimes, the difference between your hip and waist measurements are not all that dramatic, but you still fall in between pattern sizes. For example, while the size 32 might fit nicely in the waist, it might be too narrow through the hips. In this case, keep the size 32 waist and make the hips wider by using the size 34 pant pattern.  This the technique Molly used when making her red corduroy Sailor Pants above.

So you can more clearly see what is being demonstrated, I traced (using Swedish tracing paper) the size 32 pants pattern piece and laid it on top of the size 34 pattern piece.  These pattern pieces are not nested next to each other, so it helped to trace it and move it.  I used the Center Front edge and notches for alignment. The grain line and "lengthen or shorten here" line printed on the pattern can be used to ensure alignment as well.

Draw a Grading Line

Below, the line between sizes, or grade line, is drawn in red between the size 32 at the waist and the size 34 toward the hip area. You want to create a smooth continuous line between the sizes.  Doing this widens the hip area to size 34 while allowing the waist to remain unaltered.  Notice this grading line runs slightly into the crotch area without altering this area too much. Trace your new pants pattern piece, staying with size 32 at waist and following the red line to size 34 for the rest of the pants.    

 A size 32 traced on Swedish tracing paper aligned over the original pattern and the new grading line drawn in red.

This technique works fine when grading between just two sizes. However, this technique does not always work well if you need to grade between more than two sizes. Too much grading forces the fabric off grain or distorts the crotch area, which results in an unfortunate wonky look. When making a minor grading adjustment, the measurement threshold or limit is approximately 1/2 inch (13mm) or less.  

Adding Darts at the Waist

If the difference between your hip and waist measurement greater than one size, a different approach using darts can be used. For example, I started with an original size 36 pant pattern (because of my hip measurement) and then shaped the excess fabric using darts to create a 32 inch (81cm) waist. Below is the size 32 waist band and the size 36 pant cut from muslin.

In this case, the difference between the size 32 waist band and the hip of the size 36 pattern is 2 inches (51mm) for each back side of the pants. The idea is to reduce the extra two inches (51mm) to fit the waistband. To do this, the 2 inch (51mm) dart needs to be folded in half, creating a one inch (25mm) width at the widest part of the dart. The location of the dart should be positioned, at the waist edge, over the fuller part of the body, or where you are round. The point of the dart points toward the fullest part of the rear end, and ends about one inch from the fullest part. Often this is about half-way between center back and side waist, but try out the location in a muslin and adjust before making your final fitting.  Add a dart in the same location (mirror image) to each side of the back waist to create the needed shape.

With wrong side facing up, the dart drawn at the pant waist.

The dart folded in half takes up the excess fabric.

A "V" shaped dart is used to eliminate the excess fabric at the waist and create a 3-dimensional shape. Start with a back stitch at the widest part of the dart and stitch along the angled guide line, ending in a point. At the end if the point, leave a long thread tail and tie the the treads off to secure.

Press the darts to create smooth finish.

The dart sewn starting from the widest point and ending in a point.

Hints: Generally, you press darts toward the center front or back. Also, the curvier the body, the larger the darts usually need to be.  You can even create two darts, one larger, one smaller.

The dart pressed toward the center of the pant and pinned to the waistband.

Another view of the waist with a dart, pinned to the waistband and ready to be sewn.

The waist and waist band now align due to the dart.

A close up view of the dart pressed toward the center of the pant and sewn in place.

View of the dart on the right side of the pants.

Darts with the right side of the pants laying flat.

Pants with darts creating shape at the waist and curve of the hips.

Another view showing how the darts allow for the curve the backside.

Side view... notice the dart placement.

It is worth understanding the varying methods for calculating dart positioning. However, it is also acceptable to let the excess fabric determine where the darts need to go. This is often an adequate method of figuring out good dart placement in order to give a pleasing shape to your garment. If there is excess fabric in the sides, then the dart should be at the side seam area. If the excess fabric is at the side back area, then your darts need to be positioned there.

Some curvier figures may required a combination of dart positioning, or two darts (one smaller, one larger) in the waist and/or side seam areas. Because everyone is shaped differently, it is worth experimenting to determine what works best for you. The rules of sewing are not written in stone. But it does help to understand prescribed methods and techniques, to help you determine what works best for you.

Adjusting the Crotch Depth

The final fit adjustment to consider is the depth of the crotch. The "lengthen or shorten here" line printed on the pattern, can be used if you need to adjust the depth of the crotch area. To shorten the length, simply fold your pattern piece up making a pleat equal to one-half the amount you wish to shorten.

Make a shortening pleat.

Pin the pleat in place and ready to use.

To add depth to the crotch, simply cut on the "lengthen or shorten here" line to separate the pattern into two pieces. Then insert another piece of tracing paper behind the original pattern piece, to will allow for the increase. Be sure the extra tracing paper is big enough to provide enough overlap on the back side to secure to the original pattern pieces with tape. A bit of tape added to the front side will help as well. Use a hip curve or French curve to create a smooth continuous drawn line connecting the two separated pieces. Trim any access tracing paper away and the adjusted pattern is ready to use.

Separate the pattern by cutting on the "lengthen or shorten here" line.

Use a French curve to create a smooth continuous drawn line connecting the two separated pieces.

Pattern separated, adjusted, trimmed and ready to be used.

I hope these basic fitting adjustments prove helpful in fitting your Folkwear 229 Sailor Pants. Learning to fit is a process and patterns are meant to be the starting point in this process. Learning how to take a two dimensional fabric and mold it to a 3-dimensional body is an art form in itself. I hope this blog will help you in your fitting journey.

The in-seam pocket, or pocket lining, as it is often called, is perfect to add to the side seam of a pocket-less skirt or dress. You can add this pocket to any pattern, or garment in your wardrobe, that has a side seam.

Be sure to see how to make other pocket options on our Pocket Series blogs. Have a look here to learn how:  Pocket Series: Make a Welt Pocket and Pocket Series: Patch Pocket.

Choose a pocket fabric lining much like the fabric of the garment you are adding the pockets, or a lighter-weight fabric. A lightweight woven cotton will typically work well as a pocket lining for any woven fabric. Silk pocket linings are particularly nice in wool garments. If using a knit fabric, stick with a knit fabric for the pocket lining too. The idea is to choose a fabric that is similar in weight to the fabric the garment is made of, but have some fun and use a pocket fabric that might add a bit of the unexpected.

Using a tape measure and decide how far down you want the the pocket to sit below the waistline. This measurement should be situated so that your hand finds a natural feeling entry into the pocket. If the pocket is placed too high or too low it will feel awkward.

You can draw out your pocket shape freehand, or use our downloadable pocket (link at the bottom of the blog).  Cut four pieces to make the front and back of the pocket bag - two for each side of the garment.  

Using your predetermined pocket-placement measurement, mark the placement for the top and bottom edge of your pocket on the side seams of the front and back of your garment.  Align and pin one pocket piece to the front and back of the garment on each side of the garment. With right sides together stitch the straight edges of the pocket to the garment edge, matching the top and bottom markings for the opening, using a 1/4 inch (6mm) seam allowance. Using a 1/4 inch (6mm) seam allowance keeps the seam from being too visible, because it sits further inside the pocket.

Press each pocket piece to the outside, then press the seam allowance toward the pocket.  You can understitch the pocket seam here if you want.  It can help prevent the pocket bag from coming out when being worn.  To understitch, stitch the pocket to the seam allowance just on the inside of the seam.  

Now with both pocket pieces sewn and pressed in place, place front and back of garment together (right sides together), and stitch the seams of the garment above and below the pocket. Use the seam allowance that already exists in your garment or the seam allowance indicated on the pattern.

Stitch the pocket pieces together using 1/2 inch (13mm) seam allowance or the measurement specified, being sure the straight edges and notches align. Clip the back seam allowance at the corners where the garment and pocket seams meet. Press the pocket toward the front.

Trim the the pocket seam allowance if you like. Depending on the weight of your fabric, will in part determine how or if, to finish the raw pocket edges. The idea is for the pocket to not be visible and create a smooth finish that will not be visible from the right side of the garment. Using a pinking shear finish or trimming the pocket seam allowance will suffice in most cases.

Remember when making your next project that nearly all side seams are made better with pockets!

Like our other featured pattern this month, the 242 Rodeo Cowgirl Jacket, has lots of options for making this pattern uniquely yours.  There are three options for the jacket - with different yokes, fringe, pockets, and option for waist ties.  It is a perfect canvas for embroidery as well.  Add a fun western-themed embroidery design, or studs, to the front and back yokes and/or pockets.

I decided to make two samples of this jacket this month.  First, I wanted a western-styled jacket that was a little more subdued and would be part of our permanent collection.  I chose a needlecord corduroy for the main fabric, and the apricot brandy organic linen, which complimented well, for the yoke facings, undercollar, and cuff facings (both fabrics are from our shop).  I used buttons made of hemlock from Favour Valley Woodworking.  I made Version B (without fringe).  This version has western-style shaped front yoke and sleeve cuff facings.  I decided to sew the yoke and cuff facings on without turning under the seam allowance (and use no backings).  This would allow the linen to fray and give a "rustic" look to the jacket.  The only modification I made to the pattern was to sew the cuff facings on before sewing the sleeve completely together.  This is because the design of the cuffs makes it difficult to sew/topstitch onto the sleeve after the sleeve is sewn together.

I really like how this jacket came out - subtle, rustic, and definitely western/cowgirl.

I also think this jacket pattern is perfect for making a simple, unlined jacket that can be worn everyday.  It doesn't need a theme (i.e. western theme), but is actually just a great pattern for an everyday jacket.

So, I looked in my stash of fabric and decided to try to make the jacket from some backstock heavy/sweater knit fabric I have.  I love this fabric and have a bunch of it (I bought the bolt when I found it).  I think it is a designer fabric, but can't remember who (Dolce & Gabbana??).  

I decided to take our some of the seams because the print on my fabric is large and I didn't want to break it up with the front and back princess seams.  So, I took out the princess seams of the front and back.  Now, typically this would alter the fit of the jacket, but since my fabric is a knit, there is a little stretch and I knew it would not make a huge difference.  I put the pieces together, taking in the seam allowances as best I could, and I added a few darts in my pattern when cutting the fabric to accommodate the shape of the jacket.  

Pattern taped together and laid out of the fabric to be cut.

I made a few other slight modifications to the pattern.  First, I cut the collar facings on the wrong side of the fabric so there would be a contrast at the collar.  And, I took in fabric at both the top of the armscye and sleeve shoulder a bit.  The pattern is designed for using shoulder pads (or large shoulders) and has a lot of ease in the sleeve shoulder, but I did not want to use shoulder pads for this jacket, so I just took out a bit of the extra fabric that would have been there.  

Since I was serging the jacket together, and I had fewer pieces, and was not using any yoke or cuff facings, this jacket came together very quickly, even with hand-sewing (whipstitching) the front/collar facings and hem. It is a jacket I could wear everyday!  Especially since I added pockets too (from the pattern).  This jacket is basically View A with some simple moderations (no yoke/cuff facings, no front/back seams).  

The pattern, 126 Vests from Greece and Poland, provides amazing detail about how to sew and create traditional long and short Greek vests as well as a typical Polish vest.  The pattern provides authentic embellishment designs and instructions for creating appliques, as well as adding braid, soutache, sequins, and beading.  You can create something very traditional or very modern - whatever you make will be unique and beautiful.

I have taken two approaches to making the short Greek vest when sewing up two samples in the last few weeks.  First of all, I love the short Greek vest because of its simplicity - three pattern pieces, super quick to sew, and lots of options for embellishment, and the cut is very cute.  

For my first sample, I wanted to add some trim to make it a bit more "folkwear".  I used a braided trim, embroidered ribbons, and hand-made bias binding.  The Greek vests can be finished with fold-over braid or bias binding, and I liked this option because it adds a bit more color to the vest.

I used traditional black fabric (this was a woven wool-blend remnant I had in my stash and I would recommend a tighter woven fabric than this one).  I laid out my trims on the pieces to see how much detail I wanted and how I wanted them arranged, then I pinned them down and sewed them into place.  Even with the extra machine-sewing to add these trims, this vest was very quick to make.  Making the bias tape took just as long as making the vest.  I'll do a tutorial on how to make a ton of bias tape all at once - this technique is also taught in this pattern.  

I then decided to make a more modern (and quick and dirty) version of this vest to wear in the office this winter.  The lovely thing about a vest is that it can keep you warm while leaving your arms free to move.  I get cold in the office in the winter (because of my eco-friendly habit of keeping the thermostat pretty low).  I often have to wear a jacket.  But, I thought a vest would actually be better to let my arms move more freely when typing, maneuvering patterns, measuring, and sewing.  And, I had a remnant of the beautiful Merchant & Mills jacquard fabric.  So, I cut the vest, and since this is a fabric that ravels terribly, I decided to just serge all my edges to finish them and sew the vest up quickly.  Making this version took less than an hour - cutting to finished sewing.  It definitely could be made more beautiful by the addition of some Liberty of London bias binding (that's my idea anyway), but for now, this is perfect for keeping me warm at the office.  And, I love the fabric and cut of the vest!

So, take a look at this vest pattern!  It is a lot of fun, and there are tons of options for making the three vests in the pattern.  And, the pattern is now available in larger sizes (XS-2XL) and as a PDF pattern.  

What would you make?  What embellishments would you use?  What unique take do you have for one of these vests?  We love to see what you  make! 

You can tag us on social media, or send us photos (mail@folkwear.com), or add to our Customer Gallery.

Finishing the details

We are finishing up all the final details on the 229 Sailor Pants today:  button placement/buttonholes, making eyelets, and hemming

Check out Day One, Day Two, Day Three, Day Four, Day Five, Day Six, Day Seven, Day Eight, Day Nine, and Day 10 of the Sew Along in making the 229 Sailor Pants!

Buttons and Buttonholes

The feature that makes the iconic 229 Sailor Pants stand out from all other pant designs is the button-laden front flap. It truly gives these sailor pants the character we associate with this classic design. The application of so many buttons, and the thread color you use to make the buttonholes, can really allow you to get creative. The color, size, and how many buttons you choose to use will determine the final aesthetic touch. The thread color used to make the buttonholes can blend with the buttons or make the buttons stand out by using a contrasting color.

Depending on the size and placement of your buttons, you can have 12-16 buttons on these pants front.  Tradition says that navy pants have 13 buttons for the 13 colonies, but some say that is a nice, but untrue, tale.  Our original had more than 13 buttons, and other sailor pants have had 12 buttons and up to 16 buttons.  However, for a totally different and more minimalist look, you could replace the buttons with snaps instead. Just remember the the front flap, or buttoned broadfall front, requires a reliable and secure closure.  You could use snaps in combination with a couple of well-placed buttons, too.

After you have decided on the buttons and thread combination for the front flap of your pants, you will need to take the time to assure the proper placement of your buttons. I always test making buttonholes on a scrap of fabric that simulates the thickness of the fabric before making buttonholes on my main garment.

Mark your buttonholes using the pattern as a guide. I have used pins to mark the center position of each button. Once the final buttonhole position was determined, I used a line made with chalk to use as a guide. Sew eleven to fifteen buttonholes on the front flap, depending on the look you want and button size. For larger buttons (3/4" (19mm) or larger), use fewer buttonholes. Space the buttonholes evenly with one buttonhole positioned in the center front of the flap. Sew one (vertical) buttonhole on the left Front Dart Gusset. Sew one (horizontal) buttonhole on the center front of the left waistband. Buttonholes can be sewn diagonally or vertical along the top of the flap. Buttonholes should be horizontal along both sides of the flap and at the waistband. Sew on the buttons. The center front button will pass through two buttonhole layers -- the Front Dart Gusset and the front flap.

Mark the center placement of each button with a pin.

Lay the buttons out to be sure they look evenly spaced.

In the photo below notice the center button hole is sewn in the center front seam. Simply cut the thread in the center front buttonhole to creating the hole.

Making the buttonholes using a white chalk line as a guide.

The horizontal buttonhole on the waistband.

All the buttonholes have been sewn.

Use Fray Check on the front and back of each buttonhole to help add stability to the buttonhole threads and help keep the fabric from fraying when you cut the buttonhole hole. Test the Fray Check on a swatch of your fabric to be sure it does not damage the look of your fabric. Most threads are made to be color fast, but it never hurts to give it a test too.

Once the Fray Check is completely dry, I like to cut the buttonhole opening using an fine blade to make a small slit through the fabric layers. This slit will help make cutting the hole with scissors easier.  You can also use a buttonhole cutter (we have one in our shop) to cleanly cut the buttonholes. 

Using a fine blade to make a slit through the fabric layers.

Using fine tip scissors to carefully cut the button holes open.

Heavier buttonhole twist (thread) and buttons all ready to be sewn to the pants.

When sewing the buttons onto the pants, I find it helpful to create anchor points first. By attaching the center button on the waist holds the front of the pant in place. Then add the buttons to the corners. Then align and add the center button on the flap.

Notice the buttonhole on the waistband is horizontal and the buttonhole on the front dart gusset is vertical.

The center button passes through two buttonholes.

When using four hole buttons, I like to sew only half the button onto the pants until I am sure the buttons are positioned perfectly and aligned in the buttonholes.

Only half of the button is sewn onto the pants until alignment is perfect.

All the buttons sewn in place on the front of the pants.

Another view of the buttons and buttonholes finished.

Eyelets

Eyelets are another feature that can be as creative or subdued as you like.  I am going to show you how to make handsewn eyelets for your pants, but depending on your fabric and aesthetic, you might want to use small grommets.  Grommets will probably be best for thicker denims, etc.

Handsewn eyelets comprise of a couple of steps:  making a hole, sewing a running stitch around the hole (optional), and then making (buttonhole) stitches around the hole.

Embroidery thread is perfect for making eyelets and it comes in a plethora of beautiful colors. Embroidery thread is typically comprised of multiple threads, and I am using three threads at a time to make my whip stitches.  Due to the thickness of the embroidery thread you will need a needle with a relatively large eye, such as an embroidery needle.  However, embroidery needles do not typically have a super sharp point, so you will actually be piercing the fabric as make your stitches.

Some machines have an eyelet stitch (often found with the buttonhole settings).  You can use this stitch to make the running stitch around the eyelet hole.  You can sew this before or after making the hole, but I like to do the machine stitching before.  

Mark eyelet holes on the center back using the pattern markings. Use an awl to create a hole for each eyelet (make sure not to cut through the center back gusset).  The idea is to spread apart the fabric with the awl.  We have a tapered tailor awl in our shop that works very well for this step.  Always be careful using awls, as they can be very sharp (Molly has drawn blood a few times when making her eyelets).  If you cut the eyelet hole with scissors you would cause the fabric to fray or come apart, but it is possible to cut with a punch as you might when using grommets.  Make a line of running stitches around the hole to secure the fabric. Then, use a simple over-under satin stitch, or blanket stitch/buttonhole stitch, to embroider the eyelets. Embroidery thread or top stitching thread is a good choice.

Using three threads at a time to make the eyelets.

Use an awl to pierce through the waist band and center back eyelet facing.

Using an awl to create the eyelet hole.

Mark a guide to stitch the eyelet.

Tie a knot at the end of your embroidery thread, begin the stitch on the front side of the eyelet below the hole. Pull the thread through to the back side and then send the needle back through the hole to the front. The idea is to create a wide whip stitch around the hole to serve as a guide for stitching and to hold the hole open while you work. After you have made the first pass of stitching, continue stitching until you have filled in the gaps.

The needle coming back through the hole creating the first stitch.

Pulling the embroidery thread through the hole to make the first stitch.

 The first pass of whip stitches in creating the eyelet.

Filling in the eyelet with a whip stitch.

After you eyelets are complete, thread a string or lace through the eyelets and tie at the top. 

Hem Pant Legs

Working with the wrong side up, create a one inch hem by either turning the hem up 1" (2.5cm) with a serged edge, or by turning up 1/2" (13mm) then another 1" (2.5cm), or desired length, and press. You may need to ease the curved edge of the hem on the godet to make it lay nicely. Pin the hem in place and stitch close to the folded edge (or serged edge).

Working on the wrong side, measuring a one inch hem on the curved godet edge.

The hem pinned and ready to be machine sewn.

The pants hemmed.

That's it!  We have now made the NEW Folkwear 229 Sailor Pants. I hope you are pleased with your results and feel more confident in your sewing!  Thanks for joining us.

Don't forget to tag us on social media when you are showing off your Sailor Pants!  #folkwearpatterns #folkwear229 #folkwearsailorpants